| Tonic | Do |
| Minor Second | Ra |
| Major Second | Re |
| Minor Third | Me |
| Major Third | Mi |
| Perfect Fourth | Fa |
| Tritone | Se |
| Perfect Fifth | So |
| Minor Sixth | Le |
| Major Sixth | La |
| Minor Seventh | Te |
| Major Seventh | Ti |
| Octave | Do |
In 12edo, we use solfege to sing pitches of the chromatic scale, as shown in the table to the right. However, names were first given to the notes of the major scale, and then expanded to the minor steps, making the minor ones the only steps with a consistent naming scheme, the -e or "ay" sound. The others are very inconsistent, like -a being used for the minor second, perfect fourth, and major sixth, all very different types of steps. We can fix these inconsistencies while expanding the system for 31 notes.
We want vowel sounds to use for the main classes of pitches, those being perfect, subminor, minor, neutral, major, and supermajor, and we want to try to adapt the existing ones as much as possible. For perfect, we'll use -o, like Do and So/Sol. For minor, we'll use -e, pronounced "ay", like the minor intervals present in standard solfege. For major, we have -a, like La, and we already have alternative names for Ra and Fa chosen. The other major vowel of -i will be used for supermajor, as they're the more directional of the two, and the -i vowel points into the fourth and octave traditionally. For the remaining subminor and neutral, we'll use -uh and -u (pronounced "oo"), as they're the first vowel sounds in the words subminor and neutral.
| Solfege | Interval Names | |
|---|---|---|
| 1sns | Do Du | P1 S1 |
| 2nds | Ruh Re Ru Ra Ri | s2 m2 n2 M2 S2 |
| 3rds | Muh Me Mu Ma Mi | s3 m3 n3 M3 S3 |
| 4ths | Fuh Fo/Fe Fu | s4 P4 S4 |
| Tritones | Fa/Suh Fi/Se | A4/sd5 SA4/d5 |
| 5ths | Su So/Sa Si | s5 P5 S5 |
| 6ths | Luh Le Lu La Li | s6 m6 n6 M6 S6 |
| 7ths | Tuh Te Tu Ta Ti | s7 m7 n7 M7 S7 |
| 8ves | Duh Do (Du) | s8 P8 (S8) |
Alongside the consonants from 12edo solfege, we have our system. There are a few important things to note here. We call the superoctave, superfourth, and subfifth neutral intervals. This is generally how they're used, and allows scales using them like Neutral[7] modes and MODMOSes or Centaura to use consistent vowels for that type of interval. Specifically, Du and Su are a diminished fifth apart, but are scarcely in the same scale, with Du being generally an addition to otonal/septimal scales along with Fu, and Su being alongside steps like Ru and Mu. Additionally, this practice frees up other vowel names. For instance, the superfourth being Fu makes Fa the augmented fourth, and Fi the upaugmented fourth, meaning that we don't need new names for those.
Additionally, the perfect fourth and fifth can be called Fe and Sa in some contexts due to them sometimes being considered minor and major intervals respectively, due to 81/80 being tempered. We can call intervals close in the meantone generator chain, like Ra and La, Ro and Lo in some contexts, like a supermajor diatonic scale with a standard major second and sixth, to signify that we're thinking of them as 9/8 and 27/16.
| Subminor | Do | Ra | Muh | Fo | So | Luh | Tuh | Do |
|---|---|---|---|---|---|---|---|---|
| Minor | Do | Ra | Me | Fo | So | Le | Te | Do |
| Neutral | Do | Ra | Mu | Fo | So | Lu | Tu | Do |
| Major | Do | Ra | Ma | Fo | So | La | Ta | Do |
| Supermajor | Do | Ra | Mi | Fo | So | Li | Ti | Do |
This system is built to make meantone[7] and neutral[7] modes and MODMOSes, as well as septimal diatonic scales, as easy to learn the sounds for as possible. In these scales, it preserves vowels, and the inconsistencies of cases like So-Ra and Te-Fo can be smoothed out by the substitute Ro and To if needed.
If necessary, we can expand past the current system with vowels for Augmented, Diminished, Upaugmented, and Downdiminished, with -ah (short a sound), -ih (for the short i in diminished), -oy, and -ow (for down), though the use cases for these are somewhat limited.