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a dense piano etude exploring the Nem7add4 in 31-equal (R - 2 - ⇂3 - 4 - 5 - b7) in it's various formations and extensions. i spent a lot of time considering the treatment of vertical structure in neutral harmony. there are a lot of very useful neutral qualities. here are some of my general thoughts at the moment: 1) neutral structures voice better with a P4 and b7. 2) ‡2 right next to ⇂3 above an open octave is a very nice quality 3) omitting the fifth from the bass often makes the vertical structure more concordant for neutral structures - neutral makes this a tempting trap inviting people to treat it like major which is where people often get dissatisfied with neutral sound. 4) 17-tone mohajirian set continued to pop up and tempt me but i continue to be drawn to the P4 and b7 variation of neutral structure which isn't in the mos or 2nd level modmos. I also don't prefer the neH7 combination. I guess in some ways mixolydian ⇂3 might be the best way to describe what i'm drawn to in 31's neutral but that system closes at the octave and this base quality ultimate connects back to the 17 note mohajirian chain. the 17-note mohajira chain is amazing though except the 15th extension 5) Nem7add4 is essentially 9:11:12:16 frame. 31 offers a nice take on this. 63:72:77:84:103 is also very notable. 5) found a great voicing for a deep superjira motherchord will post later. superjira is what i call the 12-17 note, well spaced, 5 octave tonality generated by the neutral temperament in 31edo (mohajira). there are many subvariations of superjira explored here as well but since it's a deep 12-15 note structure. i'll eventually make a vid specifically on the nuances of neutral. :) 6) ‡19 on top again to close structures in 31 seems to remain effective in the neutral spaces check out: please note there a variety of “description“ formats occurring this video such as interval function, just ratio approximations, modal descriptions, etc. #musictheory #microtonal #31edo #harmony m
