Siapo enharmonic

An attempt to divine a Samoan enharmonic from a tapa cloth.

https://collections.tepapa.govt.nz/object/149596?page=1&rtp=1&ros=1&asr=1&assoc=all&mb=c

The intervals are as follows.

1. Oro

2. +204

3. +135

4. +160

5. +135

6. +160

7. +135

8. + 270*

*this example is closer to 250 cents so that the octave comma matches the anchor point in the circle above. Farhat's tones are aggregates, but the harmonies might lock better if they're shifted by something under 30 cents (plus or minus) for certain tones. When I sing them, those are practical versions driven by the human voice.

Unlike the Niuean version, there's no minor half-tone, hence the brighter sound.

If you were to look at the full version of the siapo, you'd see that the semi-shaded circles between the fully shaded circles in the upper layers also suggest which microtones are consonant and dissonant.

The harmonised version is 425 cents apart, neatly matching the gap between the first two points in the pitch compass. This is probably what causes those brilliant thirds in Samoan music.

https://video.wixstatic.com/video/682aab_53ed270392aa4e2f95a52447f95d4011/1080p/mp4/file.mp4

The small notches beside the anchor points line up with the lines in the semi-shaded circles above them, suggesting that those notches represent the microtones between the fixed points.

Why am I decoding circles? Honestly, I had a vision that all those Farhat tones could be represented in a circle, then I stumbled upon the Niuean hiapo that Te Papa had. The archivists and librarians are helping me dig up stuff, but that was a google search.