User:Tremend/WIP - Revision history

FloraC: Community reports this pollutes search results

2025-06-05T16:45:59Z

Community reports this pollutes search results

← Older revision		Revision as of 16:45, 5 June 2025
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	Hey guys! I’m sorry if this turns out pretty bad but I’m pretty tired and its 00:00 right here, but whatever. I owe you guys an apology. I'll agree its my fault for not explaining some of these terms, I can see why you think I'm a troll, but would a troll really go through all this trouble? [https://docs.google.com/document/d/1bh-HMt5h9HEUdKJr4AMLIFniwtwVMKE4zvvXJe5JSWo/edit?usp=sharing I tried explaining some of these terms earlier] but it seems like I wasn't clear enough. I'm sorry and I apologize, I know my english isn't perfect but I try my best. Before I start, I gotta say, I coined these terms, I named them and I defined them, if I think theyre useful I'll coin them, no matter how silly the name (you can give me feedback or suggestions if you want), and I already was (and am) planning to write a page for each. I'm hoping this will be clear anough, This system I’ve been working on focuses on shifting harmonies through slight, comma-sized intervals that connect nearby JI intervals, I tried to go for more of a "composer" point of view because I tried to make these terms more composer-friendly, unlike most of the wiki, I would like to see a world in where xen isnt 99.99% theory and 0.001% actual music.

	~~First, responding to Barium Unque on "wibblepoints" and "adaptive harmony":<blockquote>First of all, hello, Barium~~

	Yes, Wibblepoints could parallel how slight pitch adjustments are used in common-practice music, like the third in chords or leading tones in traditional harmony. However, Wibblepoints differ by how I defined it in previous text: they’re intentional, nuanced microtonal reference points that emerge within the ''context of non-standard scales''. Unlike “adaptive harmony” in common practice, where tonal adjustments are largely intuitive, Wibblepoints are EXPLICTLY structured intervals within alternative tunings, they're not merely interpretative, they’re designed into the lattice. I named wibblepoints like that, because as silly as it may sound, "wibble" sounds like a silly word for "slight bounce" or simply a "wiggle".</blockquote>Second, to Midnight Blue:<blockquote>TRG and Harmonic Flow are not the same, I already told you; the scope! But you’re absolutely right that expanding harmonic flow in a JI context can escalate complexity, especially when accumulating comma drift across the scale. The goal here is to establish specific tonal reference points within the harmonic structure where shifts are managed intentionally, preventing excess drift without simply adding more interval generators. Instead, it’s about aligning these key points in the harmonic layout to stabilize transitions, while still allowing for tonal flexibility. While tempered systems like Miracle inherently compress drift for smoother interval alignment, a well-structured JI lattice can use defined tonal anchors to achieve stable transitions and maintain harmonic consistency across the structure. Regardless of lattice structure TRG is not just about accumulating complexity through generator expansion but rather about facilitating smooth transitions across ALL tonalities and ALL harmonies. TRG maintains the overall flow and coherence of harmonic exploration within any tuning system, tempered or even untempered.

	Now, on tonality flux, hey, I get where you're coming from, and I totally agree that my initial terms and descriptions could seem mystifying, especially if they seemed to skip over the foundational concepts like tonality flux and the role of kleismas. My intent was never to "reinvent the wheel" but to approach tonal microvariation in a way that could enhance interpretive flexibility and compositional options essentially, as an extension rather than a replacement. For example, my approach to TRG (Tubular Resonant Gradations) and harmonic articulation was to examine how even minor adjustments in pitch or intervallic positioning might influence resonance perception in real time, especially within non-standard lattices. Like I said before, this is composer-centered, focusing on how how composers might experience and navigate these shifts dynamically in a way that feels more tangible in application.</blockquote>Third:<blockquote>QIS are commas that's right yeah, while the comma is a fixed, quantifiable interval between the scales, minute, controlled adjustments in pitch that occur within a harmonic framework, often manipulating the fixed intervals established by commas.</blockquote>Finally, I'll rewrite the glossary I did before:<blockquote>Tubular Resonant Gradations: <s>Continuous transitions between intervals in a scale that allow for smooth movement without discontinuities, enhancing the fluidity of harmonic connections. TRGs facilitate gradual pitch shifts, which are somewhat different from '''tonality flux''', which describes subtle harmonic changes during voice leading in microtonal contexts. While both deal with smooth transitions, TRG has larger scope, therefore emphasizes the structural continuity of a scale, whereas tonality flux focuses on the movement between chords.</s>

	~~</blockquote>~~

	===== "But one useful sneak peek of that critique (this is addressed to @Tremend ) is that you do not get to call "pitch microvariation" or "dialectical intonation" (both legitimate terms) using your neologism "articulation", because articulation in music is a precisely defined concept which literally comprises of non-pitch parts of the coloratura, such as dynamics, accent, timbral artifacts, sudden changes in tempo, etc.." - Midnight Blu =====
	~~<blockquote>That's a very fair critique, "articulation" is kinda misleading so I'll replace "articulation" with something less ambiguous.~~

	~~1: Axis Pivoting~~

	</blockquote>Refers to deliberate harmonic shifts between different tonal axes, such as moving from a 7-limit position along a septimal kleisma to a complex 5-limit variant. Unlike micro-inflection, which suggests a subtle tonal adjustment within a single harmonic framework, axis pivoting reorients the tonal center by moving across different points within the lattice. Example: In a lattice, moving from a 7/4 interval to a nearby 5/4 by “pivoting” along a specific harmonic pathway. Different from micro-inflection, which fine-tunes pitch without moving to a new tonal axis.<blockquote>2: TRGs</blockquote>A smooth, seamless progression between adjacent intervals within a tuning system. Imagine moving from one note to another in a JI lattice, where the ear perceives a gradual “flow” rather than a sharp jump. TRG’s function could be illustrated using a 7-limit tuning where adjacent intervals (like a 5/4 and 6/5) connect smoothly, different from tonality flux (Partch’s term) in that TRG can apply across single or multiple intervals in a chain, while tonality flux specifically addresses voice leading and micro-adjustments within narrow harmonic confines.


	~~3. Wibblepoints:~~

	These are designed reference points within a tuning or harmonic structure where slight microtonal shifts occur. Unlike typical pitch adjustments (like flattening a third in a minor chord), Wibblepoints are intentionally structured within the tuning framework. They’re designed into the lattice to give a slight “wiggle” (hence the name) or flexibility at specific points, which gives the tuning a more organic, adaptive sound.


	~~4. Quantum Interval Shifts (QIS):~~

	QIS are microtonal adjustments or shifts in pitch within a scale, similar to commas but applied in a dynamic, context-based way. While a comma is a fixed, quantifiable interval shift between notes, QIS involve minute adjustments that respond to harmonic needs, tweaking intervals subtly to fit the surrounding context. I admit “Quantum” is misleading since it suggests something very small and precise, like, literally quantum sized LOL, but here it refers to flexible, small adjustments rather than literal quantum mechanics. '''''<u>Please let me know if you might have a clearer name for this concept.</u>'''''

	~~5. Fuzzle junctions (and points):~~

	~~Converging points within a harmonic framework where multiple pathways intersect, creating complex tonal interactions and providing reference intervals to stabilize the harmonic structure.~~

	~~6. Harmonic fribulations:~~

	Controlled oscillatory variations in pitch during sustained frequencies, characterized by slight deviations that enhance the texture of the sound without modifying the underlying structure of the harmonic relationships, then providing the "vibrant resonances or shimmering effects" I mentioned before.

	7. Stochaplum Interval Gradients: Variations in pitch that introduce discrete pitch adjustments across intervals, useful for dynamically adjusting pitches to suit specific harmonic environments. Yes, I know, while the term "gradient" suggests variability, this refers instead to a collection of specific intervals that can be applied.. Each interval maintains a defined relationship to the original pitch, allowing for exploration of varied tonal interactions. Like for example, in 12TET system, gradually adjusting the cent value of specific intervals in a controlled way could create a smoother progression across pitches without re-tuning the whole scale. I remember seeing someone asking on XA why Stochaplum, just Stocha from '''stocha'''stic.

	8. Fritzonal-Gradient Ratios: Fixed ratios that describe the specific relationships between selected intervals in a microtonal framework. Interval-specific ratios (notably 3/7, 5/8, 13/12) that support minute pitch deviations.

	~~9. Balbrations (Hyper-Dissonant Balbrations):~~

	Regions of intentional dissonance within a harmonic structure, often located around specific ratios like 6/5 and 11/9, which encourage a “commatic drift” between these intervals. This results in a purposeful tension that composers can use to create dynamic harmonic shifts. These "balbrations" are to amplify harmonic dissonance by amplifying intervalic discrepancy.

	~~10. Recursive Glibber Nodes:~~

	Points in a scale that generate repeated harmonic patterns, allowing for recursive layering of tones. For instance, in a recursive pattern based on 7/4, composers can create an iterative harmonic field, building on the 7th harmonic to create complex layering effects that enhance the scale’s depth.

	~~11. QRLs:~~

	Quadratic Resonant Limits describe the limits on resonance defined within a quadratic framework, specifically in 11-limit contexts where the 7-limit trithonic divergence plays a critical role. This structure enables smooth intervallic transitions and integrates unique features like the 7-limit into a lattice, fostering accessible modulation options for composers working within just intonation.

Tremend at 06:48, 2 November 2024

2024-11-02T06:48:41Z

← Older revision		Revision as of 06:48, 2 November 2024
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	<blockquote>That's a very fair critique, "articulation" is kinda misleading so I'll replace "articulation" with something less ambiguous.		<blockquote>That's a very fair critique, "articulation" is kinda misleading so I'll replace "articulation" with something less ambiguous.

	</blockquote>Refers to deliberate harmonic shifts between different tonal axes, such as moving from a 7-limit position along a septimal kleisma to a complex 5-limit variant. Unlike micro-inflection, which suggests a subtle tonal adjustment within a single harmonic framework, axis pivoting reorients the tonal center by moving across different points within the lattice. Example: In a lattice, moving from a 7/4 interval to a nearby 5/4 by “pivoting” along a specific harmonic pathway. Different from micro-inflection, which fine-tunes pitch without moving to a new tonal axis.<blockquote>2: TRGs</blockquote>A smooth, seamless progression between adjacent intervals within a tuning system. Imagine moving from one note to another in a ~~just intonation (~~JI) lattice, where the ear perceives a gradual “flow” rather than a sharp jump. TRG’s function could be illustrated using a 7-limit tuning where adjacent intervals (like a 5/4 and 6/5) connect smoothly, different from tonality flux (Partch’s term) in that TRG can apply across single or multiple intervals in a chain, while tonality flux specifically addresses voice leading and micro-adjustments within narrow harmonic confines.		1: Axis Pivoting

			</blockquote>Refers to deliberate harmonic shifts between different tonal axes, such as moving from a 7-limit position along a septimal kleisma to a complex 5-limit variant. Unlike micro-inflection, which suggests a subtle tonal adjustment within a single harmonic framework, axis pivoting reorients the tonal center by moving across different points within the lattice. Example: In a lattice, moving from a 7/4 interval to a nearby 5/4 by “pivoting” along a specific harmonic pathway. Different from micro-inflection, which fine-tunes pitch without moving to a new tonal axis.<blockquote>2: TRGs</blockquote>A smooth, seamless progression between adjacent intervals within a tuning system. Imagine moving from one note to another in a JI lattice, where the ear perceives a gradual “flow” rather than a sharp jump. TRG’s function could be illustrated using a 7-limit tuning where adjacent intervals (like a 5/4 and 6/5) connect smoothly, different from tonality flux (Partch’s term) in that TRG can apply across single or multiple intervals in a chain, while tonality flux specifically addresses voice leading and micro-adjustments within narrow harmonic confines.

Tremend at 06:47, 2 November 2024

2024-11-02T06:47:33Z

← Older revision		Revision as of 06:47, 2 November 2024
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	6. Harmonic fribulations:		6. Harmonic fribulations:

	Controlled oscillatory variations in pitch during sustained frequencies, characterized by slight deviations that enhance the texture of the sound without modifying the underlying structure of the harmonic relationships.		Controlled oscillatory variations in pitch during sustained frequencies, characterized by slight deviations that enhance the texture of the sound without modifying the underlying structure of the harmonic relationships, then providing the "vibrant resonances or shimmering effects" I mentioned before.

	7. Stochaplum Interval Gradients: Variations in pitch that introduce discrete pitch adjustments across intervals, useful for dynamically adjusting pitches to suit specific harmonic environments. Yes, I know, while the term "gradient" suggests variability, this refers instead to a collection of specific intervals that can be applied.. Each interval maintains a defined relationship to the original pitch, allowing for exploration of varied tonal interactions. Like for example, in 12TET system, gradually adjusting the cent value of specific intervals in a controlled way could create a smoother progression across pitches without re-tuning the whole scale. I remember seeing someone asking on XA why Stochaplum, just Stocha from '''stocha'''stic.		7. Stochaplum Interval Gradients: Variations in pitch that introduce discrete pitch adjustments across intervals, useful for dynamically adjusting pitches to suit specific harmonic environments. Yes, I know, while the term "gradient" suggests variability, this refers instead to a collection of specific intervals that can be applied.. Each interval maintains a defined relationship to the original pitch, allowing for exploration of varied tonal interactions. Like for example, in 12TET system, gradually adjusting the cent value of specific intervals in a controlled way could create a smoother progression across pitches without re-tuning the whole scale. I remember seeing someone asking on XA why Stochaplum, just Stocha from '''stocha'''stic.

Tremend at 06:46, 2 November 2024

2024-11-02T06:46:25Z

← Older revision		Revision as of 06:46, 2 November 2024
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	Hey guys! I’m sorry if this turns out pretty bad but I’m pretty tired and its 00:00 right here, but whatever. I owe you guys an apology. I'll agree its my fault for not explaining some of these terms, I can see why you think I'm a troll, but would a troll really do all this? [https://docs.google.com/document/d/1bh-HMt5h9HEUdKJr4AMLIFniwtwVMKE4zvvXJe5JSWo/edit?usp=sharing I tried explaining some of these terms earlier] but it seems like I wasn't clear enough. I'm sorry and I apologize, I know my english isn't perfect but I try my best. Before I start, I gotta say, I coined these terms, I named them and I defined them, if I think theyre useful I'll coin them, no matter how silly the name (you can give me feedback or suggestions if you want), and I already was (and am) planning to write a page for each. I'm hoping this will be clear anough, I tried to go for more of a "composer" point of view because I tried to make these terms more composer-friendly, unlike most of the wiki.		Hey guys! I’m sorry if this turns out pretty bad but I’m pretty tired and its 00:00 right here, but whatever. I owe you guys an apology. I'll agree its my fault for not explaining some of these terms, I can see why you think I'm a troll, but would a troll really go through all this trouble? [https://docs.google.com/document/d/1bh-HMt5h9HEUdKJr4AMLIFniwtwVMKE4zvvXJe5JSWo/edit?usp=sharing I tried explaining some of these terms earlier] but it seems like I wasn't clear enough. I'm sorry and I apologize, I know my english isn't perfect but I try my best. Before I start, I gotta say, I coined these terms, I named them and I defined them, if I think theyre useful I'll coin them, no matter how silly the name (you can give me feedback or suggestions if you want), and I already was (and am) planning to write a page for each. I'm hoping this will be clear anough, This system I’ve been working on focuses on shifting harmonies through slight, comma-sized intervals that connect nearby JI intervals, I tried to go for more of a "composer" point of view because I tried to make these terms more composer-friendly, unlike most of the wiki, I would like to see a world in where xen isnt 99.99% theory and 0.001% actual music.

	First, responding to Barium Unque on "wibblepoints" and "adaptive harmony":<blockquote>First of all, hello, Barium		First, responding to Barium Unque on "wibblepoints" and "adaptive harmony":<blockquote>First of all, hello, Barium
Line 5:		Line 5:
	Yes, Wibblepoints could parallel how slight pitch adjustments are used in common-practice music, like the third in chords or leading tones in traditional harmony. However, Wibblepoints differ by how I defined it in previous text: they’re intentional, nuanced microtonal reference points that emerge within the ''context of non-standard scales''. Unlike “adaptive harmony” in common practice, where tonal adjustments are largely intuitive, Wibblepoints are EXPLICTLY structured intervals within alternative tunings, they're not merely interpretative, they’re designed into the lattice. I named wibblepoints like that, because as silly as it may sound, "wibble" sounds like a silly word for "slight bounce" or simply a "wiggle".</blockquote>Second, to Midnight Blue:<blockquote>TRG and Harmonic Flow are not the same, I already told you; the scope! But you’re absolutely right that expanding harmonic flow in a JI context can escalate complexity, especially when accumulating comma drift across the scale. The goal here is to establish specific tonal reference points within the harmonic structure where shifts are managed intentionally, preventing excess drift without simply adding more interval generators. Instead, it’s about aligning these key points in the harmonic layout to stabilize transitions, while still allowing for tonal flexibility. While tempered systems like Miracle inherently compress drift for smoother interval alignment, a well-structured JI lattice can use defined tonal anchors to achieve stable transitions and maintain harmonic consistency across the structure. Regardless of lattice structure TRG is not just about accumulating complexity through generator expansion but rather about facilitating smooth transitions across ALL tonalities and ALL harmonies. TRG maintains the overall flow and coherence of harmonic exploration within any tuning system, tempered or even untempered.		Yes, Wibblepoints could parallel how slight pitch adjustments are used in common-practice music, like the third in chords or leading tones in traditional harmony. However, Wibblepoints differ by how I defined it in previous text: they’re intentional, nuanced microtonal reference points that emerge within the ''context of non-standard scales''. Unlike “adaptive harmony” in common practice, where tonal adjustments are largely intuitive, Wibblepoints are EXPLICTLY structured intervals within alternative tunings, they're not merely interpretative, they’re designed into the lattice. I named wibblepoints like that, because as silly as it may sound, "wibble" sounds like a silly word for "slight bounce" or simply a "wiggle".</blockquote>Second, to Midnight Blue:<blockquote>TRG and Harmonic Flow are not the same, I already told you; the scope! But you’re absolutely right that expanding harmonic flow in a JI context can escalate complexity, especially when accumulating comma drift across the scale. The goal here is to establish specific tonal reference points within the harmonic structure where shifts are managed intentionally, preventing excess drift without simply adding more interval generators. Instead, it’s about aligning these key points in the harmonic layout to stabilize transitions, while still allowing for tonal flexibility. While tempered systems like Miracle inherently compress drift for smoother interval alignment, a well-structured JI lattice can use defined tonal anchors to achieve stable transitions and maintain harmonic consistency across the structure. Regardless of lattice structure TRG is not just about accumulating complexity through generator expansion but rather about facilitating smooth transitions across ALL tonalities and ALL harmonies. TRG maintains the overall flow and coherence of harmonic exploration within any tuning system, tempered or even untempered.

	Now, on tonality flux, hey, I get where you're coming from, and I totally agree that my initial terms and descriptions could seem mystifying, especially if they seemed to skip over the foundational concepts like tonality flux and the role of kleismas. My intent was never to "reinvent the wheel" but to approach tonal microvariation in a way that could enhance interpretive flexibility and compositional options essentially, as an extension rather than a replacement. For example, my approach to TRG (Tubular Resonant Gradations) and harmonic articulation was to examine how even minor adjustments in pitch or intervallic positioning might influence resonance perception in real time, especially within non-standard lattices. Like I said before, this is composer-centered, focusing on how how composers might experience and navigate these shifts dynamically in a way that feels more tangible in application~~. I would like to see a world in where xen theory isnt 99.99% theory and 0.001%~~		Now, on tonality flux, hey, I get where you're coming from, and I totally agree that my initial terms and descriptions could seem mystifying, especially if they seemed to skip over the foundational concepts like tonality flux and the role of kleismas. My intent was never to "reinvent the wheel" but to approach tonal microvariation in a way that could enhance interpretive flexibility and compositional options essentially, as an extension rather than a replacement. For example, my approach to TRG (Tubular Resonant Gradations) and harmonic articulation was to examine how even minor adjustments in pitch or intervallic positioning might influence resonance perception in real time, especially within non-standard lattices. Like I said before, this is composer-centered, focusing on how how composers might experience and navigate these shifts dynamically in a way that feels more tangible in application.</blockquote>Third:<blockquote>QIS are commas that's right yeah, while the comma is a fixed, quantifiable interval between the scales, minute, controlled adjustments in pitch that occur within a harmonic framework, often manipulating the fixed intervals established by commas.</blockquote>Finally, I'll rewrite the glossary I did before:<blockquote>Tubular Resonant Gradations: <s>Continuous transitions between intervals in a scale that allow for smooth movement without discontinuities, enhancing the fluidity of harmonic connections. TRGs facilitate gradual pitch shifts, which are somewhat different from '''tonality flux''', which describes subtle harmonic changes during voice leading in microtonal contexts. While both deal with smooth transitions, TRG has larger scope, therefore emphasizes the structural continuity of a scale, whereas tonality flux focuses on the movement between chords.</s>

	~~actual music~~.</blockquote>Third:<blockquote>QIS are commas that's right yeah, while the comma is a fixed, quantifiable interval between the scales, minute, controlled adjustments in pitch that occur within a harmonic framework, often manipulating the fixed intervals established by commas.</blockquote>Finally, I'll rewrite the glossary I did before:<blockquote>Tubular Resonant Gradations: <s>Continuous transitions between intervals in a scale that allow for smooth movement without discontinuities, enhancing the fluidity of harmonic connections. TRGs facilitate gradual pitch shifts, which are somewhat different from '''tonality flux''', which describes subtle harmonic changes during voice leading in microtonal contexts. While both deal with smooth transitions, TRG has larger scope, therefore emphasizes the structural continuity of a scale, whereas tonality flux focuses on the movement between chords.</s>

	</blockquote>		</blockquote>
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	3. Wibblepoints:		3. Wibblepoints:

	These are designed reference points within a tuning or harmonic structure where slight microtonal shifts occur. Unlike typical pitch adjustments (like flattening a third in a minor chord), Wibblepoints are intentionally structured within the tuning framework. They’re designed into the lattice to give a slight “wiggle” or flexibility at specific points, which gives the tuning a more organic, adaptive sound.		These are designed reference points within a tuning or harmonic structure where slight microtonal shifts occur. Unlike typical pitch adjustments (like flattening a third in a minor chord), Wibblepoints are intentionally structured within the tuning framework. They’re designed into the lattice to give a slight “wiggle” (hence the name) or flexibility at specific points, which gives the tuning a more organic, adaptive sound.


Line 34:		Line 32:
	Controlled oscillatory variations in pitch during sustained frequencies, characterized by slight deviations that enhance the texture of the sound without modifying the underlying structure of the harmonic relationships.		Controlled oscillatory variations in pitch during sustained frequencies, characterized by slight deviations that enhance the texture of the sound without modifying the underlying structure of the harmonic relationships.

	7. Stochaplum Interval Gradients: ~~Discrete~~ pitch adjustments ~~that reflect a random process within a microtonal system~~. Yes, I know, while the term "gradient" suggests variability, this refers instead to a collection of specific intervals that can be applied ~~in compositional contexts~~. Each interval maintains a defined relationship to the original pitch, allowing for exploration of varied tonal interactions.		7. Stochaplum Interval Gradients: Variations in pitch that introduce discrete pitch adjustments across intervals, useful for dynamically adjusting pitches to suit specific harmonic environments. Yes, I know, while the term "gradient" suggests variability, this refers instead to a collection of specific intervals that can be applied.. Each interval maintains a defined relationship to the original pitch, allowing for exploration of varied tonal interactions. Like for example, in 12TET system, gradually adjusting the cent value of specific intervals in a controlled way could create a smoother progression across pitches without re-tuning the whole scale. I remember seeing someone asking on XA why Stochaplum, just Stocha from '''stocha'''stic.

	8. Fritzonal-Gradient Ratios: Fixed ratios that describe the specific relationships between selected intervals in a microtonal framework. Interval-specific ratios (notably 3/7, 5/8, 13/12) that support minute pitch deviations.		8. Fritzonal-Gradient Ratios: Fixed ratios that describe the specific relationships between selected intervals in a microtonal framework. Interval-specific ratios (notably 3/7, 5/8, 13/12) that support minute pitch deviations.

			9. Balbrations (Hyper-Dissonant Balbrations):

			Regions of intentional dissonance within a harmonic structure, often located around specific ratios like 6/5 and 11/9, which encourage a “commatic drift” between these intervals. This results in a purposeful tension that composers can use to create dynamic harmonic shifts. These "balbrations" are to amplify harmonic dissonance by amplifying intervalic discrepancy.

			10. Recursive Glibber Nodes:

			Points in a scale that generate repeated harmonic patterns, allowing for recursive layering of tones. For instance, in a recursive pattern based on 7/4, composers can create an iterative harmonic field, building on the 7th harmonic to create complex layering effects that enhance the scale’s depth.

			11. QRLs:

			Quadratic Resonant Limits describe the limits on resonance defined within a quadratic framework, specifically in 11-limit contexts where the 7-limit trithonic divergence plays a critical role. This structure enables smooth intervallic transitions and integrates unique features like the 7-limit into a lattice, fostering accessible modulation options for composers working within just intonation.

Tremend at 06:14, 2 November 2024

2024-11-02T06:14:48Z

← Older revision		Revision as of 06:14, 2 November 2024
Line 29:		Line 29:

	Converging points within a harmonic framework where multiple pathways intersect, creating complex tonal interactions and providing reference intervals to stabilize the harmonic structure.		Converging points within a harmonic framework where multiple pathways intersect, creating complex tonal interactions and providing reference intervals to stabilize the harmonic structure.

			6. Harmonic fribulations:

			Controlled oscillatory variations in pitch during sustained frequencies, characterized by slight deviations that enhance the texture of the sound without modifying the underlying structure of the harmonic relationships.

			7. Stochaplum Interval Gradients: Discrete pitch adjustments that reflect a random process within a microtonal system. Yes, I know, while the term "gradient" suggests variability, this refers instead to a collection of specific intervals that can be applied in compositional contexts. Each interval maintains a defined relationship to the original pitch, allowing for exploration of varied tonal interactions.

			8. Fritzonal-Gradient Ratios: Fixed ratios that describe the specific relationships between selected intervals in a microtonal framework. Interval-specific ratios (notably 3/7, 5/8, 13/12) that support minute pitch deviations.

Tremend at 06:03, 2 November 2024

2024-11-02T06:03:25Z

@@ Line 14: / Line 14: @@
 <blockquote>That's a very fair critique, "articulation" is kinda misleading so I'll replace "articulation" with something less ambiguous.
-I am really grateful for the fact you're being constructive, unlike most of the server. I appreciate that. Since I was aiming to capture subtle changes in pitch I that might be perceived differently in other tuning contexts. I'll just call it:
+</blockquote>Refers to deliberate harmonic shifts between different tonal axes, such as moving from a 7-limit position along a septimal kleisma to a complex 5-limit variant. Unlike micro-inflection, which suggests a subtle tonal adjustment within a single harmonic framework, axis pivoting reorients the tonal center by moving across different points within the lattice. Example: In a lattice, moving from a 7/4 interval to a nearby 5/4 by “pivoting” along a specific harmonic pathway. Different from micro-inflection, which fine-tunes pitch without moving to a new tonal axis.<blockquote>2: TRGs</blockquote>A smooth, seamless progression between adjacent intervals within a tuning system. Imagine moving from one note to another in a just intonation (JI) lattice, where the ear perceives a gradual “flow” rather than a sharp jump. TRG’s function could be illustrated using a 7-limit tuning where adjacent intervals (like a 5/4 and 6/5) connect smoothly, different from tonality flux (Partch’s term) in that TRG can apply across single or multiple intervals in a chain, while tonality flux specifically addresses voice leading and micro-adjustments within narrow harmonic confines.
-</blockquote><blockquote>1: Axis Pivoting (previously Flibberous Harmonics):</blockquote>Refers to deliberate harmonic shifts between different tonal axes, such as moving from a 7-limit position along a septimal kleisma to a complex 5-limit variant. Unlike micro-inflection, which suggests a subtle tonal adjustment within a single harmonic framework, axis pivoting reorients the tonal center by moving across different points within the lattice.<blockquote>2: TRGs</blockquote>A smooth, seamless progression between adjacent intervals within a tuning system. Imagine moving from one note to another in a just intonation (JI) lattice, where the ear perceives a gradual “flow” rather than a sharp jump. TRG’s function could be illustrated using a 7-limit tuning where adjacent intervals (like a 5/4 and 6/5) connect smoothly, different from tonality flux (Partch’s term) in that TRG can apply across single or multiple intervals in a chain, while tonality flux specifically addresses voice leading and micro-adjustments within narrow harmonic confines.

Tremend at 01:11, 1 November 2024

2024-11-01T01:11:15Z

← Older revision		Revision as of 01:11, 1 November 2024
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	<blockquote>That's a very fair critique, "articulation" is kinda misleading so I'll replace "articulation" with something less ambiguous.		<blockquote>That's a very fair critique, "articulation" is kinda misleading so I'll replace "articulation" with something less ambiguous.

	I am really grateful for the fact you're being constructive, unlike most of the server. I appreciate that. Since I was aiming to capture subtle changes in pitch I that might be perceived differently in other tuning contexts. I'll just call it ~~Micro-Pitch Articulation, If you have any other ideas for a name let me know~~:		I am really grateful for the fact you're being constructive, unlike most of the server. I appreciate that. Since I was aiming to capture subtle changes in pitch I that might be perceived differently in other tuning contexts. I'll just call it:

	</blockquote>~~Micro~~-~~Pitch Articulation refers~~ to subtle~~, adaptive pitch variations~~ within a tonal ~~structure~~, ~~which are sensitive to harmonic context and add expressive inflection~~ to the ~~musical line~~. ~~This technique adjusts pitches by small fractions, creating~~ a ~~more "speech~~-like~~" intonation—similar to the concept of dialectical intonation~~ in ~~language~~, ~~where accent~~ and ~~tone shift subtly based on emphasis or phrase structure~~.		</blockquote><blockquote>1: Axis Pivoting (previously Flibberous Harmonics):</blockquote>Refers to deliberate harmonic shifts between different tonal axes, such as moving from a 7-limit position along a septimal kleisma to a complex 5-limit variant. Unlike micro-inflection, which suggests a subtle tonal adjustment within a single harmonic framework, axis pivoting reorients the tonal center by moving across different points within the lattice.<blockquote>2: TRGs</blockquote>A smooth, seamless progression between adjacent intervals within a tuning system. Imagine moving from one note to another in a just intonation (JI) lattice, where the ear perceives a gradual “flow” rather than a sharp jump. TRG’s function could be illustrated using a 7-limit tuning where adjacent intervals (like a 5/4 and 6/5) connect smoothly, different from tonality flux (Partch’s term) in that TRG can apply across single or multiple intervals in a chain, while tonality flux specifically addresses voice leading and micro-adjustments within narrow harmonic confines.

Tremend at 23:12, 31 October 2024

2024-10-31T23:12:48Z

← Older revision		Revision as of 23:12, 31 October 2024
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	Hey guys! I’m sorry if this turns out pretty bad but I’m pretty tired and its 00:00 right here, but whatever. I owe you guys an apology. I'll agree its my fault for not explaining some of these terms, I can see why you think I'm a troll, but would a troll really do all this? [https://docs.google.com/document/d/1bh-HMt5h9HEUdKJr4AMLIFniwtwVMKE4zvvXJe5JSWo/edit?usp=sharing I tried explaining some of these terms earlier] but it seems like I wasn't clear enough. I'm sorry and I apologize, I know my english ~~isnt~~ perfect but I try my best. Before I start, I gotta say, I coined these terms, I named them and I defined them, if I think theyre useful I'll coin them, no matter how silly the name (you can give me feedback or suggestions if you want), and I already was (and am) planning to write a page for each. I'm hoping this will be clear anough, I tried to go for more of a "composer" point of view because I tried to make these terms more composer-friendly, unlike most of the wiki.		Hey guys! I’m sorry if this turns out pretty bad but I’m pretty tired and its 00:00 right here, but whatever. I owe you guys an apology. I'll agree its my fault for not explaining some of these terms, I can see why you think I'm a troll, but would a troll really do all this? [https://docs.google.com/document/d/1bh-HMt5h9HEUdKJr4AMLIFniwtwVMKE4zvvXJe5JSWo/edit?usp=sharing I tried explaining some of these terms earlier] but it seems like I wasn't clear enough. I'm sorry and I apologize, I know my english isn't perfect but I try my best. Before I start, I gotta say, I coined these terms, I named them and I defined them, if I think theyre useful I'll coin them, no matter how silly the name (you can give me feedback or suggestions if you want), and I already was (and am) planning to write a page for each. I'm hoping this will be clear anough, I tried to go for more of a "composer" point of view because I tried to make these terms more composer-friendly, unlike most of the wiki.

	First, responding to Barium Unque on "wibblepoints" and "adaptive harmony":<blockquote>First of all, hello, Barium		First, responding to Barium Unque on "wibblepoints" and "adaptive harmony":<blockquote>First of all, hello, Barium
Line 5:		Line 5:
	Yes, Wibblepoints could parallel how slight pitch adjustments are used in common-practice music, like the third in chords or leading tones in traditional harmony. However, Wibblepoints differ by how I defined it in previous text: they’re intentional, nuanced microtonal reference points that emerge within the ''context of non-standard scales''. Unlike “adaptive harmony” in common practice, where tonal adjustments are largely intuitive, Wibblepoints are EXPLICTLY structured intervals within alternative tunings, they're not merely interpretative, they’re designed into the lattice. I named wibblepoints like that, because as silly as it may sound, "wibble" sounds like a silly word for "slight bounce" or simply a "wiggle".</blockquote>Second, to Midnight Blue:<blockquote>TRG and Harmonic Flow are not the same, I already told you; the scope! But you’re absolutely right that expanding harmonic flow in a JI context can escalate complexity, especially when accumulating comma drift across the scale. The goal here is to establish specific tonal reference points within the harmonic structure where shifts are managed intentionally, preventing excess drift without simply adding more interval generators. Instead, it’s about aligning these key points in the harmonic layout to stabilize transitions, while still allowing for tonal flexibility. While tempered systems like Miracle inherently compress drift for smoother interval alignment, a well-structured JI lattice can use defined tonal anchors to achieve stable transitions and maintain harmonic consistency across the structure. Regardless of lattice structure TRG is not just about accumulating complexity through generator expansion but rather about facilitating smooth transitions across ALL tonalities and ALL harmonies. TRG maintains the overall flow and coherence of harmonic exploration within any tuning system, tempered or even untempered.		Yes, Wibblepoints could parallel how slight pitch adjustments are used in common-practice music, like the third in chords or leading tones in traditional harmony. However, Wibblepoints differ by how I defined it in previous text: they’re intentional, nuanced microtonal reference points that emerge within the ''context of non-standard scales''. Unlike “adaptive harmony” in common practice, where tonal adjustments are largely intuitive, Wibblepoints are EXPLICTLY structured intervals within alternative tunings, they're not merely interpretative, they’re designed into the lattice. I named wibblepoints like that, because as silly as it may sound, "wibble" sounds like a silly word for "slight bounce" or simply a "wiggle".</blockquote>Second, to Midnight Blue:<blockquote>TRG and Harmonic Flow are not the same, I already told you; the scope! But you’re absolutely right that expanding harmonic flow in a JI context can escalate complexity, especially when accumulating comma drift across the scale. The goal here is to establish specific tonal reference points within the harmonic structure where shifts are managed intentionally, preventing excess drift without simply adding more interval generators. Instead, it’s about aligning these key points in the harmonic layout to stabilize transitions, while still allowing for tonal flexibility. While tempered systems like Miracle inherently compress drift for smoother interval alignment, a well-structured JI lattice can use defined tonal anchors to achieve stable transitions and maintain harmonic consistency across the structure. Regardless of lattice structure TRG is not just about accumulating complexity through generator expansion but rather about facilitating smooth transitions across ALL tonalities and ALL harmonies. TRG maintains the overall flow and coherence of harmonic exploration within any tuning system, tempered or even untempered.

	Now, on tonality flux, hey, I get where you're coming from, and I totally agree that my initial terms and descriptions could seem mystifying, especially if they seemed to skip over the foundational concepts like tonality flux and the role of kleismas. My intent was never to "reinvent the wheel" but to approach tonal microvariation in a way that could enhance interpretive flexibility and compositional options essentially, as an extension rather than a replacement. For example, my approach to TRG (Tubular Resonant Gradations) and harmonic articulation was to examine how even minor adjustments in pitch or intervallic positioning might influence resonance perception in real time, especially within non-standard lattices.</blockquote>Third:<blockquote>QIS are commas that's right yeah, while the comma is a fixed, quantifiable interval between the scales, minute, controlled adjustments in pitch that occur within a harmonic framework, often manipulating the fixed intervals established by commas.</blockquote>Finally, I'll rewrite the glossary I did before:<blockquote>Tubular Resonant Gradations: <s>Continuous transitions between intervals in a scale that allow for smooth movement without discontinuities, enhancing the fluidity of harmonic connections. TRGs facilitate gradual pitch shifts, which are somewhat different from '''tonality flux''', which describes subtle harmonic changes during voice leading in microtonal contexts. While both deal with smooth transitions, TRG has larger scope, therefore emphasizes the structural continuity of a scale, whereas tonality flux focuses on the movement between chords.</s>		Now, on tonality flux, hey, I get where you're coming from, and I totally agree that my initial terms and descriptions could seem mystifying, especially if they seemed to skip over the foundational concepts like tonality flux and the role of kleismas. My intent was never to "reinvent the wheel" but to approach tonal microvariation in a way that could enhance interpretive flexibility and compositional options essentially, as an extension rather than a replacement. For example, my approach to TRG (Tubular Resonant Gradations) and harmonic articulation was to examine how even minor adjustments in pitch or intervallic positioning might influence resonance perception in real time, especially within non-standard lattices. Like I said before, this is composer-centered, focusing on how how composers might experience and navigate these shifts dynamically in a way that feels more tangible in application. I would like to see a world in where xen theory isnt 99.99% theory and 0.001%

			actual music.</blockquote>Third:<blockquote>QIS are commas that's right yeah, while the comma is a fixed, quantifiable interval between the scales, minute, controlled adjustments in pitch that occur within a harmonic framework, often manipulating the fixed intervals established by commas.</blockquote>Finally, I'll rewrite the glossary I did before:<blockquote>Tubular Resonant Gradations: <s>Continuous transitions between intervals in a scale that allow for smooth movement without discontinuities, enhancing the fluidity of harmonic connections. TRGs facilitate gradual pitch shifts, which are somewhat different from '''tonality flux''', which describes subtle harmonic changes during voice leading in microtonal contexts. While both deal with smooth transitions, TRG has larger scope, therefore emphasizes the structural continuity of a scale, whereas tonality flux focuses on the movement between chords.</s>

	</blockquote>		</blockquote>

Tremend at 22:51, 31 October 2024

2024-10-31T22:51:19Z

← Older revision		Revision as of 22:51, 31 October 2024
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	First, responding to Barium Unque on "wibblepoints" and "adaptive harmony":<blockquote>First of all, hello, Barium		First, responding to Barium Unque on "wibblepoints" and "adaptive harmony":<blockquote>First of all, hello, Barium

	Yes, Wibblepoints could parallel how slight pitch adjustments are used in common-practice music, like the third in chords or leading tones in traditional harmony. However, Wibblepoints differ by how I defined it in previous text: they’re intentional, nuanced microtonal reference points that emerge within the ''context of non-standard scales''. Unlike “adaptive harmony” in common practice, where tonal adjustments are largely intuitive, Wibblepoints are EXPLICTLY structured intervals within alternative tunings, they're not merely interpretative, they’re designed into the lattice. I named wibblepoints like that, because as silly as it may sound, "wibble" sounds like a silly word for "slight bounce" or simply a "wiggle".</blockquote>Second, to Midnight Blue:<blockquote>TRG and Harmonic Flow are not the same, I already told you; the scope! But you’re absolutely right that expanding harmonic flow in a JI context can escalate complexity, especially when accumulating comma drift across the scale. The goal here is to establish specific tonal reference points within the harmonic structure where shifts are managed intentionally, preventing excess drift without simply adding more interval generators. Instead, it’s about aligning these key points in the harmonic layout to stabilize transitions, while still allowing for tonal flexibility. While tempered systems like Miracle inherently compress drift for smoother interval alignment, a well-structured JI lattice can use defined tonal anchors to achieve stable transitions and maintain harmonic consistency across the structure. Regardless of lattice structure TRG is not just about accumulating complexity through generator expansion but rather about facilitating smooth transitions across ALL tonalities and ALL harmonies. TRG maintains the overall flow and coherence of harmonic exploration within any tuning system, tempered or even untempered.</blockquote>Third:<blockquote>QIS are commas that's right yeah, while the comma is a fixed, quantifiable interval between the scales, minute, controlled adjustments in pitch that occur within a harmonic framework, often manipulating the fixed intervals established by commas.</blockquote>Finally, I'll rewrite the glossary I did before:<blockquote>Tubular Resonant Gradations: Continuous transitions between intervals in a scale that allow for smooth movement without discontinuities, enhancing the fluidity of harmonic connections. TRGs facilitate gradual pitch shifts, which are somewhat different from '''tonality flux''', ~~a term describing~~ subtle harmonic changes during voice leading in microtonal contexts. While both deal with smooth transitions, TRG has larger scope, therefore emphasizes the structural continuity of a scale, whereas tonality flux focuses on the movement between chords.		Yes, Wibblepoints could parallel how slight pitch adjustments are used in common-practice music, like the third in chords or leading tones in traditional harmony. However, Wibblepoints differ by how I defined it in previous text: they’re intentional, nuanced microtonal reference points that emerge within the ''context of non-standard scales''. Unlike “adaptive harmony” in common practice, where tonal adjustments are largely intuitive, Wibblepoints are EXPLICTLY structured intervals within alternative tunings, they're not merely interpretative, they’re designed into the lattice. I named wibblepoints like that, because as silly as it may sound, "wibble" sounds like a silly word for "slight bounce" or simply a "wiggle".</blockquote>Second, to Midnight Blue:<blockquote>TRG and Harmonic Flow are not the same, I already told you; the scope! But you’re absolutely right that expanding harmonic flow in a JI context can escalate complexity, especially when accumulating comma drift across the scale. The goal here is to establish specific tonal reference points within the harmonic structure where shifts are managed intentionally, preventing excess drift without simply adding more interval generators. Instead, it’s about aligning these key points in the harmonic layout to stabilize transitions, while still allowing for tonal flexibility. While tempered systems like Miracle inherently compress drift for smoother interval alignment, a well-structured JI lattice can use defined tonal anchors to achieve stable transitions and maintain harmonic consistency across the structure. Regardless of lattice structure TRG is not just about accumulating complexity through generator expansion but rather about facilitating smooth transitions across ALL tonalities and ALL harmonies. TRG maintains the overall flow and coherence of harmonic exploration within any tuning system, tempered or even untempered.

			Now, on tonality flux, hey, I get where you're coming from, and I totally agree that my initial terms and descriptions could seem mystifying, especially if they seemed to skip over the foundational concepts like tonality flux and the role of kleismas. My intent was never to "reinvent the wheel" but to approach tonal microvariation in a way that could enhance interpretive flexibility and compositional options essentially, as an extension rather than a replacement. For example, my approach to TRG (Tubular Resonant Gradations) and harmonic articulation was to examine how even minor adjustments in pitch or intervallic positioning might influence resonance perception in real time, especially within non-standard lattices.</blockquote>Third:<blockquote>QIS are commas that's right yeah, while the comma is a fixed, quantifiable interval between the scales, minute, controlled adjustments in pitch that occur within a harmonic framework, often manipulating the fixed intervals established by commas.</blockquote>Finally, I'll rewrite the glossary I did before:<blockquote>Tubular Resonant Gradations: <s>Continuous transitions between intervals in a scale that allow for smooth movement without discontinuities, enhancing the fluidity of harmonic connections. TRGs facilitate gradual pitch shifts, which are somewhat different from '''tonality flux''', which describes subtle harmonic changes during voice leading in microtonal contexts. While both deal with smooth transitions, TRG has larger scope, therefore emphasizes the structural continuity of a scale, whereas tonality flux focuses on the movement between chords.</s>

	</blockquote>		</blockquote>

			===== "But one useful sneak peek of that critique (this is addressed to @Tremend ) is that you do not get to call "pitch microvariation" or "dialectical intonation" (both legitimate terms) using your neologism "articulation", because articulation in music is a precisely defined concept which literally comprises of non-pitch parts of the coloratura, such as dynamics, accent, timbral artifacts, sudden changes in tempo, etc.." - Midnight Blu =====
			<blockquote>That's a very fair critique, "articulation" is kinda misleading so I'll replace "articulation" with something less ambiguous.

			I am really grateful for the fact you're being constructive, unlike most of the server. I appreciate that. Since I was aiming to capture subtle changes in pitch I that might be perceived differently in other tuning contexts. I'll just call it Micro-Pitch Articulation, If you have any other ideas for a name let me know:

			</blockquote>Micro-Pitch Articulation refers to subtle, adaptive pitch variations within a tonal structure, which are sensitive to harmonic context and add expressive inflection to the musical line. This technique adjusts pitches by small fractions, creating a more "speech-like" intonation—similar to the concept of dialectical intonation in language, where accent and tone shift subtly based on emphasis or phrase structure.

Tremend at 07:00, 31 October 2024

2024-10-31T07:00:14Z

← Older revision		Revision as of 07:00, 31 October 2024
Line 1:		Line 1:
	Hey guys! I’m sorry if this turns out pretty bad but I’m pretty tired and its 10:53 right here, but whatever. I owe you guys an apology. I'll agree its my fault for not explaining some of these terms, I can see why you think I'm a troll, but would a troll really do all this? [https://docs.google.com/document/d/1bh-HMt5h9HEUdKJr4AMLIFniwtwVMKE4zvvXJe5JSWo/edit?usp=sharing I tried explaining some of these terms earlier] but it seems like I wasn't clear enough. I'm sorry and I apologize, I know my english isnt perfect but I try my best. Before I start, I gotta say, I coined these terms, I named them and I defined them, if I think theyre useful I'll coin them, no matter how silly the name (you can give me feedback or suggestions if you want), and I already was (and am) planning to write a page for each. I'm hoping this will be clear anough, I tried to go for more of a "composer" point of view because I tried to make these terms more composer-friendly, unlike most of the wiki.		Hey guys! I’m sorry if this turns out pretty bad but I’m pretty tired and its 00:00 right here, but whatever. I owe you guys an apology. I'll agree its my fault for not explaining some of these terms, I can see why you think I'm a troll, but would a troll really do all this? [https://docs.google.com/document/d/1bh-HMt5h9HEUdKJr4AMLIFniwtwVMKE4zvvXJe5JSWo/edit?usp=sharing I tried explaining some of these terms earlier] but it seems like I wasn't clear enough. I'm sorry and I apologize, I know my english isnt perfect but I try my best. Before I start, I gotta say, I coined these terms, I named them and I defined them, if I think theyre useful I'll coin them, no matter how silly the name (you can give me feedback or suggestions if you want), and I already was (and am) planning to write a page for each. I'm hoping this will be clear anough, I tried to go for more of a "composer" point of view because I tried to make these terms more composer-friendly, unlike most of the wiki.

	First, responding to Barium Unque on "wibblepoints" and "adaptive harmony":<blockquote>First of all, hello, Barium		First, responding to Barium Unque on "wibblepoints" and "adaptive harmony":<blockquote>First of all, hello, Barium

	Yes, Wibblepoints could parallel how slight pitch adjustments are used in common-practice music, like the third in chords or leading tones in traditional harmony. However, Wibblepoints differ by how I defined it in previous text: they’re intentional, nuanced microtonal reference points that emerge within the ''context of non-standard scales''. Unlike “adaptive harmony” in common practice, where tonal adjustments are largely intuitive, Wibblepoints are EXPLICTLY structured intervals within alternative tunings, they're not merely interpretative, they’re designed into the lattice. I named wibblepoints like that, because as silly as it may sound, "wibble" sounds like a silly word for "slight bounce" or simply a "wiggle".</blockquote>Second, to Midnight Blue:<blockquote>TRG and Harmonic Flow are not the same, I already told you; the scope! But you’re absolutely right that expanding harmonic flow in a JI context can escalate complexity, especially when accumulating comma drift across the scale. The goal here is to establish specific tonal reference points within the harmonic structure where shifts are managed intentionally, preventing excess drift without simply adding more interval generators. Instead, it’s about aligning these key points in the harmonic layout to stabilize transitions, while still allowing for tonal flexibility. While tempered systems like Miracle inherently compress drift for smoother interval alignment, a well-structured JI lattice can use defined tonal anchors to achieve stable transitions and maintain harmonic consistency across the structure. Regardless of lattice structure TRG is not just about accumulating complexity through generator expansion but rather about facilitating smooth transitions across ALL tonalities and ALL harmonies. TRG maintains the overall flow and coherence of harmonic exploration within any tuning system, tempered or even untempered.</blockquote>Third:<blockquote>QIS are commas that's right yeah, while the comma is a fixed, quantifiable interval between the scales, minute, controlled adjustments in pitch that occur within a harmonic framework, often manipulating the fixed intervals established by commas.</blockquote>Finally, I'll rewrite the glossary:<blockquote>Tubular Resonant Gradations: Continuous transitions between intervals in a scale that allow for smooth movement without discontinuities, enhancing the fluidity of harmonic connections. TRGs facilitate gradual pitch shifts, which are somewhat different from '''tonality flux''', a term describing subtle harmonic changes during voice leading in microtonal contexts. While both deal with smooth transitions, TRG has larger scope, therefore emphasizes the structural continuity of a scale, whereas tonality flux focuses on the movement between chords.		Yes, Wibblepoints could parallel how slight pitch adjustments are used in common-practice music, like the third in chords or leading tones in traditional harmony. However, Wibblepoints differ by how I defined it in previous text: they’re intentional, nuanced microtonal reference points that emerge within the ''context of non-standard scales''. Unlike “adaptive harmony” in common practice, where tonal adjustments are largely intuitive, Wibblepoints are EXPLICTLY structured intervals within alternative tunings, they're not merely interpretative, they’re designed into the lattice. I named wibblepoints like that, because as silly as it may sound, "wibble" sounds like a silly word for "slight bounce" or simply a "wiggle".</blockquote>Second, to Midnight Blue:<blockquote>TRG and Harmonic Flow are not the same, I already told you; the scope! But you’re absolutely right that expanding harmonic flow in a JI context can escalate complexity, especially when accumulating comma drift across the scale. The goal here is to establish specific tonal reference points within the harmonic structure where shifts are managed intentionally, preventing excess drift without simply adding more interval generators. Instead, it’s about aligning these key points in the harmonic layout to stabilize transitions, while still allowing for tonal flexibility. While tempered systems like Miracle inherently compress drift for smoother interval alignment, a well-structured JI lattice can use defined tonal anchors to achieve stable transitions and maintain harmonic consistency across the structure. Regardless of lattice structure TRG is not just about accumulating complexity through generator expansion but rather about facilitating smooth transitions across ALL tonalities and ALL harmonies. TRG maintains the overall flow and coherence of harmonic exploration within any tuning system, tempered or even untempered.</blockquote>Third:<blockquote>QIS are commas that's right yeah, while the comma is a fixed, quantifiable interval between the scales, minute, controlled adjustments in pitch that occur within a harmonic framework, often manipulating the fixed intervals established by commas.</blockquote>Finally, I'll rewrite the glossary I did before:<blockquote>Tubular Resonant Gradations: Continuous transitions between intervals in a scale that allow for smooth movement without discontinuities, enhancing the fluidity of harmonic connections. TRGs facilitate gradual pitch shifts, which are somewhat different from '''tonality flux''', a term describing subtle harmonic changes during voice leading in microtonal contexts. While both deal with smooth transitions, TRG has larger scope, therefore emphasizes the structural continuity of a scale, whereas tonality flux focuses on the movement between chords.

	</blockquote>		</blockquote>