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| 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
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| First, responding to Barium Unque on "wibblepoints" and "adaptive harmony":<blockquote>First of all, hello, Barium
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| 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 or culturally conditioned, Wibblepoints are explicitly structured intervals within alternative tunings. S</blockquote>
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