Tonic: Difference between revisions

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== Repelling the competition ==

As first put succinctly [[Flora Canou]]<ref>''[[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter V. Things Repel the Similar but Not Identical| Analysis on the 13-limit just intonation space: episode ii]]''. Flora Canou. Xenharmonic Wiki.</ref>, in the realm of microtonality, things repel the similar but not identical. As a consequence, the presence of a strong tonic acts as a very powerful discouragement against the usage of other microtonally nearby pitches outside of modulation or deliberate dissonance, as well as shimmer and chorus effects. While this effect is not unique to the tonic, being shared by both the dominant and subdominant (or superdominant), it is most constently and strongly present around the tonic itself, and, ~~futhermore~~ is one of the main drivers behind the need to [[temper out]] and or [[fudge]] either [[small comma|small]] or [[unnoticeable comma|unnoticeable]] commas.

As first put succinctly [[Flora Canou]]<ref>''[[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter V. Things Repel the Similar but Not Identical| Analysis on the 13-limit just intonation space: episode ii]]''. Flora Canou. Xenharmonic Wiki.</ref>, in the realm of microtonality, things repel the similar but not identical. As a consequence, the presence of a strong tonic acts as a very powerful discouragement against the usage of other microtonally nearby pitches outside of modulation or deliberate dissonance, as well as shimmer and chorus effects. While this effect is not unique to the tonic, being shared by both the dominant and subdominant (or superdominant), it is most constently and strongly present around the tonic itself, and, furthermore, is one of the main drivers behind the need to [[temper out]] and or [[fudge]] either [[small comma|small]] or [[unnoticeable comma|unnoticeable]] commas.

== References ==

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 == Repelling the competition ==
-As first put succinctly [[Flora Canou]]<ref>''[[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter V. Things Repel the Similar but Not Identical| Analysis on the 13-limit just intonation space: episode ii]]''. Flora Canou. Xenharmonic Wiki.</ref>, in the realm of microtonality, things repel the similar but not identical.  As a consequence, the presence of a strong tonic acts as a very powerful discouragement against the usage of other microtonally nearby pitches outside of modulation or deliberate dissonance, as well as shimmer and chorus effects.  While this effect is not unique to the tonic, being shared by both the dominant and subdominant (or superdominant), it is most constently and strongly present around the tonic itself, and, futhermore is one of the main drivers behind the need to [[temper out]] and or [[fudge]] either [[small comma|small]] or [[unnoticeable comma|unnoticeable]] commas.
+As first put succinctly [[Flora Canou]]<ref>''[[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter V. Things Repel the Similar but Not Identical| Analysis on the 13-limit just intonation space: episode ii]]''. Flora Canou. Xenharmonic Wiki.</ref>, in the realm of microtonality, things repel the similar but not identical.  As a consequence, the presence of a strong tonic acts as a very powerful discouragement against the usage of other microtonally nearby pitches outside of modulation or deliberate dissonance, as well as shimmer and chorus effects.  While this effect is not unique to the tonic, being shared by both the dominant and subdominant (or superdominant), it is most constently and strongly present around the tonic itself, and, furthermore, is one of the main drivers behind the need to [[temper out]] and or [[fudge]] either [[small comma|small]] or [[unnoticeable comma|unnoticeable]] commas.
 == References ==