User:Tremend/WIP: Difference between revisions

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<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.

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 <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.