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:~~

</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~~.

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.

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.

@@ 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.
+. 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.
+. 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>'''''
+. 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.