http://fizzwiki.com/api.php?action=feedcontributions&feedformat=atom&user=Lattaio+Meimnagaan+JS FizzWiki - User contributions [en] 2026-09-12T07:30:35Z User contributions MediaWiki 1.45.3 http://fizzwiki.com/index.php?title=Utility_Monster_Track&diff=1461 Utility Monster Track 2026-07-16T10:09:05Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:UMT.jpg|thumb|'''Guess the UMT''' (Level ''IMPOSSIBLE'')]]<br /> A '''Utility Monster Track''' '''(UMT)''' is a released song that is orders of magnitude better, more enjoyed, or higher in [[The Thing|Thingonium]] than the vast majority, or even the entire rest of the discography of the artist(s) or band that released it. One of the most interesting things about UMTs is that they tend to be some the best songs of all time. Many people have at least one UMT they love, with the rest of the writer's discography being only glanced over, usually in disappointment when you realize that pales in comparison to the UMT, and doesn't even sound like it. UMTs are usually one-offs, especially in the case of a mainstream pop artist that has that one completely ingenious banger you could deep listen to for 100 hours, but sometimes an artist or band will have several of them. A utility monster track is different from just a stand out song, where the difference is less extreme. <br /> <br /> This concept can also apply to improvised solos, where a musician has a stroke of total genius and plays [https://youtu.be/L_XJ_s5IsQc?si=C9XzS_pCpJKumAc9&amp;t=263 a solo out of no where that seems to transcend reality itself with how incredible it is], though Michael League might [https://youtu.be/t7ZlZAGxgyg?si=z3dUrBiQgjVQzKRb&amp;t=51 disagree with this]. <br /> <br /> == How it happens ==<br /> It is unknown how or why Utility Monster Tracks happen, but their implications could reveal important insights into how the human and specifically the artists' brain functions. Artistic output and how it works is still largely a mystery. It's easy to make fun of someone going full Rick Rubin about one of their tracks and going off about how they had no idea what they were doing when they were making it, but there is a lot of truth to these statements. There just seems to be these stars aligning moments that allow artists to output ingenious works, even if that isn't something they are regularly able to do reliably. &quot;Ingenious&quot; in this context is less likely to refer to technical facility (so not just someone suddenly and magically gaining 10 years of technical ability and specified musical vocabulary internalization overnight only to have it disappear into the void once the song or solo is over) and more likely to refer to internal structural consistency or cleverness of the ideas executed. Or if you're a Fizzhead: &quot;it has [[The Thing]]&quot;.<br /> <br /> === Creation lottery ===<br /> One of the proposed reasons why this phenomenon happens is due to the hypothesis that artists are divided into two general groups: Those that cultivate inspiration (could be referred to affectionately as &quot;right brained musicians&quot;), and those have developed a reliable method for outputting music, even when not inspired (could be referred to affectionately as &quot;left brained musicians&quot;). Inspiration is that mystery thing no one fully understands, where artistic output just happens at a level beyond conscious knowledge via some crazy [[wikipedia:Dual_process_theory#System_1|system 1]] magic, or divine intervention, or whatever you believe in. A reliable method is a personal developed method of writing music formed through thousands of hours of consistent practice and [[Fizz De Novism|forcing of output]]. Because inspiration/divine intervention/neurological-magic is of limited supply and is something that comes and goes without warning (or [https://www.youtube.com/watch?v=xxR6Zi1euvc when you turn 30] if you are a doomer about this sort of thing), musicians that rely entirely on it only hit lightning in a bottle a few times in their life, thus resulting in these musical utility monsters. But this is just one hypothesis. <br /> <br /> === Industrial consequences ===<br /> It should be noted that utility monster tracks are not to be ashamed of. By their very name and nature, they make an artists entire career worth it. It is difficult to spell out just how good some UMTs actually are. One UMT is worth 20 mediocre tracks having to be made just to get to it. The non-UMTs of a musican with UMTs in their library aren't definitionally bad either, they can be really good. It's just about relative difference. UMTs should be seen as very inspiring, and very good news; go make music. your next session could be a utility monster track! <br /> <br /> == Phrase etymology ==<br /> The name &quot;Utility Monster Track&quot; is in reference to the philosophical idea of a [[wikipedia:Utility_monster|utility monster]], which is a hypothetical being that experiences orders of magnitude higher levels of pain or pleasure than all other agents in a system. Thought experiments around utility monsters ask us to think about to what degree do we give extra ethical weight to a single moral patient that is experiencing these logarithmically extreme valance (the intrinsic felt goodness or badness of a moment of experience or part of experience) states when looking at an entire population of moral patients and agents. Utility Monsters are usually used in reductio ad absurdums against [[wikipedia:Utilitarianism|classical utilitarianism]], in which a hypothetical is raised such as &quot;if there was a single person in the world named Georgo (Jor-joh) that received 40 trillion pleasure units when he listened to a new fizz track, does that mean we should enslave every single musician on earth and just force them to make fizz all day so that Georgo could experience his 40 trillion pleasure units per fizz song, which would bring the net happiness in the universe up by an order of magnitude? I mean surely we must, given that Georgo's happiness would dwarf the net suffering of our burnt out fizz musicians we're holding at gunpoint and forcing to mine thingonium all day&quot;. <br /> <br /> === Conclusion ===<br /> The analogy to UMTs is just referencing that logarithmic difference of goodness in a population or set of things where a small percentage of those things have way more &quot;good units&quot; than the others do. The name however was mostly selected because it's funny above any other reason.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=File:UMT.jpg&diff=1460 File:UMT.jpg 2026-07-16T10:07:52Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>a UMT</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Utility_Monster_Track&diff=1459 Utility Monster Track 2026-07-16T09:58:23Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>A '''Utility Monster Track''' '''(UMT)''' is a released song that is orders of magnitude better, more enjoyed, or higher in [[The Thing|Thingonium]] than the vast majority, or even the entire rest of the discography of the artist(s) or band that released it. One of the most interesting things about UMTs is that they tend to be some the best songs of all time. Many people have at least one UMT they love, with the rest of the writer's discography being only glanced over, usually in disappointment when you realize that pales in comparison to the UMT, and doesn't even sound like it. UMTs are usually one-offs, especially in the case of a mainstream pop artist that has that one completely ingenious banger you could deep listen to for 100 hours, but sometimes an artist or band will have several of them. A utility monster track is different from just a stand out song, where the difference is less extreme. <br /> <br /> This concept can also apply to improvised solos, where a musician has a stroke of total genius and plays [https://youtu.be/L_XJ_s5IsQc?si=C9XzS_pCpJKumAc9&amp;t=263 a solo out of no where that seems to transcend reality itself with how incredible it is], though Michael League might [https://youtu.be/t7ZlZAGxgyg?si=z3dUrBiQgjVQzKRb&amp;t=51 disagree with this]. <br /> <br /> == How it happens ==<br /> It is unknown how or why Utility Monster Tracks happen, but their implications could reveal important insights into how the human and specifically the artists' brain functions. Artistic output and how it works is still largely a mystery. It's easy to make fun of someone going full Rick Rubin about one of their tracks and going off about how they had no idea what they were doing when they were making it, but there is a lot of truth to these statements. There just seems to be these stars aligning moments that allow artists to output ingenious works, even if that isn't something they are regularly able to do reliably. &quot;Ingenious&quot; in this context is less likely to refer to technical facility (so not just someone suddenly and magically gaining 10 years of technical ability and specified musical vocabulary internalization overnight only to have it disappear into the void once the song or solo is over) and more likely to refer to internal structural consistency or cleverness of the ideas executed. Or if you're a Fizzhead: &quot;it has [[The Thing]]&quot;.<br /> <br /> === Creation lottery ===<br /> One of the proposed reasons why this phenomenon happens is due to the hypothesis that artists are divided into two general groups: Those that cultivate inspiration (could be referred to affectionately as &quot;right brained musicians&quot;), and those have developed a reliable method for outputting music, even when not inspired (could be referred to affectionately as &quot;left brained musicians&quot;). Inspiration is that mystery thing no one fully understands, where artistic output just happens at a level beyond conscious knowledge via some crazy [[wikipedia:Dual_process_theory#System_1|system 1]] magic, or divine intervention, or whatever you believe in. A reliable method is a personal developed method of writing music formed through thousands of hours of consistent practice and [[Fizz De Novism|forcing of output]]. Because inspiration/divine intervention/neurological-magic is of limited supply and is something that comes and goes without warning (or [https://www.youtube.com/watch?v=xxR6Zi1euvc when you turn 30] if you are a doomer about this sort of thing), musicians that rely entirely on it only hit lightning in a bottle a few times in their life, thus resulting in these musical utility monsters. But this is just one hypothesis. <br /> <br /> === Industrial consequences ===<br /> It should be noted that utility monster tracks are not to be ashamed of. By their very name and nature, they make an artists entire career worth it. It is difficult to spell out just how good some UMTs actually are. One UMT is worth 20 mediocre tracks having to be made just to get to it. The non-UMTs of a musican with UMTs in their library aren't definitionally bad either, they can be really good. It's just about relative difference. UMTs should be seen as very inspiring, and very good news; go make music. your next session could be a utility monster track! <br /> <br /> == Phrase etymology ==<br /> The name &quot;Utility Monster Track&quot; is in reference to the philosophical idea of a [[wikipedia:Utility_monster|utility monster]], which is a hypothetical being that experiences orders of magnitude higher levels of pain or pleasure than all other agents in a system. Thought experiments around utility monsters ask us to think about to what degree do we give extra ethical weight to a single moral patient that is experiencing these logarithmically extreme valance (the intrinsic felt goodness or badness of a moment of experience or part of experience) states when looking at an entire population of moral patients and agents. Utility Monsters are usually used in reductio ad absurdums against [[wikipedia:Utilitarianism|classical utilitarianism]], in which a hypothetical is raised such as &quot;if there was a single person in the world named Georgo (Jor-joh) that received 40 trillion pleasure units when he listened to a new fizz track, does that mean we should enslave every single musician on earth and just force them to make fizz all day so that Georgo could experience his 40 trillion pleasure units per fizz song, which would bring the net happiness in the universe up by an order of magnitude? I mean surely we must, given that Georgo's happiness would dwarf the net suffering of our burnt out fizz musicians we're holding at gunpoint and forcing to mine thingonium all day&quot;. <br /> <br /> === Conclusion ===<br /> The analogy to UMTs is just referencing that logarithmic difference of goodness in a population or set of things where a small percentage of those things have way more &quot;good units&quot; than the others do. The name however was mostly selected because it's funny above any other reason.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Utility_Monster_Track&diff=1458 Utility Monster Track 2026-07-16T09:57:17Z <p>Lattaio Meimnagaan JS: added headings</p> <hr /> <div>A '''Utility Monster Track''' '''(UMT)''' is a released song that is orders of magnitude better, more enjoyed, or higher in [[The Thing|Thingonium]] than the vast majority, or even the entire rest of the discography of the artist(s) or band that released it. One of the most interesting things about UMTs is that they tend to be some the best songs of all time. Many people have at least one UMT they love, with the rest of the writer's discography being only glanced over, usually in disappointment when you realize that pales in comparison to the UMT, and doesn't even sound like it. UMTs are usually one-ofs, especially in the case of a mainstream pop artist that has that one completely ingenious banger you could deep listen to for 100 hours, but sometimes an artist or band will have several of them. A utility monster track is different from just a stand out song, where the difference is less extreme. <br /> <br /> This concept can also apply to improvised solos, where a musician has a stroke of total genius and plays [https://youtu.be/L_XJ_s5IsQc?si=C9XzS_pCpJKumAc9&amp;t=263 a solo out of no where that seems to transcend reality itself with how incredible it is], though Michael League might [https://youtu.be/t7ZlZAGxgyg?si=z3dUrBiQgjVQzKRb&amp;t=51 disagree with this]. <br /> <br /> == How it happens ==<br /> It is unknown how or why Utility Monster Tracks happen, but their implications could reveal important insights into how the human and specifically the artists' brain functions. Artistic output and how it works is still largely a mystery. It's easy to make fun of someone going full Rick Rubin about one of their tracks and going off about how they had no idea what they were doing when they were making it, but there is a lot of truth to these statements. There just seems to be these stars aligning moments that allow artists to output ingenious works, even if that isn't something they are regularly able to do reliably. &quot;Ingenious&quot; in this context is less likely to refer to technical facility (so not just someone suddenly and magically gaining 10 years of technical ability and specified musical vocabulary internalization overnight only to have it disappear into the void once the song or solo is over) and more likely to refer to internal structural consistency or cleverness of the ideas executed. Or if you're a Fizzhead: &quot;it has [[The Thing]]&quot;.<br /> <br /> === Creation lottery ===<br /> One of the proposed reasons why this phenomenon happens is due to the hypothesis that artists are divided into two general groups: Those that cultivate inspiration (could be referred to affectionately as &quot;right brained musicians&quot;), and those have developed a reliable method for outputting music, even when not inspired (could be referred to affectionately as &quot;left brained musicians&quot;). Inspiration is that mystery thing no one fully understands, where artistic output just happens at a level beyond conscious knowledge via some crazy [[wikipedia:Dual_process_theory#System_1|system 1]] magic, or divine intervention, or whatever you believe in. A reliable method is a personal developed method of writing music formed through thousands of hours of consistent practice and [[Fizz De Novism|forcing of output]]. Because inspiration/divine intervention/neurological-magic is of limited supply and is something that comes and goes without warning (or [https://www.youtube.com/watch?v=xxR6Zi1euvc when you turn 30] if you are a doomer about this sort of thing), musicians that rely entirely on it only hit lightning in a bottle a few times in their life, thus resulting in these musical utility monsters. But this is just one hypothesis. <br /> <br /> === Industrial consequences ===<br /> It should be noted that utility monster tracks are not to be ashamed of. By their very name and nature, they make an artists entire career worth it. It is difficult to spell out just how good some UMTs actually are. One UMT is worth 20 mediocre tracks having to be made just to get to it. The non-UMTs of a musican with UMTs in their library aren't definitionally bad either, they can be really good. It's just about relative difference. UMTs should be seen as very inspiring, and very good news; go make music. your next session could be a utility monster track! <br /> <br /> == Phrase etymology ==<br /> The name &quot;Utility Monster Track&quot; is in reference to the philosophical idea of a [[wikipedia:Utility_monster|utility monster]], which is a hypothetical being that experiences orders of magnitude higher levels of pain or pleasure than all other agents in a system. Thought experiments around utility monsters ask us to think about to what degree do we give extra ethical weight to a single moral patient that is experiencing these logarithmically extreme valance (the intrinsic felt goodness or badness of a moment of experience or part of experience) states when looking at an entire population of moral patients and agents. Utility Monsters are usually used in reductio ad absurdums against [[wikipedia:Utilitarianism|classical utilitarianism]], in which a hypothetical is raised such as &quot;if there was a single person in the world named Georgo (Jor-joh) that received 40 trillion pleasure units when he listened to a new fizz track, does that mean we should enslave every single musician on earth and just force them to make fizz all day so that Georgo could experience his 40 trillion pleasure units per fizz song, which would bring the net happiness in the universe up by an order of magnitude? I mean surely we must, given that Georgo's happiness would dwarf the net suffering of our burnt out fizz musicians we're holding at gunpoint and forcing to mine thingonium all day&quot;. <br /> <br /> === Conclusion ===<br /> The analogy to UMTs is just referencing that logarithmic difference of goodness in a population or set of things where a small percentage of those things have way more &quot;good units&quot; than the others do. The name however was mostly selected because it's funny above any other reason.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Utility_Monster_Track&diff=1457 Utility Monster Track 2026-07-16T09:50:07Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>A '''Utility Monster Track''' '''(UMT)''' is a released song that is orders of magnitude better, more enjoyed, or higher in [[The Thing|Thingonium]] than the vast majority, or even the entire rest of the discography of the artist(s) or band that released it. One of the most interesting things about UMTs is that they tend to be some the best songs of all time. Many people have at least one UMT they love, with the rest of the writer's discography being only glanced over, usually in disappointment when you realize that pales in comparison to the UMT, and doesn't even sound like it. UMTs are usually one-ofs, especially in the case of a mainstream pop artist that has that one completely ingenious banger you could deep listen to for 100 hours, but sometimes an artist or band will have several of them. A utility monster track is different from just a stand out song, where the difference is less extreme. <br /> <br /> This concept can also apply to improvised solos, where a musician has a stroke of total genius and plays [https://youtu.be/L_XJ_s5IsQc?si=C9XzS_pCpJKumAc9&amp;t=263 a solo out of no where that seems to transcend reality itself with how incredible it is], though Michael League might [https://youtu.be/t7ZlZAGxgyg?si=z3dUrBiQgjVQzKRb&amp;t=51 disagree with this]. <br /> <br /> == How it happens ==<br /> It is unknown how or why Utility Monster Tracks happen, but their implications could reveal important insights into how the human and specifically the artists' brain functions. Artistic output and how it works is still largely a mystery. It's easy to make fun of someone going full Rick Rubin about one of their tracks and going off about how they had no idea what they were doing when they were making it, but there is a lot of truth to these statements. There just seems to be these stars aligning moments that allow artists to output ingenious works, even if that isn't something they are regularly able to do reliably. &quot;Ingenious&quot; in this context is less likely to refer to technical facility (so not just someone suddenly and magically gaining 10 years of technical ability and specified musical vocabulary internalization overnight only to have it disappear into the void once the song or solo is over) and more likely to refer to internal structural consistency or cleverness of the ideas executed. Or if you're a Fizzhead: &quot;it has [[The Thing]]&quot;.<br /> <br /> One of the proposed reasons why this phenomenon happens is due to the hypothesis that artists are divided into two general groups: Those that cultivate inspiration (could be referred to affectionately as &quot;right brained musicians&quot;), and those have developed a reliable method for outputting music, even when not inspired (could be referred to affectionately as &quot;left brained musicians&quot;). Inspiration is that mystery thing no one fully understands, where artistic output just happens at a level beyond conscious knowledge via some crazy [[wikipedia:Dual_process_theory#System_1|system 1]] magic, or divine intervention, or whatever you believe in. A reliable method is a personal developed method of writing music formed through thousands of hours of consistent practice and [[Fizz De Novism|forcing of output]]. Because inspiration/divine intervention/neurological-magic is of limited supply and is something that comes and goes without warning (or [https://www.youtube.com/watch?v=xxR6Zi1euvc when you turn 30] if you are a doomer about this sort of thing), musicians that rely entirely on it only hit lightning in a bottle a few times in their life, thus resulting in these musical utility monsters. But this is just one hypothesis. <br /> <br /> It should be noted that utility monster tracks are not to be ashamed of. By their very name and nature, they make an artists entire career worth it. It is difficult to spell out just how good some UMTs actually are. One UMT is worth 20 mediocre tracks having to be made just to get to it. The non-UMTs of a musican with UMTs in their library aren't definitionally bad either, they can be really good. It's just about relative difference. UMTs should be seen as very inspiring, and very good news; go make music. your next session could be a utility monster track! <br /> <br /> The name &quot;Utility Monster Track&quot; is in reference to the philosophical idea of a [[wikipedia:Utility_monster|utility monster]], which is a hypothetical being that experiences orders of magnitude higher levels of pain or pleasure than all other agents in a system. Thought experiments around utility monsters ask us to think about to what degree do we give extra ethical weight to a single moral patient that is experiencing these logarithmically extreme valance (the intrinsic felt goodness or badness of a moment of experience or part of experience) states when looking at an entire population of moral patients and agents. Utility Monsters are usually used in reductio ad absurdums against [[wikipedia:Utilitarianism|classical utilitarianism]], in which a hypothetical is raised such as &quot;if there was a single person in the world named Georgo (Jor-joh) that received 40 trillion pleasure units when he listened to a new fizz track, does that mean we should enslave every single musician on earth and just force them to make fizz all day so that Georgo could experience his 40 trillion pleasure units per fizz song, which would bring the net happiness in the universe up by an order of magnitude? I mean surely we must, given that Georgo's happiness would dwarf the net suffering of our burnt out fizz musicians we're holding at gunpoint and forcing to mine thingonium all day&quot;. <br /> <br /> The analogy to UMTs is just referencing that logarithmic difference of goodness in a population or set of things where a small percentage of those things have way more &quot;good units&quot; than the others do. The name however was mostly selected because it's funny above any other reason.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Algorithmic_Entropy&diff=1456 Algorithmic Entropy 2026-07-16T09:44:57Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>Have you ever found a cool song or artist whilst using a music streaming service e.i Spotify, YoutubeMusic, Tidal etc. and then hit the autoplay or mix feature to find more stuff like it, only to within seven or so songs been served a stream of [[Fizz vs. Jazz|barely sonically related]], increasingly popular by view count tracks? What you are experiencing, typically frustratingly, is '''algorithmic entropy.''' This phenomenon is the result of recommendation algorithms tending to opt for low risk vectors, such as '''shared audience''', so as to lessen the probability that you will '''dislike''' a track being automatically recommended to you. This ironically for a '''based''' music head (such as a fizz musician) tends to result in a rapid '''de-based-ening ('''or at least '''de-sonically-comparible-ening)''' of your incoming music. You find '''blowfish snorkeling,''' and before you know it you're getting jump-scared by '''Dean Town at Madison Square Garden''' or '''Night in Tenusia (in 13/8)''' for the hundred millionth time. <br /> <br /> What the solution for this problem is is unknown at present time, other than just hoping that the algorithms improve overtime and that streaming services start letting you tailor what the incoming recs are opting for (and doing so without also using the tech in a way that facilitates the '''[[The Great Slop Reset|Great Slop Reset]]).''' <br /> <br /> &quot;dude the algorithmic entropy on YouTubeMusic is insane. I found this really cool video game music inspired EDM track and within 8 tracks it was just playing harmonic minor festival slop&quot; <br /> <br /> &quot;Yeah that's not just algorithmic entropy. That indie girl song you autoplayed from is just a really unique [[Utility Monster Track|utility monster track]]&quot; <br /> <br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Extreme_Musical_Reductionism&diff=1455 Extreme Musical Reductionism 2026-07-16T09:41:43Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:Oversimplification.jpg|thumb|A music enthusiast's '''vision of music''' collapsing into an '''EMR-ist's'''.|355x355px]]<br /> '''Extreme musical reductionism''' (often shortened to '''EMR''') is a behavioral pattern seen not only in people connected to music and the musical industry, but also ordinary laymen. It is defined as repulsion from anything new, progressive or innovative while simultaneously trying to excessively simplify even the slightest complexities in music to one, fully universal unit. In plain english, it's main goal could be defined as '''making everything too simple'''.<br /> <br /> == Principles ==<br /> The principles of EMR are polar opposites to those of [[Music Complexity Bias|MCB (musical complexity bias)]]. Being against innovation, staying closed-minded and rejecting any ideas that don't fit the 1+1 level image of music in their mind.<br /> <br /> == Subgrouping ==<br /> EMR-ists can either be purist or just stupid.and not capable of counting over 2. For the purists, there are [[Mike vs Jud|juds]], whereas the stupidside has the &quot;[[Everything Is In 4/4 Theory|Everything is in 4/4]]&quot; people and, of course, the [[This-is-just-ism|This-is-just-ists]].<br /> <br /> === Purism ===<br /> Musical genres are all unique in not only the way they sound, but also the moral pillars their communities are based on&lt;ref&gt;[https://youtu.be/R1QEV9euGAg?si=D0RuEH5U7xEsbOZs https://youtu.be/R1QEV9euGAg]&lt;/ref&gt;, which reflects in some of the more radical corners - particularly elitist and purist corners. What these people &quot;reduct&quot; in a way is the amount of &quot;good&quot; songs being limited to only their &quot;perfect&quot; taste. They could even go out of their way just to tell someone their taste sucks and sometimes even [[Jazz Musician Humility|attack them for it]] - this is because they see any subjective opinions as [[Jazz Imperial Complex|inferior]].<br /> <br /> === [[This-is-just-ism]] ===<br /> This form of EMR is spread by people who pursue their genuine need to put down anyone who comes up with a new idea (or at least anyone who thinks they do) by telling them what they described is LITERALLY JUST *something else* if you added *this* and *that* which TOTALLY RUINS INNOVATION because it's can be traced down to music being LITERALLY JUST sound that sounds nice. The main problem of this-is-just-ism is that all it does is it brings up a definition of something as if the definition was invalid for the thing to be a word at all.<br /> <br /> === [[Everything Is In 4/4 Theory|Everything Is In 4/4]] ===<br /> No it isn't and I will jump you today.<br /> <br /> Though this whole &quot;theory&quot; may be satire at times, it's obligatory to explain why it's wrong - time signatures are meant to separate melodies into parts that make sense. Counting everything in 4/4 is fun and interesting for a polymetric version or remix, but it's equal to counting everything in 93893/160000 or other ridiculous meters like that (as long as the song continues long enough). It not only destroys the interesting theory behind a song (if it's in an uncommon time sig.), but also cuts off the path of the intentions of the composer from the listener and mostly doesn't even make sense.<br /> [[Category:Music Theory]]<br /> &lt;references /&gt;<br /> [[Category:Fizz Community]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Everything_Is_In_4/4_Theory&diff=1454 Everything Is In 4/4 Theory 2026-07-16T09:36:16Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:Commontimeaideception.png|thumb|'''Sub5 AI''' trying to ''trvthmaxx'' and failing miserably because of '''Everything is 4/4 theory'''.]]<br /> '''&quot;Everything Is In 4/4&quot; theory''' is a '''satirical''' theory that some people started unironically following after fully missing the joke. It states that '''everything can be counted in common time''' if you're ''&quot;nerdy enough&quot;'' or if you count long enough, which, although true, stopped being funny a long time ago as it's now overused and milked. <br /> <br /> It's biggest expansion came with the short-form content of [https://www.instagram.com/jemheigis Jemma Heigis], specifically her guess the time signature videos, where corny simplets started flooding her comment sections with the same joke over and over again. We get it, you're the funny guy, move on.<br /> <br /> Everything Is In 4/4 falls under the disorders of [[Extreme Musical Reductionism|EMR]] if taken seriously.<br /> [[Category:Music Theory]]<br /> [[Category:Fizz Community]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Everything_Is_In_4/4_Theory&diff=1453 Everything Is In 4/4 Theory 2026-07-16T09:35:48Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:Commontimeaideception.png|thumb|'''Sub5 AI''' trying to ''trvthmaxx'' and failing miserably because of '''Everything is 4/4 theory'''.]]<br /> '''&quot;Everything Is In 4/4&quot; theory''' is a '''satirical''' theory that some people started unironically following after fully missing the joke. It states that '''everything can be counted in common time''' if you're ''&quot;nerdy enough&quot;'' or if you count long enough, which, although true, stopped being funny a long time ago as it's now overused and milked. <br /> <br /> It's biggest expansion came with the short-form content of [https://www.instagram.com/jemheigis Jemma Heigis], specifically her guess the time signature videos, where corny simplets started flooding her comment sections with the same joke over and over again. We get it, you're the funny guy, move on.<br /> <br /> Everything Is In 4/4 falls under the disorders of [[Extreme Musical Reductionism|EMR]] if taken seriously.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Music_Complexity_Bias&diff=1452 Music Complexity Bias 2026-07-16T09:35:16Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>'''Music Complexity Bias Syndrome (MCB/MCBS)''' is a newly emerging approach towards music that puts complexity in the place of quality and pleasure from listening. In plain english, you could explain it as '''&quot;the song''' is supposed to be '''complex,''' it doesn't matter if it's good or not'''&quot;''' or even picking the more complex path instead of the simple and obvious one, not caring about the final outcome&lt;ref&gt;https://fs.blog/complexity-bias/&lt;/ref&gt;. It is the opposite of [[Extreme Musical Reductionism|extreme musical reductionism]] and is the main power supply of [[Clud|Cluds]] (Complexity Larping Chuds) and [[The &quot;Mike&quot; (Microtonal Theorist)|Mikes]] (Microtonal Theorists).&lt;blockquote&gt;&lt;big&gt;''“Life is really simple, but we insist on making it complicated. Also fizz is pretty cool btw”''&lt;/big&gt;<br /> <br /> - Confucius ''&lt;sub&gt;&lt;small&gt;might've said some of this&lt;/small&gt;&lt;/sub&gt;''&lt;/blockquote&gt;<br /> <br /> = Examples =<br /> <br /> === In Music Criticism ===<br /> Most common examples of MCBS stem from music criticism, album ratings, internet forums and &quot;unpopular opinions&quot;, where self-proclaimed music expert cluds pretend to know what they're talking about. For further investigation, I'd suggest watching any album rating by Anthony Fantano.<br /> <br /> === Examples of MCB in Time (TCB) ===<br /> The song [https://music.youtube.com/watch?v=LGKQv6P35Iw System by Brotherly] sounds pretty complex at first, but eventually you realize it's simply 6/8. Because Brotherly knew very well what they were doing with all the syncopation, this is actually a case of '''TCB on the side of the listener''' as we are the ones hallucinating the absent complexity.<br /> <br /> There is a video of a guitar player describing how proud he was of his 7 + 5 riff, until his teacher or someone told him it's just in 6/8. I would've included a link if i could find it.<br /> <br /> = Similar Phenomenons =<br /> [[File:Time Equivalence.jpg|thumb|A simple chart showing how a '''plain melody or rhythm''' in accelerated bars of 7, 3 and 2 beats can become '''misinterpreted as 4 bars of 3/4'''.]]<br /> === TCBS ===<br /> '''Time Complexity Bias''' or '''Time Complexity Bias Syndrome (TCBS)''' is an occurrence where the composer overengineers the &quot;complex&quot; time signature(s) of a piece, when it just ends up being '''equivalent to a much simpler time signature'''. It is one of the branches of MCBS.<br /> <br /> === [[The &quot;Mike&quot; (Microtonal Theorist)|Microtonal exaggeration]] ===<br /> Microtonality is considered something so innovative by some to the point of where they start pushing it into anything and everything. People with this trait are called Mikes.<br /> <br /> === [[Extreme Musical Reductionism|EMR]] ===<br /> One technically wouldn't be wrong to say that every time signature can be simplified to 1/2048 time, in the worst case, with a few [[tuplets]] or demisemihemidemisemihemidemisemihemidemi(...)quavers. This is actually a different phenomenon (mentioned earlier) called extreme musical reductionism. You could also associate it with the Occam's Razor fallacy.<br /> <br /> === [[Everything Is In 4/4 Theory|Everything is in 4/4]] ===<br /> What doesn't have as much to do together with the Time Complexity Bias is the [[Everything Is In 4/4 Theory|everything is in 4/4 if you count long enough theory]], even though these two can easily be confused. TCB is about the sum of the values of measures, converting it to 1 measure with a single time signature and simplifying it by dividing the numerator and denominator by the same number. The Everything is in 4/4 theory however just goes on to ignore the intended measure length and just counts everything in the simplest way to count (yet the stupidest way to interpret the actual intentions of the musician). This theory technically falls under extreme musical reductionism.<br /> [[Category:Music Theory]]<br /> &lt;references /&gt;<br /> [[Category:Fizz Community]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Extreme_Musical_Reductionism&diff=1451 Extreme Musical Reductionism 2026-07-16T09:34:51Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:Oversimplification.jpg|thumb|A music enthusiast's '''vision of music''' collapsing into an '''EMR-ist's'''.|355x355px]]<br /> '''Extreme musical reductionism''' (often shortened to '''EMR''') is a behavioral pattern seen not only in people connected to music and the musical industry, but also ordinary laymen. It is defined as repulsion from anything new, progressive or innovative while simultaneously trying to excessively simplify even the slightest complexities in music to one, fully universal unit. In plain english, it's main goal could be defined as '''making everything too simple'''.<br /> <br /> == Principles ==<br /> The principles of EMR are polar opposites to those of [[Music Complexity Bias|MCB (musical complexity bias)]]. Being against innovation, staying closed-minded and rejecting any ideas that don't fit the 1+1 level image of music in their mind.<br /> <br /> == Subgrouping ==<br /> EMR-ists can either be purist or just stupid.and not capable of counting over 2. For the purists, there are [[Mike vs Jud|juds]], whereas the stupidside has the &quot;[[Everything Is In 4/4 Theory|Everything is in 4/4]]&quot; people and, of course, the [[This-is-just-ism|This-is-just-ists]].<br /> <br /> === Purism ===<br /> Musical genres are all unique in not only the way they sound, but also the moral pillars their communities are based on&lt;ref&gt;[https://youtu.be/R1QEV9euGAg?si=D0RuEH5U7xEsbOZs https://youtu.be/R1QEV9euGAg]&lt;/ref&gt;, which reflects in some of the more radical corners - particularly elitist and purist corners. What these people &quot;reduct&quot; in a way is the amount of &quot;good&quot; songs being limited to only their &quot;perfect&quot; taste. They could even go out of their way just to tell someone and [[Jazz Imperial Complex|attack their subjective taste as if it was inferior]].<br /> <br /> === [[This-is-just-ism]] ===<br /> This form of EMR is spread by people who pursue their genuine need to put down anyone who comes up with a new idea (or at least anyone who thinks they do) by telling them what they described is LITERALLY JUST *something else* if you added *this* and *that* which TOTALLY RUINS INNOVATION because it's can be traced down to music being LITERALLY JUST sound that sounds nice. The main problem of this-is-just-ism is that all it does is it brings up a definition of something as if the definition was invalid for the thing to be a word at all.<br /> <br /> === [[Everything Is In 4/4 Theory|Everything Is In 4/4]] ===<br /> No it isn't and I will jump you today.<br /> <br /> Though this whole &quot;theory&quot; may be satire at times, it's obligatory to explain why it's wrong - time signatures are meant to separate melodies into parts that make sense. Counting everything in 4/4 is fun and interesting for a polymetric version or remix, but it's equal to counting everything in 93893/160000 or other ridiculous meters like that (as long as the song continues long enough). It not only destroys the interesting theory behind a song (if it's in an uncommon time sig.), but also cuts off the path of the intentions of the composer from the listener and mostly doesn't even make sense.<br /> [[Category:Music Theory]]<br /> &lt;references /&gt;<br /> [[Category:Fizz Community]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Extreme_Musical_Reductionism&diff=1449 Extreme Musical Reductionism 2026-07-16T08:01:56Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:Oversimplification.jpg|thumb|A music enthusiast's '''vision of music''' collapsing into an '''EMR-ist's'''.|355x355px]]<br /> '''Extreme musical reductionism''' (often shortened to '''EMR''') is a behavioral pattern seen not only in people connected to music and the musical industry, but also ordinary laymen. It is defined as repulsion from anything new, progressive or innovative while simultaneously trying to excessively simplify even the slightest complexities in music to one, fully universal unit. In plain english, it's main goal could be defined as '''making everything too simple'''.<br /> <br /> == Principles ==<br /> The principles of EMR are polar opposites to those of [[Music Complexity Bias|MCB (musical complexity bias)]]. Being against innovation, staying closed-minded and rejecting any ideas that don't fit the 1+1 level image of music in their mind.<br /> <br /> == Subgrouping ==<br /> EMR-ists can either be purist or just stupid.and not capable of counting over 2. For the purists, there are [[Mike vs Jud|juds]], whereas the stupidside has the &quot;[[Everything Is In 4/4 Theory|Everything is in 4/4]]&quot; people and, of course, the [[This-is-just-ism|This-is-just-ists]].<br /> <br /> === Purism ===<br /> Musical genres are all unique in not only the way they sound, but also the moral pillars their communities are based on&lt;ref&gt;[https://youtu.be/R1QEV9euGAg?si=D0RuEH5U7xEsbOZs https://youtu.be/R1QEV9euGAg]&lt;/ref&gt;, which reflects in some of the more radical corners - particularly elitist and purist corners. What these people &quot;reduct&quot; in a way is the amount of &quot;good&quot; songs being limited to only their &quot;perfect&quot; taste. They could even go out of their way just to tell someone and [[Jazz Imperial Complex|attack their subjective taste as if it was inferior]].<br /> <br /> === [[This-is-just-ism]] ===<br /> This form of EMR is spread by people who pursue their genuine need to put down anyone who comes up with a new idea (or at least anyone who thinks they do) by telling them what they described is LITERALLY JUST *something else* if you added *this* and *that* which TOTALLY RUINS INNOVATION because it's can be traced down to music being LITERALLY JUST sound that sounds nice. The main problem of this-is-just-ism is that all it does is it brings up a definition of something as if the definition was invalid for the thing to be a word at all.<br /> <br /> === [[Everything Is In 4/4 Theory|Everything Is In 4/4]] ===<br /> No it isn't and I will jump you today.<br /> <br /> Though this whole &quot;theory&quot; may be satire at times, it's obligatory to explain why it's wrong - time signatures are meant to separate melodies into parts that make sense. Counting everything in 4/4 is fun and interesting for a polymetric version or remix, but it's equal to counting everything in 93893/160000 or other ridiculous meters like that (as long as the song continues long enough). It not only destroys the interesting theory behind a song (if it's in an uncommon time sig.), but also cuts off the path of the intentions of the composer from the listener and mostly doesn't even make sense.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Extreme_Musical_Reductionism&diff=1448 Extreme Musical Reductionism 2026-07-16T08:01:26Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:Oversimplification.jpg|thumb|A music enthusiast's '''vision of music''' collapsing into an '''EMR-ist's'''.]]<br /> '''Extreme musical reductionism''' (often shortened to '''EMR''') is a behavioral pattern seen not only in people connected to music and the musical industry, but also ordinary laymen. It is defined as repulsion from anything new, progressive or innovative while simultaneously trying to excessively simplify even the slightest complexities in music to one, fully universal unit. In plain english, it's main goal could be defined as '''making everything too simple'''.<br /> <br /> == Principles ==<br /> The principles of EMR are polar opposites to those of [[Music Complexity Bias|MCB (musical complexity bias)]]. Being against innovation, staying closed-minded and rejecting any ideas that don't fit the 1+1 level image of music in their mind.<br /> <br /> == Subgrouping ==<br /> EMR-ists can either be purist or just stupid.and not capable of counting over 2. For the purists, there are [[Mike vs Jud|juds]], whereas the stupidside has the &quot;[[Everything Is In 4/4 Theory|Everything is in 4/4]]&quot; people and, of course, the [[This-is-just-ism|This-is-just-ists]].<br /> <br /> === Purism ===<br /> Musical genres are all unique in not only the way they sound, but also the moral pillars their communities are based on&lt;ref&gt;[https://youtu.be/R1QEV9euGAg?si=D0RuEH5U7xEsbOZs https://youtu.be/R1QEV9euGAg]&lt;/ref&gt;, which reflects in some of the more radical corners - particularly elitist and purist corners. What these people &quot;reduct&quot; in a way is the amount of &quot;good&quot; songs being limited to only their &quot;perfect&quot; taste. They could even go out of their way just to tell someone and [[Jazz Imperial Complex|attack their subjective taste as if it was inferior]].<br /> <br /> === [[This-is-just-ism]] ===<br /> This form of EMR is spread by people who pursue their genuine need to put down anyone who comes up with a new idea (or at least anyone who thinks they do) by telling them what they described is LITERALLY JUST *something else* if you added *this* and *that* which TOTALLY RUINS INNOVATION because it's can be traced down to music being LITERALLY JUST sound that sounds nice. The main problem of this-is-just-ism is that all it does is it brings up a definition of something as if the definition was invalid for the thing to be a word at all.<br /> <br /> === [[Everything Is In 4/4 Theory|Everything Is In 4/4]] ===<br /> No it isn't and I will jump you today.<br /> <br /> Though this whole &quot;theory&quot; may be satire at times, it's obligatory to explain why it's wrong - time signatures are meant to separate melodies into parts that make sense. Counting everything in 4/4 is fun and interesting for a polymetric version or remix, but it's equal to counting everything in 93893/160000 or other ridiculous meters like that (as long as the song continues long enough). It not only destroys the interesting theory behind a song (if it's in an uncommon time sig.), but also cuts off the path of the intentions of the composer from the listener and mostly doesn't even make sense.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=File:Oversimplification.jpg&diff=1447 File:Oversimplification.jpg 2026-07-16T07:59:34Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>A visualization of oversimplifying something</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Everything_Is_In_4/4_Theory&diff=1445 Everything Is In 4/4 Theory 2026-07-16T07:55:19Z <p>Lattaio Meimnagaan JS: Created page with &quot;&#039;&#039;&#039;Sub5 AI&#039;&#039;&#039; trying to &#039;&#039;trvthmaxx&#039;&#039; and failing miserably because of &#039;&#039;&#039;Everything is 4/4 theory&#039;&#039;&#039;. &#039;&#039;&#039;&quot;Everything Is In 4/4&quot; theory&#039;&#039;&#039; is a &#039;&#039;&#039;satirical&#039;&#039;&#039; theory that some people started unironically following after fully missing the joke. It states that &#039;&#039;&#039;everything can be counted in common time&#039;&#039;&#039; if you&#039;re &#039;&#039;&quot;nerdy enough&quot;&#039;&#039; or if you count long enough, which, although true, stopped being funny a long time ago as it&#039;s now...&quot;</p> <hr /> <div>[[File:Commontimeaideception.png|thumb|'''Sub5 AI''' trying to ''trvthmaxx'' and failing miserably because of '''Everything is 4/4 theory'''.]]<br /> '''&quot;Everything Is In 4/4&quot; theory''' is a '''satirical''' theory that some people started unironically following after fully missing the joke. It states that '''everything can be counted in common time''' if you're ''&quot;nerdy enough&quot;'' or if you count long enough, which, although true, stopped being funny a long time ago as it's now overused and milked. <br /> <br /> It's biggest expansion came with the short-form content of [https://www.instagram.com/jemheigis Jemma Heigis], specifically her guess the time signature videos, where corny simplets started flooding her comment sections with the same joke over and over again. We get it, you're the funny guy, move on.<br /> <br /> Everything Is In 4/4 falls under the disorders of [[Extreme Musical Reductionism|EMR]] if taken seriously.</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=File:Commontimeaideception.png&diff=1441 File:Commontimeaideception.png 2026-07-16T07:53:39Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>A false AI overview on the time signature of Breakaway by Kelly Clarkson.</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=KyjMUC_space&diff=1434 KyjMUC space 2026-07-16T07:38:26Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>The '''KyjMUC (Kyj Meimnagaan's Ultra Cluster)''' space is a set of '''414 different heptatonic scales''', each having it's own name. It keeps the names of the [[Neo-Rimsky-Korsakovian Space|NeRK]] scales and uses some of William Zeitler's [https://allthescales.org allthescales.org] names. The scales are separated into perfect and imperfect modes - perfect if it has a perfect 5th and imperfect if it doesnt. They're also each part of a modal or [[Hypermodal system|hypermodal]] family.<br /> <br /> A table of all scales within the KyjMUC is contained in a file called '''ScaleCrap.xlsm'''. It also includes a converted version of [https://allthescales.org/scale-list.csv scale-list.csv] and a modified version of the [[Oreo Theory|oreo chart]] with non-NeRK scales.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Pass_formula&diff=1433 Pass formula 2026-07-16T07:37:20Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:HRMIA Hyper.jpg|thumb|The Harmonic Ioni-Aeolian Hypermodal system shows an example of a I:V pass formula.]]<br /> A '''pass formula''' (also paramodal formula, hypermodal formula, hypermodal key) is a parameter in [[Hypermodal family|hypermodal families]] that determines the arrangement of [[Paramode|paramodes]]. It's derived from the paramode of the first mode - if it's, for instance, the 3rd in it's own modal family, the pass formula of the hypermodal family would be I:III, or III2:I1.<br /> <br /> Pass formulae are expressed through a ratio of roman numerals which are the orders of both scales in their own family. The first numeral is usually I. If it's not, an arabic numeral is added after both roman numerals to distinguish the original modal family (1) and the paramodal family (2). It doesn't matter at all though, as anyone can understand even with minor incorrections.<br /> <br /> The paramodal family is always upside down (ascending from the top to the first mode), which is why it's called a &quot;pass&quot; formula - the modes are passing by in parallels.<br /> <br /> == I:V pass formula ==<br /> This pass formula can be seen on the image above. It's the most common pass formula in terms of usage - the Harmonic Ioni-Aeolian and the Harmonic Phrygi-Lydian hypermodes use it.<br /> <br /> == I:VII - Perfect pass formula ==<br /> A perfect pass formula is a formula with a ratio of I1:VII2, which means the paramodal family is perfectly reversed next to the original modal family. It is therefore the easiest to derive and to find in a reversed context. An example of a hypermodal family with the perfect pass formula can be the ZIPH hypermodes. In this case, the scales Clordian and Parafizzardic have their modes named just to fit their paramodal counterparts. For example, the paramode of Clordian is Flordian, and the paramode of Phononic is Freenonic.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Paramode&diff=1432 Paramode 2026-07-16T07:34:44Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:Endoparamode.jpg|thumb|An example of an ''endoparamode -'' Ionian's paramode is Phrygian.]]<br /> A '''paramode (or enantiomorph)''' is the output of reversing a scale's semitone step formula or it's degrees. Each scale (excluding scales with positive palindromity, which have 0/itself) have exactly 1 paramode.<br /> <br /> On [https://ianring.com/musictheory/scales/finder Ian Ring's scale finder], paramodes are called enantiomorphs, and their existence is determined by the &quot;[[wikipedia:Chirality|chirality]]&quot; of the original scale. A scale without an enantiomorph is called achiral.<br /> <br /> A paramode of a single mode from a modal family has it's own modal family and any other mode from that family is a paramode of a mode of the original scale. A paramodal family is a modal family alligned with another one in a way so that each of the original modes are next to their paramodes. They are never perfectly alligned in the original order, which is why one needs a [[pass formula]] to derive the other ones less manually. If two modal families are based on paramodes of one another, the entire complex is called a [[hypermodal system|hypermodal family]]. A paramode is written down like this for short:<br /> Scale -TX- Paramode<br /> It is however not obligatory to use this, though pretty practical for quick notes.<br /> <br /> == Classification ==<br /> Though every non-palindromic scale has a paramode, it doesn't necessarily mean it's not also a regular mode. Using paramodes out of the original scale's modal family is very uncommon as it is usually not as intuitive to figure out while performing. That's why we separate paramodes into endoparamodes and exoparamodes.<br /> [[File:Exoparamode.jpg|thumb|246x246px|''Exoparamodal'' relations between Adonian and Morossian prove connection of harmonic minor and major scales.]]<br /> <br /> === Endoparamodes ===<br /> An endoparamode is a paramode that is simultaneously a mode of the parent scale. For instance, the paramode of Ionian (Major) is Phrygian, which is also it's 3rd mode. If a scale has an endoparamode, all of it's modes do too. Other endoparamodal systems include [[Modes of the Melodic Minor Scale|Athenian]], [[Chlamydian Scale|Chlamydian]] and Double harmonic major modes.<br /> <br /> === Exoparamodes ===<br /> Exoparamodes are paramodes from outer modal families. A good example of a paramode from a different modal family is the Sangarian scale in relation to the Appalachian scale. Sangarian is the 3rd mode of the melodic major scale and Appalachian is another name for melodic minor.<br /> <br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Hypermodal_family&diff=1431 Hypermodal family 2026-07-16T07:31:30Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>A '''hypermodal family''' is a set of scales in [[Paramode|paramodal relation]] to each other. It is used for further classification of nonsensical useless scales. Any set of hypermodes has a [[Pass formula|hypermodal formula]].<br /> <br /> Heptatonic hypermodal families are each sets of 2 modal families - the original modal family and it's paramodal family. They therefore contain 14 different scales.<br /> <br /> The best known hypermodal family is the HRMIA (Harmonic Ioni-Aeolian hypermodal family). Other notable families include HRMPL (Harmonic Phrygi-Lydian), ZIPH (which by the way contains a scale with [[Horrid Fucking Scale Degrees|horrid fucking scale degrees]]), PELP4 (Paraemili-Laptian Internible), ARCA2 (Arcadian Alternative Second), MPI (Metaprotoiberian), NMD (Nomadic), LDM (Lemodmodian) and AZEPG (Azzurrepogian) hypermodal families.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Hypermodal_system&diff=1429 Hypermodal system 2026-07-16T07:29:57Z <p>Lattaio Meimnagaan JS: Lattaio Meimnagaan JS moved page Hypermodal system to Hypermodal family</p> <hr /> <div>#REDIRECT [[Hypermodal family]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Hypermodal_family&diff=1428 Hypermodal family 2026-07-16T07:29:57Z <p>Lattaio Meimnagaan JS: Lattaio Meimnagaan JS moved page Hypermodal system to Hypermodal family</p> <hr /> <div>A '''hypermodal system''' is a set of scales in [[Paramode|paramodal relation]] to each other. It is used for further classification of nonsensical useless scales. Any set of hypermodes has a [[Pass formula|hypermodal formula]].<br /> <br /> Heptatonic hypermodal systems are each sets of 2 modal systems - the original modal system and it's paramodal system. They therefore contain 14 different scales.<br /> <br /> The best known hypermodal system is the HRMIA (Harmonic Ioni-Aeolian hypermodal system). Others include HRMPL (Harmonic Phrygi-Lydian), ZIPH (which by the way contains a scale with [[Horrid Fucking Scale Degrees|horrid fucking scale degrees]]), PELP4 (Paraemili-Laptian Internible), ARCA2 (Arcadian Alternative Second), MPI (Metaprotoiberian), NMD (Nomadic), LDM (Lemodmodian) and AZEPG (Azzurrepogian) hypermodal systems.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Extreme_Musical_Reductionism&diff=1427 Extreme Musical Reductionism 2026-07-16T07:27:59Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>'''Extreme musical reductionism''' (often shortened to '''EMR''') is a behavioral pattern seen not only in people connected to music and the musical industry, but also ordinary laymen. It is defined as repulsion from anything new, progressive or innovative while simultaneously trying to excessively simplify even the slightest complexities in music to one, fully universal unit. In plain english, it's main goal could be defined as '''making everything too simple'''.<br /> <br /> == Principles ==<br /> The principles of EMR are polar opposites to those of [[Music Complexity Bias|MCB (musical complexity bias)]]. Being against innovation, staying closed-minded and rejecting any ideas that don't fit the 1+1 level image of music in their mind.<br /> <br /> == Subgrouping ==<br /> EMR-ists can either be purist or just stupid.and not capable of counting over 2. For the purists, there are [[Mike vs Jud|juds]], whereas the stupidside has the &quot;[[Everything Is In 4/4 Theory|Everything is in 4/4]]&quot; people and, of course, the [[This-is-just-ism|This-is-just-ists]].<br /> <br /> === Purism ===<br /> Musical genres are all unique in not only the way they sound, but also the moral pillars their communities are based on&lt;ref&gt;[https://youtu.be/R1QEV9euGAg?si=D0RuEH5U7xEsbOZs https://youtu.be/R1QEV9euGAg]&lt;/ref&gt;, which reflects in some of the more radical corners - particularly elitist and purist corners. What these people &quot;reduct&quot; in a way is the amount of &quot;good&quot; songs being limited to only their &quot;perfect&quot; taste. They could even go out of their way just to tell someone and [[Jazz Imperial Complex|attack their subjective taste as if it was inferior]].<br /> <br /> === [[This-is-just-ism]] ===<br /> This form of EMR is spread by people who pursue their genuine need to put down anyone who comes up with a new idea (or at least anyone who thinks they do) by telling them what they described is LITERALLY JUST *something else* if you added *this* and *that* which TOTALLY RUINS INNOVATION because it's can be traced down to music being LITERALLY JUST sound that sounds nice. The main problem of this-is-just-ism is that all it does is it brings up a definition of something as if the definition was invalid for the thing to be a word at all.<br /> <br /> === [[Everything Is In 4/4 Theory|Everything Is In 4/4]] ===<br /> No it isn't and I will jump you today.<br /> <br /> Though this whole &quot;theory&quot; may be satire at times, it's obligatory to explain why it's wrong - time signatures are meant to separate melodies into parts that make sense. Counting everything in 4/4 is fun and interesting for a polymetric version or remix, but it's equal to counting everything in 93893/160000 or other ridiculous meters like that (as long as the song continues long enough). It not only destroys the interesting theory behind a song (if it's in an uncommon time sig.), but also cuts off the path of the intentions of the composer from the listener and mostly doesn't even make sense.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Extreme_Musical_Reductionism&diff=1385 Extreme Musical Reductionism 2026-07-15T21:29:09Z <p>Lattaio Meimnagaan JS: Created page with &quot;&#039;&#039;&#039;Extreme musical reductionism&#039;&#039;&#039; (often shortened to &#039;&#039;&#039;EMR&#039;&#039;&#039;) is a behavioral pattern seen not only in people connected to music and the musical industry, but also ordinary laymen. It is defined as repulsion from anything new, progressive or innovative while simultaneously trying to excessively simplify even the slightest complexities in music to one, fully universal unit. In plain english, it&#039;s main goal could be defined as &#039;&#039;&#039;making everything too simple&#039;&#039;&#039;. == Pr...&quot;</p> <hr /> <div>'''Extreme musical reductionism''' (often shortened to '''EMR''') is a behavioral pattern seen not only in people connected to music and the musical industry, but also ordinary laymen. It is defined as repulsion from anything new, progressive or innovative while simultaneously trying to excessively simplify even the slightest complexities in music to one, fully universal unit. In plain english, it's main goal could be defined as '''making everything too simple'''.<br /> <br /> == Principles ==<br /> The principles of EMR are polar opposites to those of [[Music Complexity Bias|MCB (musical complexity bias)]]. Being against innovation, staying closed-minded and rejecting any ideas that don't fit the 1+1 level image of music in their mind.<br /> <br /> == Subgrouping ==<br /> EMR-ists can either be purist or just stupid.and not capable of counting over 2. For the purists, there are [[Mike vs Jud|juds]], whereas the stupidside has the &quot;[[Everything Is In 4/4 Theory|Everything is in 4/4]]&quot; people and, of course, the [[This-is-just-ism|This-is-just-ists]].<br /> <br /> === Purism ===<br /> Musical genres are all unique in not only the way they sound, but also the moral pillars their communities are based on&lt;ref&gt;[https://youtu.be/R1QEV9euGAg?si=D0RuEH5U7xEsbOZs https://youtu.be/R1QEV9euGAg]&lt;/ref&gt;, which reflects in some of the more radical corners - particularly elitist and purist corners. What these people &quot;reduct&quot; in a way is the amount of &quot;good&quot; songs being limited to only their &quot;perfect&quot; taste. They could even go out of their way just to tell someone and [[Jazz Imperial Complex|attack their subjective taste as if it was inferior]].<br /> <br /> === [[This-is-just-ism]] ===<br /> This form of EMR is spread by people who pursue their genuine need to put down anyone who comes up with a new idea (or at least anyone who thinks they do) by telling them what they described is LITERALLY JUST *something else* if you added *this* and *that* which TOTALLY RUINS INNOVATION because it's can be traced down to music being LITERALLY JUST sound that sounds nice. The main problem of this-is-just-ism is that all it does is it brings up a definition of something as if the definition was invalid for the thing to be a word at all.<br /> <br /> === [[Everything Is In 4/4 Theory|Everything Is In 4/4]] ===<br /> No it isn't and I will jump you today.<br /> <br /> Though this whole &quot;theory&quot; may be satire at times, it's obligatory to explain why it's wrong - time signatures are meant to separate melodies into parts that make sense. Counting everything in 4/4 is fun and interesting for a polymetric version or remix, but it's equal to counting everything in 93893/160000 or other ridiculous meters like that (as long as the song continues long enough). It not only destroys the interesting theory behind a song (if it's in an uncommon time sig.), but also cuts off the path of the intentions of the composer from the listener and mostly doesn't even make sense.</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Music_Complexity_Bias&diff=1384 Music Complexity Bias 2026-07-15T21:11:21Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>'''Music Complexity Bias Syndrome (MCB/MCBS)''' is a newly emerging approach towards music that puts complexity in the place of quality and pleasure from listening. In plain english, you could explain it as '''&quot;the song''' is supposed to be '''complex,''' it doesn't matter if it's good or not'''&quot;''' or even picking the more complex path instead of the simple and obvious one, not caring about the final outcome&lt;ref&gt;https://fs.blog/complexity-bias/&lt;/ref&gt;. It is the opposite of [[Extreme Musical Reductionism|extreme musical reductionism]] and is the main power supply of [[Clud|Cluds]] (Complexity Larping Chuds) and [[The &quot;Mike&quot; (Microtonal Theorist)|Mikes]] (Microtonal Theorists).&lt;blockquote&gt;&lt;big&gt;''“Life is really simple, but we insist on making it complicated. Also fizz is pretty cool btw”''&lt;/big&gt;<br /> <br /> - Confucius ''&lt;sub&gt;&lt;small&gt;might've said some of this&lt;/small&gt;&lt;/sub&gt;''&lt;/blockquote&gt;<br /> <br /> = Examples =<br /> <br /> === In Music Criticism ===<br /> Most common examples of MCBS stem from music criticism, album ratings, internet forums and &quot;unpopular opinions&quot;, where self-proclaimed music expert cluds pretend to know what they're talking about. For further investigation, I'd suggest watching any album rating by Anthony Fantano.<br /> <br /> === Examples of MCB in Time (TCB) ===<br /> The song [https://music.youtube.com/watch?v=LGKQv6P35Iw System by Brotherly] sounds pretty complex at first, but eventually you realize it's simply 6/8. Because Brotherly knew very well what they were doing with all the syncopation, this is actually a case of '''TCB on the side of the listener''' as we are the ones hallucinating the absent complexity.<br /> <br /> There is a video of a guitar player describing how proud he was of his 7 + 5 riff, until his teacher or someone told him it's just in 6/8. I would've included a link if i could find it.<br /> <br /> = Similar Phenomenons =<br /> [[File:Time Equivalence.jpg|thumb|A simple chart showing how a '''plain melody or rhythm''' in accelerated bars of 7, 3 and 2 beats can become '''misinterpreted as 4 bars of 3/4'''.]]<br /> === TCBS ===<br /> '''Time Complexity Bias''' or '''Time Complexity Bias Syndrome (TCBS)''' is an occurrence where the composer overengineers the &quot;complex&quot; time signature(s) of a piece, when it just ends up being '''equivalent to a much simpler time signature'''. It is one of the branches of MCBS.<br /> <br /> === [[The &quot;Mike&quot; (Microtonal Theorist)|Microtonal exaggeration]] ===<br /> Microtonality is considered something so innovative by some to the point of where they start pushing it into anything and everything. People with this trait are called Mikes.<br /> <br /> === [[Extreme Musical Reductionism|EMR]] ===<br /> One technically wouldn't be wrong to say that every time signature can be simplified to 1/2048 time, in the worst case, with a few [[tuplets]] or demisemihemidemisemihemidemisemihemidemi(...)quavers. This is actually a different phenomenon (mentioned earlier) called extreme musical reductionism. You could also associate it with the Occam's Razor fallacy.<br /> <br /> === [[Everything Is In 4/4 Theory|Everything is in 4/4]] ===<br /> What doesn't have as much to do together with the Time Complexity Bias is the [[Everything Is In 4/4 Theory|everything is in 4/4 if you count long enough theory]], even though these two can easily be confused. TCB is about the sum of the values of measures, converting it to 1 measure with a single time signature and simplifying it by dividing the numerator and denominator by the same number. The Everything is in 4/4 theory however just goes on to ignore the intended measure length and just counts everything in the simplest way to count (yet the stupidest way to interpret the actual intentions of the musician). This theory technically falls under extreme musical reductionism.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Music_Complexity_Bias&diff=1381 Music Complexity Bias 2026-07-15T20:48:41Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>'''Music Complexity Bias Syndrome (MCB/MCBS)''' is a newly emerging approach towards music that puts complexity in the place of quality and sounding nice. In plain english, you could explain it as '''&quot;the song''' is supposed to be '''complex,''' but it actually '''isn't&quot;'''. It is the opposite of [[Extreme Musical Reductionism|extreme musical reductionism]] and is the main power supply of [[Clud|Cluds]] (Complexity Larping Chuds) and [[The &quot;Mike&quot; (Microtonal Theorist)|Mikes]] (Microtonal Theorists).&lt;blockquote&gt;&lt;big&gt;''“Life is really simple, but we insist on making it complicated. Also fizz is pretty cool btw”''&lt;/big&gt;<br /> <br /> - Confucius ''&lt;sub&gt;&lt;small&gt;might've said some of this&lt;/small&gt;&lt;/sub&gt;''&lt;/blockquote&gt;<br /> <br /> = Examples =<br /> <br /> === In Music Criticism ===<br /> Most common examples of MCBS stem from music criticism, album ratings, internet forums and &quot;unpopular opinions&quot;, where self-proclaimed music expert cluds pretend to know what they're talking about. For further investigation, I'd suggest watching any album rating by Anthony Fantano.<br /> <br /> === Examples of MCB in Time (TCB) ===<br /> The song [https://music.youtube.com/watch?v=LGKQv6P35Iw System by Brotherly] sounds pretty complex at first, but eventually you realize it's simply 6/8. Because Brotherly knew very well what they were doing with all the syncopation, this is actually a case of '''TCB on the side of the listener''' as we are the ones hallucinating the absent complexity.<br /> <br /> There is a video of a guitar player describing how proud he was of his 7 + 5 riff, until his teacher or someone told him it's just in 6/8. I would've included a link if i could find it.<br /> <br /> = Similar Phenomenons =<br /> [[File:Time Equivalence.jpg|thumb|A simple chart showing how a '''plain melody or rhythm''' in accelerated bars of 7, 3 and 2 beats can become '''misinterpreted as 4 bars of 3/4'''.]]<br /> === TCBS ===<br /> '''Time Complexity Bias''' or '''Time Complexity Bias Syndrome (TCBS)''' is an occurrence where the composer overengineers the &quot;complex&quot; time signature(s) of a piece, when it just ends up being '''equivalent to a much simpler time signature'''. It is one of the branches of MCBS.<br /> <br /> === [[The &quot;Mike&quot; (Microtonal Theorist)|Microtonal exaggeration]] ===<br /> Microtonality is considered something so innovative by some to the point of where they start pushing it into anything and everything. People with this trait are called Mikes.<br /> <br /> === [[Extreme Musical Reductionism|EMR]] ===<br /> One technically wouldn't be wrong to say that every time signature can be simplified to 1/2048 time, in the worst case, with a few [[tuplets]] or demisemihemidemisemihemidemisemihemidemi(...)quavers. This is actually a different phenomenon (mentioned earlier) called extreme musical reductionism. You could also associate it with the Occam's Razor fallacy.<br /> <br /> === [[Everything Is In 4/4 Theory|Everything is in 4/4]] ===<br /> What doesn't have as much to do together with the Time Complexity Bias is the [[Everything Is In 4/4 Theory|everything is in 4/4 if you count long enough theory]], even though these two can easily be confused. TCB is about the sum of the values of measures, converting it to 1 measure with a single time signature and simplifying it by dividing the numerator and denominator by the same number. The Everything is in 4/4 theory however just goes on to ignore the intended measure length and just counts everything in the simplest way to count (yet the stupidest way to interpret the actual intentions of the musician). This theory technically falls under extreme musical reductionism.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Time_Complexity_Bias&diff=1380 Time Complexity Bias 2026-07-15T20:30:28Z <p>Lattaio Meimnagaan JS: Lattaio Meimnagaan JS moved page Time Complexity Bias to Music Complexity Bias</p> <hr /> <div>#REDIRECT [[Music Complexity Bias]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Music_Complexity_Bias&diff=1379 Music Complexity Bias 2026-07-15T20:30:28Z <p>Lattaio Meimnagaan JS: Lattaio Meimnagaan JS moved page Time Complexity Bias to Music Complexity Bias</p> <hr /> <div>[[File:Time Equivalence.jpg|thumb|A simple chart showing how a '''plain melody or rhythm''' in accelerated bars of 7, 3 and 2 beats can become '''misinterpreted as 4 bars of 3/4'''.]]<br /> '''Time Complexity Bias''' or '''Time Complexity Bias Syndrome (TCBS)''' is an occurrence where the composer overengineers the &quot;complex&quot; time signature(s) of a piece, when it just ends up being '''equivalent to a much simpler time signature'''. In plain english, you could explain it as '''&quot;the song''' is supposed to be '''complex,''' but it actually '''isn't&quot;'''. It is the opposite of [[Extreme Musical Reductionism|extreme musical reductionism]] and people who find themselves in such situations could be considered [[Clud|Cluds]] (Complexity Larping Chuds).&lt;blockquote&gt;&lt;big&gt;''“Life is really simple, but we insist on making it complicated. Also fizz is pretty cool btw”''&lt;/big&gt;<br /> <br /> - Confucius ''&lt;sub&gt;&lt;small&gt;might've said some of this&lt;/small&gt;&lt;/sub&gt;''&lt;/blockquote&gt;<br /> <br /> = Examples =<br /> The song [https://music.youtube.com/watch?v=LGKQv6P35Iw System by Brotherly] sounds pretty complex at first, but eventually you realize it's simply 6/8. Because Brotherly knew very well what they were doing with all the syncopation, this is actually a case of '''TCB on the side of the listener''' as we are the ones hallucinating the absent complexity.<br /> <br /> There is a video of a guitar player describing how proud he was of his 7 + 5 riff, until his teacher or someone told him it's just in 6/8. I would've included a link if i could find it.<br /> <br /> = Similar Phenomenons =<br /> <br /> === MCBS ===<br /> Musical Complexity Bias Syndrome is what all Cluds have and what makes them all Cluds. Time Complexity Bias is a branch of MCB.<br /> <br /> === [[Extreme Musical Reductionism|EMR]] ===<br /> One technically wouldn't be wrong to say that every time signature can be simplified to 1/2048 time, in the worst case, with a few [[tuplets]] or demisemihemidemisemihemidemisemihemidemi(...)quavers. This is actually a different phenomenon (mentioned earlier) called extreme musical reductionism. You could also associate it with the Occam's Razor fallacy.<br /> <br /> === [[Everything Is In 4/4 Theory|Everything is in 4/4]] ===<br /> What doesn't have as much to do together with the Time Complexity Bias is the [[Everything Is In 4/4 Theory|everything is in 4/4 if you count long enough theory]], even though these two can easily be confused. TCB is about the sum of the values of measures, converting it to 1 measure with a single time signature and simplifying it by dividing the numerator and denominator by the same number. The Everything is in 4/4 theory however just goes on to ignore the intended measure length and just counts everything in the simplest way to count (yet the stupidest way to interpret the actual intentions of the musician). This theory technically falls under extreme musical reductionism.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=This-is-just-ism&diff=1375 This-is-just-ism 2026-07-13T20:04:49Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:Smugjak.jpg|thumb]]'''This-is-just-ism''' is a common form of insecure, smug, and unhelpful behavior in which someone just can't help but let you know that the system, conceptual framework, or genre you have made is actually merely a variation of, or just flat out is, x or y thing that already exists. This behavior (which tends to fall under the spectrum of unhelpful to &quot;I wish this person would violate a Fizzinc discord rule so that we had a good excuse to ban them&quot;) is commonly seen where ever [[pan-fizziosis]] or [[Fizz De Novism|fizz de novism]] are taking place. Examples include &quot;[[Jazz Imperial Complex|fizz is just jazz fusion]]&quot; (contrasted with the equally divine yin to its yang: &quot;fizz is just edm&quot;), and &quot;[[Oreo Theory|oreo theory]] is just chord scales&quot;. The truth of a this-is-just claim usually falls on the 'Missing the Bassing Point/[[Fizz vs. Jazz|Genuinely Metaphysically Wrong]]' spectrum.<br /> <br /> This-is-just-ism is one of the syndromes falling under [[Extreme Musical Reductionism|extreme musical reductionism]].<br /> [[Category:Fizz Community]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Blud_(Banana_loving_chud)&diff=1374 Blud (Banana loving chud) 2026-07-13T20:00:33Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>A '''blud (banana loving chud)''' is someone who loves bananas so much, they feel the need to constantly feed their insatiable selves with the fruit. Bluds often use 4chan, Discord chats, and other platforms to constantly send absurdly detailed pictures or even 3d renders of bananas, even when it's completely irrelevant to anything whatsoever. Some believe that the symptoms of blud are caused by potassium overdose, which many banana lovers suffer from due to the obscene amount of it in their diet. <br /> <br /> The opposite of a blud is a [[Bud (Banana Hating Chud)|'''bud''']] (banana hating chud). Bluds also often engage in &quot;bud hunts&quot;, in which they challenge buds they find to a banana sword duel. The ultimate goal of the brutal game is to [[wikipedia:Banana_split|banana-split]] the opponent in half. Other symptoms of blud include mysterious disappearings of bananas from local plantages, having an obsession with [https://ninjakiwi.com/Games/Mobile/Bloons-TD-6.html BloonsTD6] or even [[wikipedia:Primate|primates]] in general, and more.<br /> [[Category:Other]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Clud&diff=1373 Clud 2026-07-13T19:57:03Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:The Clud.jpg|thumb|A '''clud'''.]]<br /> A '''Clud (Complexity Larping Chud)''' is someone who prioritizes the complexity of a song more than if it sounds good or not. Cluds suffer from a generational disease called [[Time Complexity Bias|MCBS]] (Musical Complexity Bias Syndrome).<br /> <br /> Maximizing the music-theoretical density in a song doesn't make you a clud. Complexity is good and isn't the main problem of clud behavior. The main problem is their absolute obsession of pushing it into everything they do and ignoring other fundamental elements of music. &lt;blockquote&gt;&lt;big&gt;&quot;Oh I'm complexing it&quot;&lt;/big&gt; <br /> <br /> ''- Cluds while complexing it'' &lt;/blockquote&gt;A particular variation of a clud is a [[The &quot;Mike&quot; (Microtonal Theorist)|mike]].<br /> [[Category:Fizz Community]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Music_Complexity_Bias&diff=1372 Music Complexity Bias 2026-07-13T19:54:29Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:Time Equivalence.jpg|thumb|A simple chart showing how a '''plain melody or rhythm''' in accelerated bars of 7, 3 and 2 beats can become '''misinterpreted as 4 bars of 3/4'''.]]<br /> '''Time Complexity Bias''' or '''Time Complexity Bias Syndrome (TCBS)''' is an occurrence where the composer overengineers the &quot;complex&quot; time signature(s) of a piece, when it just ends up being '''equivalent to a much simpler time signature'''. In plain english, you could explain it as '''&quot;the song''' is supposed to be '''complex,''' but it actually '''isn't&quot;'''. It is the opposite of [[Extreme Musical Reductionism|extreme musical reductionism]] and people who find themselves in such situations could be considered [[Clud|Cluds]] (Complexity Larping Chuds).&lt;blockquote&gt;&lt;big&gt;''“Life is really simple, but we insist on making it complicated. Also fizz is pretty cool btw”''&lt;/big&gt;<br /> <br /> - Confucius ''&lt;sub&gt;&lt;small&gt;might've said some of this&lt;/small&gt;&lt;/sub&gt;''&lt;/blockquote&gt;<br /> <br /> = Examples =<br /> The song [https://music.youtube.com/watch?v=LGKQv6P35Iw System by Brotherly] sounds pretty complex at first, but eventually you realize it's simply 6/8. Because Brotherly knew very well what they were doing with all the syncopation, this is actually a case of '''TCB on the side of the listener''' as we are the ones hallucinating the absent complexity.<br /> <br /> There is a video of a guitar player describing how proud he was of his 7 + 5 riff, until his teacher or someone told him it's just in 6/8. I would've included a link if i could find it.<br /> <br /> = Similar Phenomenons =<br /> <br /> === MCBS ===<br /> Musical Complexity Bias Syndrome is what all Cluds have and what makes them all Cluds. Time Complexity Bias is a branch of MCB.<br /> <br /> === [[Extreme Musical Reductionism|EMR]] ===<br /> One technically wouldn't be wrong to say that every time signature can be simplified to 1/2048 time, in the worst case, with a few [[tuplets]] or demisemihemidemisemihemidemisemihemidemi(...)quavers. This is actually a different phenomenon (mentioned earlier) called extreme musical reductionism. You could also associate it with the Occam's Razor fallacy.<br /> <br /> === [[Everything Is In 4/4 Theory|Everything is in 4/4]] ===<br /> What doesn't have as much to do together with the Time Complexity Bias is the [[Everything Is In 4/4 Theory|everything is in 4/4 if you count long enough theory]], even though these two can easily be confused. TCB is about the sum of the values of measures, converting it to 1 measure with a single time signature and simplifying it by dividing the numerator and denominator by the same number. The Everything is in 4/4 theory however just goes on to ignore the intended measure length and just counts everything in the simplest way to count (yet the stupidest way to interpret the actual intentions of the musician). This theory technically falls under extreme musical reductionism.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Mike&diff=1371 Mike 2026-07-12T20:36:00Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:Mike wojak meme.jpg|thumb|The &quot;Mike&quot; (Microtonal Theorist)]]<br /> [[File:The microtonal discord server is that way meme.jpg|thumb|The microtonal discord server is that way meme]]<br /> The '''Mike''' is an archetypal representation of a musician who things 12 notes just isn't enough. A Mike is someone addicted to microtones even if they sound like absolute sh*t. Oh yeah, and they'll also show you the sh*t and assert their &quot;intellectual dominance&quot; if you don't like it. <br /> <br /> If you engage with a Mike, be prepared for answers to questions you never asked, excessive analysis of arguments you never made, and similar to the Jazz musician, an astounding amount of pride - not only in the complexity of their music, but in the incoherence of their character. <br /> <br /> The natural habitat of the Mikes is the '''Xenharmonic Alliance''' discord server. A Mike is also a type of [[Clud]]. <br /> [[Category:Fizz Community]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Music_Complexity_Bias&diff=1370 Music Complexity Bias 2026-07-12T19:52:44Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:Time Equivalence.jpg|thumb|A simple chart showing how a '''plain melody or rhythm''' in accelerated bars of 7, 3 and 2 beats can become '''misinterpreted as 4 bars of 3/4'''.]]<br /> '''Time Complexity Bias (TCB)''' is an occurrence where the composer overengineers the &quot;complex&quot; time signature(s) of a piece, when it just ends up being '''equivalent to a much simpler time signature'''. In plain english, you could explain it as '''&quot;the song''' is supposed to be '''complex,''' but it actually '''isn't&quot;'''. It is the opposite of [[Extreme Musical Reductionism|extreme musical reductionism]] and people who find themselves in such situations could be considered [[Clud|Cluds]] (Complexity Larping Chuds).&lt;blockquote&gt;&lt;big&gt;''“Life is really simple, but we insist on making it complicated. Also fizz is pretty cool btw”''&lt;/big&gt;<br /> <br /> - Confucius ''&lt;sub&gt;&lt;small&gt;might've said some of this&lt;/small&gt;&lt;/sub&gt;''&lt;/blockquote&gt;<br /> <br /> = Examples =<br /> The song [https://music.youtube.com/watch?v=LGKQv6P35Iw System by Brotherly] sounds pretty complex at first, but eventually you realize it's simply 6/8. Because Brotherly knew very well what they were doing with all the syncopation, this is actually a case of '''TCB on the side of the listener''' as we are the ones hallucinating the absent complexity.<br /> <br /> There is a video of a guitar player describing how proud he was of his 7 + 5 riff, until his teacher or someone told him it's just in 6/8. I would've included a link if i could find it.<br /> <br /> = Similar Phenomenons =<br /> <br /> === MCB ===<br /> Musical Complexity Bias is what all Cluds have and what makes them all Cluds. Time Complexity Bias is a branch of MCB.<br /> <br /> === [[Extreme Musical Reductionism|EMR]] ===<br /> One technically wouldn't be wrong to say that every time signature can be simplified to 1/2048 time, in the worst case, with a few [[tuplets]] or demisemihemidemisemihemidemisemihemidemi(...)quavers. This is actually a different phenomenon (mentioned earlier) called extreme musical reductionism. You could also associate it with the Occam's Razor fallacy.<br /> <br /> === [[Everything Is In 4/4 Theory|Everything is in 4/4]] ===<br /> What doesn't have as much to do together with the Time Complexity Bias is the [[Everything Is In 4/4 Theory|everything is in 4/4 if you count long enough theory]], even though these two can easily be confused. TCB is about the sum of the values of measures, converting it to 1 measure with a single time signature and simplifying it by dividing the numerator and denominator by the same number. The Everything is in 4/4 theory however just goes on to ignore the intended measure length and just counts everything in the simplest way to count (yet the stupidest way to interpret the actual intentions of the musician). This theory technically falls under extreme musical reductionism.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Music_Complexity_Bias&diff=1369 Music Complexity Bias 2026-07-12T14:55:02Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:Time Equivalence.jpg|thumb]]<br /> '''Time Complexity Bias (TCB)''' is an occurrence where the composer overengineers the &quot;complex&quot; time signature(s) of a piece, when it just ends up being '''equivalent to a much simpler time signature'''. In plain english, you could explain it as '''&quot;the song''' is supposed to be '''complex,''' but it actually '''isn't&quot;'''. It is the opposite of [[Extreme Musical Reductionism|extreme musical reductionism]] and people who find themselves in such situations could be considered [[Clud|Cluds]] (Complexity Larping Chuds).&lt;blockquote&gt;&lt;big&gt;''“Life is really simple, but we insist on making it complicated. Also fizz is pretty cool btw”''&lt;/big&gt;<br /> <br /> - Confucius ''&lt;sub&gt;&lt;small&gt;might've said some of this&lt;/small&gt;&lt;/sub&gt;''&lt;/blockquote&gt;<br /> <br /> = Examples =<br /> The song [https://music.youtube.com/watch?v=LGKQv6P35Iw System by Brotherly] sounds pretty complex at first, but eventually you realize it's simply 6/8. Because Brotherly knew very well what they were doing with all the syncopation, this is actually a case of '''TCB on the side of the listener''' as we are the ones hallucinating the absent complexity.<br /> <br /> There is a video of a guitar player describing how proud he was of his 7 + 5 riff, until his teacher or someone told him it's just in 6/8. I would've included a link if i could find it.<br /> <br /> = Similar Phenomenons =<br /> <br /> === MCB ===<br /> Musical Complexity Bias is what all Cluds have and what makes them all Cluds. Time Complexity Bias is a branch of MCB.<br /> <br /> === [[Extreme Musical Reductionism|EMR]] ===<br /> One technically wouldn't be wrong to say that every time signature can be simplified to 1/2048 time, in the worst case, with a few [[tuplets]] or demisemihemidemisemihemidemisemihemidemi(...)quavers. This is actually a different phenomenon (mentioned earlier) called extreme musical reductionism. You could also associate it with the Occam's Razor fallacy.<br /> <br /> === [[Everything Is In 4/4 Theory|Everything is in 4/4]] ===<br /> What doesn't have as much to do together with the Time Complexity Bias is the [[Everything Is In 4/4 Theory|everything is in 4/4 if you count long enough theory]], even though these two can easily be confused. TCB is about the sum of the values of measures, converting it to 1 measure with a single time signature and simplifying it by dividing the numerator and denominator by the same number. The Everything is in 4/4 theory however just goes on to ignore the intended measure length and just counts everything in the simplest way to count (yet the stupidest way to interpret the actual intentions of the musician). This theory technically falls under extreme musical reductionism.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=File:Time_Equivalence.jpg&diff=1368 File:Time Equivalence.jpg 2026-07-12T14:54:50Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>This shows the equal lengths of beats counted in 7 + 3 + 2 and 12.</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Clud&diff=1367 Clud 2026-07-12T14:23:04Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:The Clud.jpg|thumb|A '''clud'''.]]<br /> A '''Clud (Complexity Larping Chud)''' is someone who prioritizes the complexity of a song more than if it sounds good or not. Cluds suffer from a generational disease called [[Time Complexity Bias|MCB]] (Musical Complexity Bias).<br /> <br /> Maximizing the music-theoretical density in a song doesn't make you a clud. Complexity is good and isn't the main problem of clud behavior. The main problem is their absolute obsession of pushing it into everything they do and ignoring other fundamental elements of music. <br /> <br /> A particular variation of a clud is a [[The &quot;Mike&quot; (Microtonal Theorist)|mike]].<br /> [[Category:Fizz Community]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Clud&diff=1366 Clud 2026-07-12T14:22:36Z <p>Lattaio Meimnagaan JS: Created page with &quot;A &#039;&#039;&#039;clud&#039;&#039;&#039;. A &#039;&#039;&#039;Clud (Complexity Larping Chud)&#039;&#039;&#039; is someone who prioritizes the complexity of a song more than if it sounds good or not. Cluds suffer from a generational disease called MCB (Musical Complexity Bias). Maximizing the music-theoretical density in a song doesn&#039;t make you a clud. Complexity is good and isn&#039;t the main problem of clud behavior. The main problem is their absolute obsession of pushing it into everything they do and...&quot;</p> <hr /> <div>[[File:The Clud.jpg|thumb|A '''clud'''.]]<br /> A '''Clud (Complexity Larping Chud)''' is someone who prioritizes the complexity of a song more than if it sounds good or not. Cluds suffer from a generational disease called MCB (Musical Complexity Bias).<br /> <br /> Maximizing the music-theoretical density in a song doesn't make you a clud. Complexity is good and isn't the main problem of clud behavior. The main problem is their absolute obsession of pushing it into everything they do and ignoring other fundamental elements of music. <br /> <br /> A particular variation of a clud is a [[The &quot;Mike&quot; (Microtonal Theorist)|mike]].<br /> [[Category:Fizz Community]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=File:The_Clud.jpg&diff=1365 File:The Clud.jpg 2026-07-12T14:14:17Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>Picture of a prototypal Clud.</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Music_Complexity_Bias&diff=1364 Music Complexity Bias 2026-07-12T13:51:06Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>'''Time Complexity Bias (TCB)''' is an occurrence where the composer overengineers the &quot;complex&quot; time signature(s) of a piece, when it just ends up being '''equivalent to a much simpler time signature'''. In plain english, you could explain it as '''&quot;the song''' is supposed to be '''complex,''' but it actually '''isn't&quot;'''. It is the opposite of [[Extreme Musical Reductionism|extreme musical reductionism]] and people who find themselves in such situations could be considered [[Clud|Cluds]] (Complexity Larping Chuds).&lt;blockquote&gt;&lt;big&gt;''“Life is really simple, but we insist on making it complicated. Also fizz is pretty cool btw”''&lt;/big&gt;<br /> <br /> - Confucius ''&lt;sub&gt;&lt;small&gt;might've said some of this&lt;/small&gt;&lt;/sub&gt;''&lt;/blockquote&gt;<br /> <br /> = Examples =<br /> The song [https://music.youtube.com/watch?v=LGKQv6P35Iw System by Brotherly] sounds pretty complex at first, but eventually you realize it's simply 6/8. Because Brotherly knew very well what they were doing with all the syncopation, this is actually a case of '''TCB on the side of the listener''' as we are the ones hallucinating the absent complexity.<br /> <br /> There is a video of a guitar player describing how proud he was of his 7 + 5 riff, until his teacher or someone told him it's just in 6/8. I would've included a link if i could find it.<br /> <br /> = Similar Phenomenons =<br /> <br /> === MCB ===<br /> Musical Complexity Bias is what all Cluds have and what makes them all Cluds. Time Complexity Bias is a branch of MCB.<br /> <br /> === [[Extreme Musical Reductionism|EMR]] ===<br /> One technically wouldn't be wrong to say that every time signature can be simplified to 1/2048 time, in the worst case, with a few [[tuplets]] or demisemihemidemisemihemidemisemihemidemi(...)quavers. This is actually a different phenomenon (mentioned earlier) called extreme musical reductionism. You could also associate it with the Occam's Razor fallacy.<br /> <br /> === [[Everything Is In 4/4 Theory|Everything is in 4/4]] ===<br /> What doesn't have as much to do together with the Time Complexity Bias is the [[Everything Is In 4/4 Theory|everything is in 4/4 if you count long enough theory]], even though these two can easily be confused. TCB is about the sum of the values of measures, converting it to 1 measure with a single time signature and simplifying it by dividing the numerator and denominator by the same number. The Everything is in 4/4 theory however just goes on to ignore the intended measure length and just counts everything in the simplest way to count (yet the stupidest way to interpret the actual intentions of the musician). This theory technically falls under extreme musical reductionism.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Music_Complexity_Bias&diff=1363 Music Complexity Bias 2026-07-12T13:50:33Z <p>Lattaio Meimnagaan JS: Created page with &quot;&#039;&#039;&#039;Time Complexity Bias (TCB)&#039;&#039;&#039; is an occurrence where the composer overengineers the &quot;complex&quot; time signature(s) of a piece, when it just ends up being &#039;&#039;&#039;equivalent to a much simpler time signature&#039;&#039;&#039;. In plain english, you could explain it as &#039;&#039;&#039;&quot;the song&#039;&#039;&#039; is supposed to be &#039;&#039;&#039;complex,&#039;&#039;&#039; but it actually &#039;&#039;&#039;isn&#039;t&quot;&#039;&#039;&#039;. It is the opposite of extreme musical reductionism and people who find themselves in such situations could be consid...&quot;</p> <hr /> <div>'''Time Complexity Bias (TCB)''' is an occurrence where the composer overengineers the &quot;complex&quot; time signature(s) of a piece, when it just ends up being '''equivalent to a much simpler time signature'''. In plain english, you could explain it as '''&quot;the song''' is supposed to be '''complex,''' but it actually '''isn't&quot;'''. It is the opposite of [[Extreme Musical Reductionism|extreme musical reductionism]] and people who find themselves in such situations could be considered [[Clud|Cluds]] (Complexity Larping Chuds).&lt;blockquote&gt;&lt;big&gt;''“Life is really simple, but we insist on making it complicated. Also fizz is pretty cool btw”''&lt;/big&gt;<br /> <br /> - Confucius ''&lt;sub&gt;&lt;small&gt;might've said some of this&lt;/small&gt;&lt;/sub&gt;''&lt;/blockquote&gt;<br /> <br /> = Examples =<br /> The song [https://music.youtube.com/watch?v=LGKQv6P35Iw System by Brotherly] sounds pretty complex at first, but eventually you realize it's simply 6/8. Because Brotherly knew very well what they were doing with all the syncopation, this is actually a case of '''TCB on the side of the listener''' as we are the ones hallucinating the absent complexity.<br /> <br /> There is a video of a guitar player describing how proud he was of his 7 + 5 riff, until his teacher or someone told him it's just in 6/8. I would've included a link if i could find it.<br /> <br /> == Similar Phenomenons ==<br /> <br /> === MCB ===<br /> Musical Complexity Bias is what all Cluds have and what makes them all Cluds. Time Complexity Bias is a branch of MCB.<br /> <br /> === [[Extreme Musical Reductionism|EMR]] ===<br /> One technically wouldn't be wrong to say that every time signature can be simplified to 1/2048 time, in the worst case, with a few [[tuplets]] or demisemihemidemisemihemidemisemihemidemi(...)quavers. This is actually a different phenomenon (mentioned earlier) called extreme musical reductionism. You could also associate it with the Occam's Razor fallacy.<br /> <br /> === [[Everything Is In 4/4 Theory|Everything is in 4/4]] ===<br /> What doesn't have as much to do together with the Time Complexity Bias is the [[Everything Is In 4/4 Theory|everything is in 4/4 if you count long enough theory]], even though these two can easily be confused. TCB is about the sum of the values of measures, converting it to 1 measure with a single time signature and simplifying it by dividing the numerator and denominator by the same number. The Everything is in 4/4 theory however just goes on to ignore the intended measure length and just counts everything in the simplest way to count (yet the stupidest way to interpret the actual intentions of the musician). This theory technically falls under extreme musical reductionism.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=%22Irrational%22_Time_Signatures&diff=1362 "Irrational" Time Signatures 2026-07-12T12:47:53Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:NOT irrational non dyadic time signature.png|thumb|NOT irrational non dyadic time signature]][[File:Non dyadic time signature explanation.png|thumb|Non dyadic time signature explanation]]<br /> '''&quot;Irrational time signatures&quot;''' is a popular (and inaccurate) name for '''non-dyadic time signatures''' amongst Classical and J*zz musicians. <br /> <br /> '''Irrational numbers''' (ex. √2, π) are numbers that can't be expressed as a ratio of two integers. In other words, they're numbers that you '''can't write as a fraction'''. At least that's what it used to mean before Classical musicians with fragile minds took that meaning and threw it out the window when they redefined them as “Numbers that describe rhythms that make me feel uncomfortable”.<br /> <br /> Non-dyadic time signatures are time signatures with a bottom number that isn’t a power of 2, which means that '''non-dyadic [[tuplets]] (broken tuplets)''' are a necessary component of them. Wherever there's a non-dyadic time signature, you'll also find a non-dyadic tuplet (and vice versa). Classical musicians gave to “irrational” time signatures reflects their inability to play tuplets correctly. What’s the point of calling it something more accurate if it’s going to sound like sh*t regardless?<br /> <br /> Regular time signatures allow you to write bars whose length is any combination of whole-notes, half-notes, quarter-notes, etc., but non-dyadic time signatures allow you to write bars whose length is any fraction of a whole note. Fractions… weren't we talking about those things earlier? Oh right.<br /> <br /> ''Disclaimer: It's appropriate to call a non-dyadic time signature &quot;irrational&quot; if there's an actual irrational number in it.''<br /> See also : [[Time Complexity Bias]]<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Horrid_F*cking_Scale_Degrees&diff=1361 Horrid F*cking Scale Degrees 2026-07-12T12:34:22Z <p>Lattaio Meimnagaan JS: yall missed one</p> <hr /> <div>[[File:MiddleC.jpg|thumb|The note of '''middle C''' written down in an '''insufferable''' way.]]<br /> '''Horrid f*cking scale degrees''' are, as their name indicates, intervalic scale degrees that '''absolutely suck'''. Scale degrees like a ''𝄫5 (double flat fifth)'' or ''𝄪4 (double sharp fourth)'' are immensely stupid, pointless, superfluous and shouldn't exist at all because they can be easily simplified to their enharmonic equivalents. They only exist thanks to mischeivous music theorists, like [[wikipedia:Johann_Mattheson|Johann MattheSON]] or [[wikipedia:Leopold_Mozart|Leopold Mozart]], for the sole purpose of sabotaging the performer's understanding of notation.<br /> <br /> It's been noticed that even followers of [[Rotational Fizz|Zen Fizz]] secretly hate this thing.<br /> <br /> An example of horrid fucking scale degrees in a scale could be [https://ianring.com/musictheory/scales/699 scale 699] - '''Ultralocrian ''𝄫5''''' (the '''Kertishean''' scale in the [[KyjMUC space]]). This is the step formula (with T for 3 semitones):<br /> H W H H W W T<br /> The scale degrees will then look like this:<br /> 1 ♭2 ♭3 ♭4 𝄫5 𝄫6 𝄫7<br /> Absolutely disgusting. Luckily, we can simplify it in this way:<br /> 1 ♭2 ♭3 3 4 5 6<br /> Much less scary now, isn't it? Using horrid scale degrees without including equivalents (at least in brackets) is the same as asking a musician to play the 9th mode of Chlamydian ♭5 ♭6 ♭7 in the key of A''𝄪''♯ - which would in full understanding result in simply playing a f*cking C major scale. <br /> <br /> An allegory for a layman's view could be telling someone to do 560-80*[(√7)(√7)]+(0,39900000 + 0,601000⁹) sommersaults 29827637890 times. '''The number of sommersaults done would then be 1.'''<br /> <br /> This is one of the main problems of western music notation listed by Tantacrul in his video essay [https://youtu.be/Eq3bUFgEcb4 &quot;Notation Must Die: The Battle For How We Read Music&quot;].<br /> <br /> Another, even more severe example of horrid f*cking scale degrees in a heptatonic scale is the '''Altered ''𝄫''3''𝄫''4''𝄫''5''𝄫''6''𝄫''7''' scale ('''Parabriggsian''' in KyjMUC). This is what the unsimplified scale degrees look like:<br /> 1 ♭2 𝄫3 𝄫4 𝄫5 𝄫6 𝄫7<br /> Or even worse, the '''&quot;Incoherent&quot; scale''' ('''Horrible''' in KyjMUC), which is, however, a horrible scale on it's own, where common notation isn't to blame:<br /> 1 ♭2 𝄫3 𝄫4 𝄫♭5 𝄫𝄫6 𝄫♭7<br /> <br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Talk:Horrid_F*cking_Scale_Degrees&diff=1360 Talk:Horrid F*cking Scale Degrees 2026-07-12T12:33:10Z <p>Lattaio Meimnagaan JS: Blanked the page</p> <hr /> <div></div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Talk:Horrid_F*cking_Scale_Degrees&diff=1359 Talk:Horrid F*cking Scale Degrees 2026-07-12T12:32:34Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>{{under discussion inline|talk=Horrid}}</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Talk:Horrid_F*cking_Scale_Degrees&diff=1358 Talk:Horrid F*cking Scale Degrees 2026-07-12T12:29:24Z <p>Lattaio Meimnagaan JS: Created page with &quot;haha you guys missed one of the f words&quot;</p> <hr /> <div>haha you guys missed one of the f words</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=KyjMUC_space&diff=1338 KyjMUC space 2026-07-11T15:58:41Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>The '''KyjMUC (Kyj Meimnagaan's Ultra Cluster)''' space is a set of '''414 different heptatonic scales''', each having it's own name. It keeps the names of the [[Neo-Rimsky-Korsakovian Space|NeRK]] scales and uses some of William Zeitler's [https://allthescales.org allthescales.org] names. The scales are separated into perfect and imperfect modes - perfect if it has a perfect 5th and imperfect if it doesnt. They're also each part of a modal or [[Hypermodal system|hypermodal]] system.<br /> <br /> A table of all scales within the KyjMUC is contained in a file called '''ScaleCrap.xlsm'''. It also includes a converted version of [https://allthescales.org/scale-list.csv scale-list.csv] and a modified version of the [[Oreo Theory|oreo chart]] with non-NeRK scales.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Neo-Rimsky-Korsakovian_Space&diff=1337 Neo-Rimsky-Korsakovian Space 2026-07-11T15:55:14Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:A diagram of a Neo-Rimsky-Korsakovian Space, with every possible mode organized by brightness and stability.png|thumb|500x500px|'''A diagram of a Neo-Rimsky-Korsakovian Space, with every possible mode organized by brightness and stability''']]<br /> &lt;blockquote&gt;Nikolai Rimsky-Korsakov considered four scales to be the &quot;basis of harmony&quot;: the natural minor and major, and the harmonic minor and major. &lt;/blockquote&gt;A '''Neo-Rimsky-Korsakovian space''' (abbreviated '''NeRK''') is the basis of almost all [[wikipedia:Heptatonic_scale|heptatonic]] harmony within modality. Initially posited by Russian composer [[wikipedia:Nikolai_Rimsky-Korsakov|Nikolai Rimsky-Korsakov]], since Fizzheads consider the natural minor scale to be the Aeolian major mode, the natural minor scale is thus replaced with the [[Athenian Scale|melodic minor scale]]. This replacement creates four distinct parent scale quadrants defined by the combinations of absence or presence of a ♭3 or a ♭6 in the parent scale.<br /> <br /> An individual NeRK yields 28 total scales that cover almost any possible heptatonic color in common practice. 12 different NeRKs exist within [[wikipedia:Equal_temperament|12-tone equal temperament]], one for each root note.<br /> <br /> == Notable exceptions ==<br /> <br /> === Melodic minor ♯5 ===<br /> In his book ''Modal Jazz Composition &amp; Harmony, Vol. 1'', Ron Miller presents a unique heptatonic scale, the melodic minor ♯5, that doesn't exist in any NeRK. Two of the most common modes of this scale are Mixolydian ♯9 and Palamidian ♮13. However, these colors can be derived from an octatonic scale, or &quot;close enough&quot; with one of the modes in a NeRK, such as Palamidian or Adonian respectively.<br /> <br /> === Neapolitan ===<br /> The [[wikipedia:Neapolitan_scale|Neapolitan major and minor scales]] are the melodic and harmonic minor scales respectively but with a ♭9. Two of the most common modes of Neapolitan major ([[Chlamydian Scale|Chlamydian]]) are Arcadian ♭13 and major Locrian. Both are &quot;close enough&quot; to a [[wikipedia:Whole-tone_scale|whole-tone scale]] for these to be unnecessary.<br /> <br /> === Kyj Meimnagaan Ultra Cluster ===<br /> The [[KyjMUC space]] contains every possible heptatonic scale, including the 4 NeRK modal systems. Again, most of these are useless, but it covers up most of what you can come up with. <br /> <br /> === Non-heptatonic scales ===<br /> Scales such as octatonic scales, bebop scales, whole-tone scales, etc. that contain more or less than seven notes fall out of the scope of a NeRK.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=Pan-fizziosis&diff=1334 Pan-fizziosis 2026-07-11T15:26:34Z <p>Lattaio Meimnagaan JS: </p> <hr /> <div>[[File:Einstein.jpg|thumb|238x238px|Albert Einstein ]]<br /> [[Fizz]] is a movement that seeks to spread revolutionary ideas to music as a whole. '''Pan-fizziosis''' is the idea that every field/discipline either has, or will eventually face a cultural disruptor similar to the [[Fizz Movement|fizz movement]] in which a set of innovative, high-level ideas make it clear that there's a better way, creating a paradigm shift, or a revolutionary subculture at the very least.<br /> <br /> Here's a picture of Albert Einstein.<br /> [[Category:Fizz Lore]]</div> Lattaio Meimnagaan JS http://fizzwiki.com/index.php?title=KyjMUC_space&diff=1332 KyjMUC space 2026-07-11T14:30:18Z <p>Lattaio Meimnagaan JS: Created page with &quot;The &#039;&#039;&#039;KyjMUC (Kyj Meimnagaan&#039;s Ultra Cluster)&#039;&#039;&#039; space is a set of &#039;&#039;&#039;414 different heptatonic scales&#039;&#039;&#039;, each having it&#039;s own name. It keeps the names of the NeRK scales The scales are separated into perfect and imperfect modes - perfect if it has a perfect 5th and imperfect if it doesnt. They&#039;re also each part of a modal or hypermodal system. A table of all scales within the KyjMUC is contained in a file called &#039;...&quot;</p> <hr /> <div>The '''KyjMUC (Kyj Meimnagaan's Ultra Cluster)''' space is a set of '''414 different heptatonic scales''', each having it's own name. It keeps the names of the [[Neo-Rimsky-Korsakovian Space|NeRK]] scales The scales are separated into perfect and imperfect modes - perfect if it has a perfect 5th and imperfect if it doesnt. They're also each part of a modal or [[Hypermodal system|hypermodal]] system.<br /> <br /> A table of all scales within the KyjMUC is contained in a file called '''ScaleCrap.xlsm'''. It also includes a converted version of [https://allthescales.org/scale-list.csv scale-list.csv] and a modified version of the [[Oreo Theory|oreo chart]] with non-NeRK scales.<br /> [[Category:Music Theory]]</div> Lattaio Meimnagaan JS