FizzWiki - User contributions [en]

Performance gunpoint

2026-06-24T03:37:32Z

The Foilist: The Foilist moved page Performence gunpoint to Performance gunpoint: Misspelled title

'''Performance Gunpoint''' are those moments where a person with autism or untreated ADHD is forced to perform social fictions and functional social behavior at a time where it truly matters for the social norms in the moment up the the point where it is required for the conversation or interaction to even be functional at all. Examples include having to make a phone call, having to put on a costumer service voice with FULL eye contact (without involuntary ADHD wandering, like actually looking at their eyes the entire time), and thanksgiving with your (very) nuero-typical relatives with political beliefs that have been outside the overton window for 30 years now.

Harmonic Relativity

2026-06-15T17:16:56Z

The Foilist: /* Applications */

'''Harmonic relativity''' is a music theory framework that places emphasis on the relationships between subsequent chords, rather than the relationships of those individual chords back to a key center.

==Formalism==
The concept of a key center is discarded entirely. Rather than labeling chords relative to a tonic (ii°, V7, etc.), only the relationships between chords are labeled. Each chord relationship (CR) is defined by 3 parameters: the qualities of the first and second chords, and the distance between their roots.

For example, the CR labeled M-II-m refers to a major chord, followed by a minor chord a major 2nd above it. Some chord sequences that fits this CR would be C major followed by D minor or A♭ major followed by B♭ minor.

For a more complex example, the CR labeled ø7-vii-7♭9 refers to a half-diminished 7th chord, followed by a dominant ♭9 chord a minor seventh above it. One possible chord sequence that fits this CR would be Bø7 followed by A7♭9.

The chord sequence written in functional harmony terms as ii-V7-I would be expressed in relativistic terms as a pair of CRs: m-IV-7 and 7-IV-M.

==Applications==
Musicians using this framework are encouraged to catalogue CRs according to what emotions they evoke in themselves personally, rather than how either chord would function within a given key. When writing a chord progression with a given emotional context in mind, any CRs that feel close to the desired emotion may be freely chosen, and the resulting sequence of chords, though not necessarily tonal in nature, will still tend to evoke the desired emotional context fairly closely. In a way, this approach treats each chord like a new key center and each chord change as a modulation.

Regardless of the musician's intention, the listener's ear will still want to lock onto a tonic. Harmonic relativity can disrupt this tendency, and while the resulting surprises can be musically interesting, care must be taken to ensure that all semblance of structure is not lost (unless you're going for that sort of thing, in which case have fun!) One common way of addressing this need is to create chord sequences that revisit the same chord, or chords within the same key, several times throughout a progression. For example, the progression written M-II-M, M-IV-m, m-IV-M ends on the same chord it starts on.

Voice leading is especially important to consider under harmonic relativity. Since emotionality is generated by each pair of chords, the effect of each voice's movement within a CR is heightened.

==External links==
[https://www.youtube.com/watch?v=kt5_LPC8epM&list=PL4nnRA5x5McbWTKWBJiqyJq0RgrVMazJN This video series] by YouTube user JJayBerthume is a good entry point to harmonic relativity.

[[Category:Music Theory]]

Harmonic Relativity

2026-06-15T17:16:02Z

The Foilist: /* Formalism */

'''Harmonic relativity''' is a music theory framework that places emphasis on the relationships between subsequent chords, rather than the relationships of those individual chords back to a key center.

==Formalism==
The concept of a key center is discarded entirely. Rather than labeling chords relative to a tonic (ii°, V7, etc.), only the relationships between chords are labeled. Each chord relationship (CR) is defined by 3 parameters: the qualities of the first and second chords, and the distance between their roots.

For example, the CR labeled M-II-m refers to a major chord, followed by a minor chord a major 2nd above it. Some chord sequences that fits this CR would be C major followed by D minor or A♭ major followed by B♭ minor.

For a more complex example, the CR labeled ø7-vii-7♭9 refers to a half-diminished 7th chord, followed by a dominant ♭9 chord a minor seventh above it. One possible chord sequence that fits this CR would be Bø7 followed by A7♭9.

The chord sequence written in functional harmony terms as ii-V7-I would be expressed in relativistic terms as a pair of CRs: m-IV-7 and 7-IV-M.

==Applications==
Musicians using this framework are encouraged to catalogue CRs according to what emotions they evoke in themselves personally, rather than how either chord would function within a given key. When writing a chord progression with a given emotional context in mind, any CRs that feel close to the desired emotion may be freely chosen, and the resulting sequence of chords, though not necessarily tonal in nature, will still tend to evoke the desired emotional context fairly closely. In a way, this approach treats each chord like a new key center and each chord change as a modulation.

Regardless of intention, the listener's ear will still want to lock onto a tonic. Harmonic relativity can disrupt this tendency, and while the resulting surprises can be musically interesting, care must be taken to ensure that all semblance of structure is not lost (unless you're going for that sort of thing, in which case have fun!) One common way of addressing this need is to create chord sequences that revisit the same chord, or chords within the same key, several times throughout a progression. For example, the progression written M-II-M, M-IV-m, m-IV-M ends on the same chord it starts on.

Voice leading is especially important to consider under harmonic relativity. Since emotionality is generated by each pair of chords, the effect of each voice's movement within a CR is heightened.

==External links==
[https://www.youtube.com/watch?v=kt5_LPC8epM&list=PL4nnRA5x5McbWTKWBJiqyJq0RgrVMazJN This video series] by YouTube user JJayBerthume is a good entry point to harmonic relativity.

[[Category:Music Theory]]

Harmonic Relativity

2026-06-15T17:15:26Z

The Foilist:

'''Harmonic relativity''' is a music theory framework that places emphasis on the relationships between subsequent chords, rather than the relationships of those individual chords back to a key center.

==Formalism==
The concept of a key center is discarded entirely. Rather than labeling chords relative to a tonic (ii°, V7, etc.), only the relationships between chords are labeled. Each chord relationship (CR) is defined by 3 quantities: the qualities of the first and second chords, and the distance between their roots.

For example, the CR labeled M-II-m refers to a major chord, followed by a minor chord a major 2nd above it. Some chord sequences that fits this CR would be C major followed by D minor or A♭ major followed by B♭ minor.

For a more complex example, the CR labeled ø7-vii-7♭9 refers to a half-diminished 7th chord, followed by a dominant ♭9 chord a minor seventh above it. One possible chord sequence that fits this CR would be Bø7 followed by A7♭9.

The chord sequence written in functional harmony terms as ii-V7-I would be expressed in relativistic terms as a pair of CRs: m-IV-7 and 7-IV-M.

==Applications==
Musicians using this framework are encouraged to catalogue CRs according to what emotions they evoke in themselves personally, rather than how either chord would function within a given key. When writing a chord progression with a given emotional context in mind, any CRs that feel close to the desired emotion may be freely chosen, and the resulting sequence of chords, though not necessarily tonal in nature, will still tend to evoke the desired emotional context fairly closely. In a way, this approach treats each chord like a new key center and each chord change as a modulation.

Regardless of intention, the listener's ear will still want to lock onto a tonic. Harmonic relativity can disrupt this tendency, and while the resulting surprises can be musically interesting, care must be taken to ensure that all semblance of structure is not lost (unless you're going for that sort of thing, in which case have fun!) One common way of addressing this need is to create chord sequences that revisit the same chord, or chords within the same key, several times throughout a progression. For example, the progression written M-II-M, M-IV-m, m-IV-M ends on the same chord it starts on.

Voice leading is especially important to consider under harmonic relativity. Since emotionality is generated by each pair of chords, the effect of each voice's movement within a CR is heightened.

==External links==
[https://www.youtube.com/watch?v=kt5_LPC8epM&list=PL4nnRA5x5McbWTKWBJiqyJq0RgrVMazJN This video series] by YouTube user JJayBerthume is a good entry point to harmonic relativity.

[[Category:Music Theory]]

Harmonic Relativity

2026-06-15T17:04:29Z

The Foilist: Created page with "'''Harmonic relativity''' is a music theory framework that places emphasis on the relationships between subsequent chords, rather than the relationships of those individual chords back to a key center. ==Formalism== The concept of a key center is discarded entirely. Rather than labeling chords relative to a tonic (ii°, V7, etc.), only the relationships between chords are labeled. Each chord relationship (CR) is defined by 3 quantities: the qualities of the f..."

'''Harmonic relativity''' is a music theory framework that places emphasis on the relationships between subsequent chords, rather than the relationships of those individual chords back to a key center.

==Formalism==
The concept of a key center is discarded entirely. Rather than labeling chords relative to a tonic (ii°, V7, etc.), only the relationships between chords are labeled. Each chord relationship (CR) is defined by 3 quantities: the qualities of the first and second chords, and the distance between their roots.

For example, the CR labeled M-II-m refers to a major chord, followed by a minor chord a major 2nd above it. Some chord sequences that fits this CR would be C major followed by D minor or A♭ major followed by B♭ minor.

For a more complex example, the CR labeled ø7-vii-7♭9 refers to a half-diminished 7th chord, followed by a dominant ♭9 chord a minor seventh above it. One possible chord sequence that fits this CR would be Bø7 followed by A7♭9.

The chord sequence written in functional harmony terms as ii-V7-I would be expressed in relativistic terms as a pair of CRs: m-IV-7 and 7-IV-M.

Harmonic relativity can be thought of as the horizontal equivalent of [[Oreo Theory]]. Where Oreo Theory's central claim is that every melody note can work with every bass note, harmonic relativity's central claim is that every chord can be followed by any other chord.

==Applications==
Musicians using this framework are encouraged to catalogue CRs according to what emotions they evoke in themselves personally, rather than how either chord would function within a given key. When writing a chord progression with a given emotional context in mind, any CRs that feel close to the desired emotion may be freely chosen, and the resulting sequence of chords, though not necessarily tonal in nature, will still tend to evoke the desired emotional context fairly closely. In a way, this approach treats each chord like a new key center and each chord change as a modulation.

Regardless of intention, the listener's ear will still want to lock onto a tonic. Harmonic relativity can disrupt this tendency, and while the resulting surprises can be musically interesting, care must be taken to ensure that all semblance of structure is not lost (unless you're going for that sort of thing, in which case have fun!) One common way of addressing this need is to create chord sequences that revisit the same chord, or chords within the same key, several times throughout a progression. For example, the progression written M-II-M, M-IV-m, m-IV-M ends on the same chord it starts on.

Voice leading is especially important to consider under harmonic relativity. Since emotionality is generated by each pair of chords, the effect of each voice's movement within a CR is heightened.

==External links==
[https://www.youtube.com/watch?v=kt5_LPC8epM&list=PL4nnRA5x5McbWTKWBJiqyJq0RgrVMazJN This video series] by YouTube user JJayBerthume is a good entry point to harmonic relativity.

[[Category:Music Theory]]

User:The Foilist

2026-06-10T21:28:09Z

The Foilist: Created page with "Hello! My name is Carter, but I go by '''The Foilist''' on the internet, including on the Fizz Discord server. While my main interest is fencing, I like to dabble in music in my spare time. Though I am not in any way responsible for managing this wiki, I do have a bit of past experience with MediaWiki. Feel free to message me on Discord if you have any questions! ===Links=== * [https://musescore.com/user/43061 my MuseScore profile] (music) * [https://soundcloud.com/th..."

Hello!

My name is Carter, but I go by '''The Foilist''' on the internet, including on the Fizz Discord server. While my main interest is fencing, I like to dabble in music in my spare time.

Though I am not in any way responsible for managing this wiki, I do have a bit of past experience with MediaWiki. Feel free to message me on Discord if you have any questions!

===Links===
* [https://musescore.com/user/43061 my MuseScore profile] (music)
* [https://soundcloud.com/thefoilist my SoundCloud account] (music)
* [https://www.youtube.com/@TheFoilist my YouTube channel] (fencing)
* [https://www.thefoilist.tv my horrible website] (fencing)

Mote

2026-06-10T21:14:18Z

The Foilist: /* Etymology */

__FORCETOC__

In music, the word '''Mote''' refers generically to ''any'' musical building block that can be used to create a song when utilized alongside other motes. It's the concept of a musical element, in abstract.

Some examples of musical objects that may be labeled as motes are:

* Singular notes
* Note intervals
* Melodies
* Chords
* Chord progressions
* Sounds
* Samples
* Instruments/Synths
* Rhythms
* Words/phrases in lyrics

Although the word mote may sound similar to other terms such as "Musical Idea" or "Leitmotif," their meanings and use cases diverge, depending on their contexts.

== Etymology ==
In common English, "[https://en.wiktionary.org/wiki/mote mote]" is defined as a small particle or speck, as of dust. The definition is fundamentally the same in a musical context.

Though not etymologically related, the word "mote" is conveniently identical to the middle syllable of the word "[[wikipedia:Leitmotif|leitmotif]]," which reflects the relationship between the two terms.

== Mote versus Leitmotif ==
While the term leitmotif can be used to describe a general musical idea, it is important to note that leitmotifs are musical ideas that are subsequently repeated (with or without modifications), in order to be associated with a particular person, place, or idea. Motes, on the other hand, can exist without ever being repeated or having any sort of significance.

A mote could be a single melody that is only played once, while a leitmotif can only be considered a leitmotif with repetition of said musical element and association with another object in a story.

== Mote versus Musical Idea ==
Motes and [[wikipedia:Subject_(music)|musical ideas]] have many overlaps, but it is important to mention that motes are musical building blocks of any size while musical ideas imply complete phrases, usually within the context of an entire composition. A singular F# note on its own cannot be a musical idea since it is not a complete phrase, but it ''can'' be considered a mote, since it can still be used as a musical building block regardless of its size.

Motes and musical ideas may not the same thing, but they still have an overlap in meaning. A melody or a chord progression can be both a mote and a musical idea at the same time, but "mote" is the broader term of the two, being able to describe many other musical building blocks such as individual sounds, samples, notes, words, etc.

== Examples of sentences using the word Mote ==

* "I really have no ideas for this song I'm working on, I have a lot of different '''motes''' written down but I can't find a way to arrange them properly."
* "I am working on a collaboration with one of my composer friends. We haven't recorded anything yet, but we came up with a lot of '''motes'''!"

[[Category:Music Theory]]

Mote

2026-06-10T21:13:50Z

The Foilist: /* Etymology */

__FORCETOC__

In music, the word '''Mote''' refers generically to ''any'' musical building block that can be used to create a song when utilized alongside other motes. It's the concept of a musical element, in abstract.

Some examples of musical objects that may be labeled as motes are:

* Singular notes
* Note intervals
* Melodies
* Chords
* Chord progressions
* Sounds
* Samples
* Instruments/Synths
* Rhythms
* Words/phrases in lyrics

Although the word mote may sound similar to other terms such as "Musical Idea" or "Leitmotif," their meanings and use cases diverge, depending on their contexts.

== Etymology ==
In common English, "[https://en.wiktionary.org/wiki/mote|mote]" is defined as a small particle or speck, as of dust. The definition is fundamentally the same in a musical context.

Though not etymologically related, the word "mote" is conveniently identical to the middle syllable of the word "[[wikipedia:Leitmotif|leitmotif]]," which reflects the relationship between the two terms.

== Mote versus Leitmotif ==
While the term leitmotif can be used to describe a general musical idea, it is important to note that leitmotifs are musical ideas that are subsequently repeated (with or without modifications), in order to be associated with a particular person, place, or idea. Motes, on the other hand, can exist without ever being repeated or having any sort of significance.

A mote could be a single melody that is only played once, while a leitmotif can only be considered a leitmotif with repetition of said musical element and association with another object in a story.

== Mote versus Musical Idea ==
Motes and [[wikipedia:Subject_(music)|musical ideas]] have many overlaps, but it is important to mention that motes are musical building blocks of any size while musical ideas imply complete phrases, usually within the context of an entire composition. A singular F# note on its own cannot be a musical idea since it is not a complete phrase, but it ''can'' be considered a mote, since it can still be used as a musical building block regardless of its size.

Motes and musical ideas may not the same thing, but they still have an overlap in meaning. A melody or a chord progression can be both a mote and a musical idea at the same time, but "mote" is the broader term of the two, being able to describe many other musical building blocks such as individual sounds, samples, notes, words, etc.

== Examples of sentences using the word Mote ==

* "I really have no ideas for this song I'm working on, I have a lot of different '''motes''' written down but I can't find a way to arrange them properly."
* "I am working on a collaboration with one of my composer friends. We haven't recorded anything yet, but we came up with a lot of '''motes'''!"

[[Category:Music Theory]]

Mote

2026-06-10T21:13:27Z

The Foilist:

__FORCETOC__

In music, the word '''Mote''' refers generically to ''any'' musical building block that can be used to create a song when utilized alongside other motes. It's the concept of a musical element, in abstract.

Some examples of musical objects that may be labeled as motes are:

* Singular notes
* Note intervals
* Melodies
* Chords
* Chord progressions
* Sounds
* Samples
* Instruments/Synths
* Rhythms
* Words/phrases in lyrics

Although the word mote may sound similar to other terms such as "Musical Idea" or "Leitmotif," their meanings and use cases diverge, depending on their contexts.

== Etymology ==
In common English, "[[https://en.wiktionary.org/wiki/mote|mote]]" is defined as a small particle or speck, as of dust. The definition is fundamentally the same in a musical context.

Though not etymologically related, the word "mote" is conveniently identical to the middle syllable of the word "[[wikipedia:Leitmotif|leitmotif]]," which reflects the relationship between the two terms.

== Mote versus Leitmotif ==
While the term leitmotif can be used to describe a general musical idea, it is important to note that leitmotifs are musical ideas that are subsequently repeated (with or without modifications), in order to be associated with a particular person, place, or idea. Motes, on the other hand, can exist without ever being repeated or having any sort of significance.

A mote could be a single melody that is only played once, while a leitmotif can only be considered a leitmotif with repetition of said musical element and association with another object in a story.

== Mote versus Musical Idea ==
Motes and [[wikipedia:Subject_(music)|musical ideas]] have many overlaps, but it is important to mention that motes are musical building blocks of any size while musical ideas imply complete phrases, usually within the context of an entire composition. A singular F# note on its own cannot be a musical idea since it is not a complete phrase, but it ''can'' be considered a mote, since it can still be used as a musical building block regardless of its size.

Motes and musical ideas may not the same thing, but they still have an overlap in meaning. A melody or a chord progression can be both a mote and a musical idea at the same time, but "mote" is the broader term of the two, being able to describe many other musical building blocks such as individual sounds, samples, notes, words, etc.

== Examples of sentences using the word Mote ==

* "I really have no ideas for this song I'm working on, I have a lot of different '''motes''' written down but I can't find a way to arrange them properly."
* "I am working on a collaboration with one of my composer friends. We haven't recorded anything yet, but we came up with a lot of '''motes'''!"

[[Category:Music Theory]]

Glide Stack

2026-06-10T21:03:25Z

The Foilist:

A glide stack is a musical gesture involving layers of multiple vocals or other instruments capable of gliding where one or more of the voices in the stack is not sustaining single note(s) but is gliding through notes, sometimes just talking or shouting. Musicians use glide stacks to create interesting textures, emergent feelings, and dissonance over time that uses the horizontal axis.
[[Category:Music Theory]]
[[Category:Sound Design]]

Bass Function Collapse

2026-06-10T21:02:51Z

The Foilist:

Bass function collapse is the phenomenon of hearing music through your phone speakers, and then putting on your headphones to hear the bass, only to find out that the bass notes (and therefore the chords) are different from what your phone lead you to believe. This phenomenon can be especially frustrating if you, having initially listened on a phone, automatically filled in the gaps with notes that sound better than what ended up being on the recording.

It's thought by some that in the era of social media, this phenomenon can be exploited by musicians to go viral by intentionally releasing music that sounds impossibly good on a phone (at the cost of it's actual collapsed version).

"I heard this song on TikTok and looked it up after, but I was really disappointed with the bass function collapse."

"The bass function collapse on this song is brutal. Hearing it with headphones makes it surprisingly unlistenable."
[[Category:Music Theory]]
[[Category:Sound Design]]

Flamchaining

2026-06-10T21:02:24Z

The Foilist:

[[File:Flamchaining.png|thumb|Flamchaining visualization]]
Flamchaining is when a sharp sidechain dip occurs directly after a transient in the track being sidechained, creating an unpleasant “flam”. This usually happens when the sidechain, or the track being sidechained isn’t quantized.

If done carefully, this typically undesirable effect can be used by producers to create interesting effects.

“I think the guitar is getting flamchained”
[[Category:Music Theory]]
[[Category:Sound Design]]

Category:Sound Design

2026-06-10T21:01:28Z

The Foilist: Created page with "This category is for topics related to '''sound design'''."

This category is for topics related to '''sound design'''.