This is the final part of a series introducing xenharmonic music theory. In the first part, I talked about musical perception, especially the perception of microtones. In the second part, I explained roughness theory, which is an empirical theory of dissonance independent of musical tradition. The first two parts overlap with conventional music theory, but in this third part, I finally reach the music theory that is more particular to the xenharmonic tradition.
I’m just going to scratch the surface here, with an eye towards how you would actually use it in practice, if you were a composer. Most readers, I imagine, are not composers. It’s okay if it’s just a hypothetical for you, as long as you learn something.