Some irregular verbs
This is not the correct way to inflect these words. It's just a try.
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cherry valley forever
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Misplaced Lens Cap

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@isoraqathedh
Some irregular verbs
This is not the correct way to inflect these words. It's just a try.

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Person inflections
Even more nice tables that now make more sense to me.
Good evening. I am greatly inspired by your presentation of Sdefa and at some point I must make something similar to that. But before any of that: how do you count "steps" in a contour? They look like scale steps, but I can't work out the reason why some of them have sharps and flats and others don't.
Perhaps you are counting semitones, which could explain it, though I'd like to confirm anyways.
Thank you!
They are indeed scale steps. In situations where it’s the contour that matters and not the exact pitches, no distinction is made between half and whole steps, minor and major thirds, etc. The first-person suffix is {+third -step}, but with the starting note A that could be {A C B}, {A C B♭}, {A C♯ B}, or {A C♯ B♯}.
The reason for this is to allow for compositional flexibility. If the music so far has trended towards being in A major, it would be better to use {A C♯ B}; if it’s been in F major, then it would be better to use {A C B♭}.
For similar reasons, octave choice doesn’t matter, so {A C} could also be a sixth downward instead of a third up. Compositional flexibility is also the motivation behind the relatively free word order and the option to choose different third-person suffixes. All of those factors put together mean that there are a lot of ways to say the same thing, some more musically pleasing or coherent than others.
I hope you do start your own musical conlang! I would love to see it.
Ah, this is good.
I am mooting an orthography for Sdefa using keyscript, and the fact that diatonic scale steps are what matters makes it one less thing to worry about when considering how to do it.
There is nothing written about it yet, and given my posting schedule, even if I finish immediately it won't show up for approximately two years because of the posting backlog, but it gives me something to think about.
Tuning information paragraph
A little bit like a key signature but not the same.
Negations
Saying no is difficult with flags.

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What is your favorite part of making a new language?
When things fall together.
I think I am different amongst the average conlanger in that most things look the same to me; whether it's grammar, phonology or pragmatics, it is all constructed via the same mechanism of "gimmicks". Normally you can understand gimmicks as simply bullet points for why the language is interesting (or in the case of conlanging, why it exists and why I made it in the first place), but you can also think of it as constraints in the design space of any future features of the conlang.
As such, when a new feature comes along and slots in well with all the other existing features, that's a good feeling. Things have fallen together nicely.
I have once received a sort of criticism of the fact that the things I make have no cohesiveness. This is true, yet I don't think of it as much of a big deal, mostly because I wouldn't know how to make it happen deliberately. It is nice when this happens, but this is a sometimes thing. And yet it is good, and I like it when it happens, "as a treat", as the young may say.
Run-incomplete and run-complete verbs
Finally, I get to write those inflection tables that I have struggled for ages with.
Trills, glissandi and other articulations
Lots of things about how to specify more advanced music.
Pronouns - I am, this is
How to identify yourself or a place using a flag.
An introduction to speech registers
I thought, if you have one, why not two? And then Thai had two and I'm like okay.

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The conjunctive on nouns
Originally found on verbs, it can be used on any word.
Musical words - a pedagogical approach
What is a word in the musical dictionary, and what isn't.
Shasavic musical language
Yet another small flag.
Relational rope - has, is a part of
More details about flags.
Composition of acoustic air
A correction to the calculations, and a more detailed calculations, though in the end the difference is nil.

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Vocal range of kilis
Small sound detail with regard to voices.
Absolute pitch
Forcing in absolute pitch into the inherently relative system, part 2. Also trying very hard to do maths.