As an old Jazz sax player told me and it always in the back of my head... There are many paths to the same destination. This is a great map of potential paths to a destination. THANK YOU!
Absolutely amazing, I really enjoyed watching this and, as someone who is visual, this helped me so much to connect what was going on harmonically. Thank you for sharing this! I would be very interested if you made this app public! Wonderful learning tool !!
holyshiet, I want to create this and on the way learn how to do it. I started with openGL several days ago. OMG you did a great job here. thank you, thank you, thank you
This is pure gold! Is there a way we can access this programme? This could be a great teaching and experimentation tool. Couple it with physics and cool avatars, you now have a music themed platformer!
This would be more than just a music-themed video game, this would be a totally new approach to writing music while also democratizing complex harmonic movement in a way no one has ever seen before. I'm more of a story teller and a writer than a musician and even I could see how I can use this program to make some really powerful music. This could be incredible!!!!
I’ve developed something complimentary to this. A similar lattice structure but the pitches of just intonation. The beauty of the careful arrangement of harmonic relationships is you know exactly the identity of the pitches. I’d love to team up, maybe share code.
wonderful you did this. I'll watch it intently another time. these days creativity can look like this video and maybe it sometimes should. made me think about that. bless your hands.
Amazing. Nothing here is really new to me, but the way you displayed is, and your clear and precise explanations makes me think about tonal harmony in a different way. All this opens news horizons for me to explore. Thank you ❤️
Wow. this is incredible. i would 100% buy this program as a standalone app for music theory learning or as a music producer if this was somehow created into a VST for music compoistion/writing that converts chosen chords into midi you would change the game. you really have a multi million dollar idea here.
Interesting approach , especially the metaphoric idea of a landscape in a gravitational tonal world. would love to have this as an app oder programm on pc. great work
holy I am in *love* with this video. I'm going to save it and refer to it as a resource and share it!! I've been trying very badly to break out of using diatonic chords (clean modulation that doesn't feel disjointed is a magic beyond me). I think my problem is I haven't exposed my ear to enough sounds while playing them to break that ice yet. Anyway, thank you so much! I'm glad you went down this rabbit hole and shared your journey, this helps visualize things a lot!
modulation is a tough thing to get right, but once you understand the principles (and i'd recommend schoenberg's theory of harmony on this point), it's a lot easier.
This reminds me of a savant who is featured in a youtube video who can recite Pi out to 22,000 decimals with perfect accuracy. He says he sees the numbers in an internal imagined topography where they appear to him in an aesthetically pleasing order. He has this extraordinary ability not from brute force memorization, but from developing a personal intimacy with numbers. Your computer program looks like sea mounds on the ocean floor each inhabited by a tonality and its family of related chords. I find it liberating to visualize the various tonal centers sort of scattered about as opposed to the rigid layout of the keyboard. As an aside, at the point in the video when you were demonstrating harmonic relationships devoid of voice leading principles and saying they didn't really make sense, I was in the kitchen listening, just not watching, but they struck me as sounding really interesting. It was one of those moments where I was reminded just how rich the element of harmony is.
Amazing video! What program did you use to make this? Also, it seems like the automated voice-leading would be hard to implement, did you do that yourself?
This is really great, and also a great representation. Yes, chord spellings are very important. All the more so in Pythagorean tuning as you showed with the tetractys in your other video. I would love to see and hear how this same program would sound where every single note had it's own Pythagorean frequency WITH the voice leading turned on. Because in equal temperament it is a closed imperfect circle, but I imagine in Pythagorean you could hear the closeness of the keys and distance also with the intervals derived only from a chain of 3/2 fifths, at least to 53 notes per octave, from Ebbbb to Cxx. The two ends of that chain of fifths closes within 4 cents of a perfect fifth. There is much to be explored in Pythagorean tuning, and it may be able to be quickly and easily heard with a program like this. Like is it possible to modulate from G# major to Fbm with one chord in between or two? Hearing the effect of such movements and being able to visualize these extra distant key modulations with proper voice leading would be amazing to hear, and could be quite the tool and ground work for writing music I just reproved a jazz pianist who had a program on screen showing what notes he was playing on his keyboard. He was trying to explain an advanced subject, but everything on screen was misspelled (and he was playing quite a lot and fast) which made seeing the order and logic in the voice leading impossible. Without proper spelling of notes, the true meaning of the music, intellectually is obscured.
Dan, this is a lot of work and fully explored. As a composer who, like everyone else, started in tonal harmony but then ended up exploring first atonal harmony and then pantonal harmony (I admire polytonal harmony, but I don't think I've explored it much), returning to your universe (and exploration of it) is something I respect and admire. Stravinsky, the polytonalist extraordinaire, went back and wrote Symphony in C as a way of declaring that there was still much to be done with tonal harmony (he ended his life exploring atonal harmony). For me, I think it was the whole tone scale which initially led me away from tonal harmony. What struck me is that your exploration stays primarily with triads - my early education in chords went deeply into four and five note chords, such as triads with unusual bass notes, and then the whole 7/9/11/13 stacked chord stuff. I've been thinking about it a lot lately, due to Bacharach's recent passing. Given that I came of age in the 70's, I remember thinking that overuse of the major seven chord led many to believe that they could progress just about anywhere and, as you point out, with proper voice leading, it would still sound okay. Bacharach and bands like Chicago were exploiting major seven chords a lot in those days in my mind (whether it is true or not). Anyway, I ended up in the exact opposite direction - by choosing to remove the piano (your forte - pun intended!) and explore a cappella music, I stopped all that stacking stuff and even the scale stuff and focused in on the harmonic suggestibility of single notes. Your knowledge of jazz standards and icons is vast, mine is minimal - but it raises the question of whether some jazz players of solo (one-note) instruments - saxophone, etc. - also have taken that route? But, anyway, that's about my journey (and their journeys), not yours, and I appreciate going down the rabbit hole with you! Your thoughts and feedback are welcome.
Hey Barry, thanks for these lovely thoughts! Just want to address one point in particular - about this being primarily concerned with triads (and some 7th chords). What I'm showing here is entirely about function, not about voicing. So, for example, you could take these exact same ideas and replicate them with 13th chords, or do something different and use 1-2-5 voicings for every chord. The function stays the same. I like to think of what I'm showing here as the bones underneath the skin. As Bud Powell and Monk showed, you can dress up the bones with very different-sounding skins (1-7 voicings for example) and still maintain the underlying function.
@@DanTepferMusic Boy, did I have a weird, incomplete, and apparently insufficient early education! This explains why my piano playing (and piano composing) is so bad! Apparently I learned voice leading subconsciously by singing in choirs, and simultaneously was taught about root position, first inversion, second inversion (etc.), but was never really formally taught about voicing (spacing) which, in choral work is inherent, and in piano accompanying (that's all I was really taught) can be physically impossible (at least for me!). Very early in my "career" I was criticized for using too much root position, I probably stopped the piano lessons before my piano teacher had a chance to teach me what is so fundamental to jazz. Since the whole "establishing the tonal center" was never my thing (i know, I know), the ignorance was bliss. I had to look up several things in your answer, it was all new to me! My piano teacher (name mercifully lost to history, I hope) had me read the guitar chords off of pop music arrangements (not actually play the arrangements!), plunk down an octave in the left hand and play a chord in the right hand. I guess I learned inversions so that my right hand didn't have to jump all over the place. But no subtraction of notes at all. I know, sounds astonishing. When I became interested in musical theater, I studied a lot of piano-vocal scores, many of which were reductions of pit orchestra scores. I used to say my own piano accompaniments were written like piano-vocal scores (if I had been exposed to Gershwin and Cole Porter earlier, that wouldn't have been the case, their piano accompaniments are so wonderful, as is Sondheim) - but most of what I encountered were simplifications to make it easier for bad pianists like me! I have been schooled.
@@DanTepferMusic My younger son and I talked an hour about your response. I am so appreciative of what you wrote. He's the jazz guy, and it gave us an in to talk about that. So thank you!
Glad you agree! Basically I've just applied the fundamental rules of counterpoint that you can find in any textbook (Burstein / Straus Concice Introcution to Tonal Harmony is a good one) to choose between all possible voicings of a chord
I like the idea - although it's not always 6. For example, in Major we have 6 diatonic chords to choose from, but in minor we have more. And there are (the way I'm counting them here) 9 secondary chords. And then there are only 5 related keys to modulate to, not 6. Music has an annoying way of breaking regularity.
@@DanTepferMusic might still be possible to do it. Just like there are tilings that involve more than a single polygon in the euclidean plane, there also are tilings with different polygons in the hyperbolic plane. Infact, I'm pretty sure you could make *any* tiling work in hyperbolic space? Because the sum of angles there isn't constrained. You can go as high as you want. I'm not 100% certain of this though
This is fantastic. I'd love to see how the data is represented for this. I'm a software engineer attempting to approach music and this could be very useful for one of my pursuits.
This is really cool. Two hugely unreasonable requests from a complete stranger: 1. Make the code / app public plz? 2. Make another video somehow animating a flight through this landscape to Giant Steps so it finally makes sense to me.
1. considering it, will let you know 2. giant steps isn't exactly tonal; it's modal. it's written in messiaen mode 3. the same ideas as here apply, actually - but I'd have to rewrite the program to use that mode rather than maj / min.
what software did you make this in, did you use a game engine or is this just like, a very large amount of c++ or something... after reading the description im assuming the latter is correct... how many lines is this thing jesus... very very impressive. voice leading especially is super impressice regardless, this super cool and i wanna try it!
Mindblowingly cool - the fractal secondary chords especially :D Makes me think a lot about the geometric relationship between all of these things, especially when you mentioned Wagner etc modulating to 'more distant' keys. Do you imagine this structure extending out further than was shown in this video, with something like the key of D being one step 'further' in the direction of G from C? If you kept going in that direction long eonugh, modulating by 5ths, would you eventually come back to C? Or is the structure relevant only for a particular piece of music which will always have the I chord of the home key at its center?
Thanks much, and great question. The answer is yes - the structure extends infinitely in all directions. So, if you're in C Maj and you modulate to D min, then you could modulate to G min (just an example of a key related to D min) from there. Bach tends to stay with the keys that are directly related to the home key, but composers after Bach often go further. For example, if you want to go from C Maj to D Maj, you can't go there directly; you have to make a stop along the way - could be G Maj, but also could be A min (D Maj being the raised IV of A min). You can also go to the parallel minor of keys - and this is something Bach does (see for example the Prelude in D Maj from WTC Book I, where the whole ending is suddenly in D min), so if you wanted to go from C Maj to Ab Maj, for example, you could go C Maj -> C min -> Ab Maj. The issue is that the farther you go away, the less the reference to the home key - that essential gravity - is preserved. So the storytelling aspect can be lost if you're not careful.
@@DanTepferMusic Brilliant, thank you! I suppose you have to produce a whole volume of work to do a full loop, well-tempered clavier style :P I actually have one more question - I've been scratching my head over your secondary chords - it seems like you have some system that you're using to identify some of the more exotic ones e.g. E7 -> C. Is that system your own invention or is there somewhere I can read more about it? My best attempt so far is "chords that have at least two semitone intervals to the target chord, have four notes, a tritone, and the tritone can't contain any of the notes in the target chord', but that's giving me things like B7 leading to C which I'm not sure if I like...
@@lachlansleight I think I touch on this in the video. The mother of all the secondary chords is the diminished seventh a half step below the root of the chord we're aiming for. This diminished seventh chord has two tritones which both resolve very strongly towards the notes of target chord. The easiest way to think of the other secondaries is that they're the chords you get if you move any of the four notes of the mother chord by a half step in either direction. If you really want to understand how this stuff works, I highly recommend Schoenberg's Theory of Harmony.
@@DanTepferMusic Oh man yep you literally say it right in the video...nobody shall ever see the abomination of an algorithm that I made to output those same chords hahaha.... Thanks again!! Looking forward to the album release. Don't leave Australia off the tour! :D
This is my favourite video on RUclips. Mystical. The best informative journey for visual learners.
10:35 may be the most paradigm-shifting piece of information i've ever heard in regards to music theory.
🙏🏻🙏🏻
Please make this programme available! This is amazing and I need it in my life ahah
hopefully sometime...
this is a game changer thanks!
As an old Jazz sax player told me and it always in the back of my head... There are many paths to the same destination. This is a great map of potential paths to a destination. THANK YOU!
Absolutely amazing, I really enjoyed watching this and, as someone who is visual, this helped me so much to connect what was going on harmonically. Thank you for sharing this! I would be very interested if you made this app public! Wonderful learning tool !!
holyshiet, I want to create this and on the way learn how to do it. I started with openGL several days ago. OMG you did a great job here. thank you, thank you, thank you
You did a fantastic job that allows me to explore deeper into the harmonic world. thx!
This is pure gold! Is there a way we can access this programme? This could be a great teaching and experimentation tool. Couple it with physics and cool avatars, you now have a music themed platformer!
I should definitely find a way to make this public. Hopefully soon!
This would be more than just a music-themed video game, this would be a totally new approach to writing music while also democratizing complex harmonic movement in a way no one has ever seen before. I'm more of a story teller and a writer than a musician and even I could see how I can use this program to make some really powerful music. This could be incredible!!!!
@@DanTepferMusic looking forward to it !!
@@micaiahkuhl6973totally agree. Seriously love the concept of this
I’ve developed something complimentary to this. A similar lattice structure but the pitches of just intonation. The beauty of the careful arrangement of harmonic relationships is you know exactly the identity of the pitches. I’d love to team up, maybe share code.
wonderful you did this. I'll watch it intently another time. these days creativity can look like this video and maybe it sometimes should. made me think about that. bless your hands.
Amazing. Nothing here is really new to me, but the way you displayed is, and your clear and precise explanations makes me think about tonal harmony in a different way. All this opens news horizons for me to explore. Thank you ❤️
:-) 🙏🏻🙏🏻
Wow. this is incredible. i would 100% buy this program as a standalone app for music theory learning or as a music producer if this was somehow created into a VST for music compoistion/writing that converts chosen chords into midi you would change the game. you really have a multi million dollar idea here.
Interesting approach , especially the metaphoric idea of a landscape in a gravitational tonal world. would love to have this as an app oder programm on pc. great work
Wow! This is so inspiring! Would try to recreate this landscape on the web, in 2D and with 12 Chromatone colors.
SO COOL
holy I am in *love* with this video. I'm going to save it and refer to it as a resource and share it!!
I've been trying very badly to break out of using diatonic chords (clean modulation that doesn't feel disjointed is a magic beyond me). I think my problem is I haven't exposed my ear to enough sounds while playing them to break that ice yet.
Anyway, thank you so much! I'm glad you went down this rabbit hole and shared your journey, this helps visualize things a lot!
modulation is a tough thing to get right, but once you understand the principles (and i'd recommend schoenberg's theory of harmony on this point), it's a lot easier.
@@DanTepferMusic I’ll check it out, thank you!!
Amazing!
This reminds me of a savant who is featured in a youtube video who can recite Pi out to 22,000 decimals with perfect accuracy. He says he sees the numbers in an internal imagined topography where they appear to him in an aesthetically pleasing order. He has this extraordinary ability not from brute force memorization, but from developing a personal intimacy with numbers. Your computer program looks like sea mounds on the ocean floor each inhabited by a tonality and its family of related chords. I find it liberating to visualize the various tonal centers sort of scattered about as opposed to the rigid layout of the keyboard.
As an aside, at the point in the video when you were demonstrating harmonic relationships devoid of voice leading principles and saying they didn't really make sense, I was in the kitchen listening, just not watching, but they struck me as sounding really interesting. It was one of those moments where I was reminded just how rich the element of harmony is.
Amazing video! What program did you use to make this? Also, it seems like the automated voice-leading would be hard to implement, did you do that yourself?
thanks! i coded all this in processing (processing.org). and yes i coded the voice-leading myself and yes it's a challenging problem...
Fantastic ¡¡
This is really great, and also a great representation. Yes, chord spellings are very important. All the more so in Pythagorean tuning as you showed with the tetractys in your other video. I would love to see and hear how this same program would sound where every single note had it's own Pythagorean frequency WITH the voice leading turned on. Because in equal temperament it is a closed imperfect circle, but I imagine in Pythagorean you could hear the closeness of the keys and distance also with the intervals derived only from a chain of 3/2 fifths, at least to 53 notes per octave, from Ebbbb to Cxx. The two ends of that chain of fifths closes within 4 cents of a perfect fifth. There is much to be explored in Pythagorean tuning, and it may be able to be quickly and easily heard with a program like this. Like is it possible to modulate from G# major to Fbm with one chord in between or two? Hearing the effect of such movements and being able to visualize these extra distant key modulations with proper voice leading would be amazing to hear, and could be quite the tool and ground work for writing music
I just reproved a jazz pianist who had a program on screen showing what notes he was playing on his keyboard. He was trying to explain an advanced subject, but everything on screen was misspelled (and he was playing quite a lot and fast) which made seeing the order and logic in the voice leading impossible. Without proper spelling of notes, the true meaning of the music, intellectually is obscured.
Dan, this is a lot of work and fully explored. As a composer who, like everyone else, started in tonal harmony but then ended up exploring first atonal harmony and then pantonal harmony (I admire polytonal harmony, but I don't think I've explored it much), returning to your universe (and exploration of it) is something I respect and admire. Stravinsky, the polytonalist extraordinaire, went back and wrote Symphony in C as a way of declaring that there was still much to be done with tonal harmony (he ended his life exploring atonal harmony). For me, I think it was the whole tone scale which initially led me away from tonal harmony.
What struck me is that your exploration stays primarily with triads - my early education in chords went deeply into four and five note chords, such as triads with unusual bass notes, and then the whole 7/9/11/13 stacked chord stuff. I've been thinking about it a lot lately, due to Bacharach's recent passing. Given that I came of age in the 70's, I remember thinking that overuse of the major seven chord led many to believe that they could progress just about anywhere and, as you point out, with proper voice leading, it would still sound okay. Bacharach and bands like Chicago were exploiting major seven chords a lot in those days in my mind (whether it is true or not).
Anyway, I ended up in the exact opposite direction - by choosing to remove the piano (your forte - pun intended!) and explore a cappella music, I stopped all that stacking stuff and even the scale stuff and focused in on the harmonic suggestibility of single notes. Your knowledge of jazz standards and icons is vast, mine is minimal - but it raises the question of whether some jazz players of solo (one-note) instruments - saxophone, etc. - also have taken that route? But, anyway, that's about my journey (and their journeys), not yours, and I appreciate going down the rabbit hole with you! Your thoughts and feedback are welcome.
Hey Barry, thanks for these lovely thoughts! Just want to address one point in particular - about this being primarily concerned with triads (and some 7th chords). What I'm showing here is entirely about function, not about voicing. So, for example, you could take these exact same ideas and replicate them with 13th chords, or do something different and use 1-2-5 voicings for every chord. The function stays the same. I like to think of what I'm showing here as the bones underneath the skin. As Bud Powell and Monk showed, you can dress up the bones with very different-sounding skins (1-7 voicings for example) and still maintain the underlying function.
@@DanTepferMusic Boy, did I have a weird, incomplete, and apparently insufficient early education! This explains why my piano playing (and piano composing) is so bad! Apparently I learned voice leading subconsciously by singing in choirs, and simultaneously was taught about root position, first inversion, second inversion (etc.), but was never really formally taught about voicing (spacing) which, in choral work is inherent, and in piano accompanying (that's all I was really taught) can be physically impossible (at least for me!). Very early in my "career" I was criticized for using too much root position, I probably stopped the piano lessons before my piano teacher had a chance to teach me what is so fundamental to jazz. Since the whole "establishing the tonal center" was never my thing (i know, I know), the ignorance was bliss. I had to look up several things in your answer, it was all new to me!
My piano teacher (name mercifully lost to history, I hope) had me read the guitar chords off of pop music arrangements (not actually play the arrangements!), plunk down an octave in the left hand and play a chord in the right hand. I guess I learned inversions so that my right hand didn't have to jump all over the place. But no subtraction of notes at all. I know, sounds astonishing.
When I became interested in musical theater, I studied a lot of piano-vocal scores, many of which were reductions of pit orchestra scores. I used to say my own piano accompaniments were written like piano-vocal scores (if I had been exposed to Gershwin and Cole Porter earlier, that wouldn't have been the case, their piano accompaniments are so wonderful, as is Sondheim) - but most of what I encountered were simplifications to make it easier for bad pianists like me!
I have been schooled.
@@bdrogin Ha ha - I certainly didn't mean to "school" you in any way! I do think this idea of separating function from voicing is a useful one.
@@DanTepferMusic My younger son and I talked an hour about your response. I am so appreciative of what you wrote. He's the jazz guy, and it gave us an in to talk about that. So thank you!
@@bdrogin Nice!!
Thanks a lot, I appreciate every little detail.
Amazing video!!
Can you go a bit more in depth into how did you setup the voice leading? It really makes a world of difference
Glad you agree! Basically I've just applied the fundamental rules of counterpoint that you can find in any textbook (Burstein / Straus Concice Introcution to Tonal Harmony is a good one) to choose between all possible voicings of a chord
Un bocado de arte.
This is so genius
This kinda looks like it'd work best in some sort of 6-sided hyperbolic representation. Some tiling where every vertex leads to six new vertices
I like the idea - although it's not always 6. For example, in Major we have 6 diatonic chords to choose from, but in minor we have more. And there are (the way I'm counting them here) 9 secondary chords. And then there are only 5 related keys to modulate to, not 6. Music has an annoying way of breaking regularity.
@@DanTepferMusic might still be possible to do it. Just like there are tilings that involve more than a single polygon in the euclidean plane, there also are tilings with different polygons in the hyperbolic plane. Infact, I'm pretty sure you could make *any* tiling work in hyperbolic space? Because the sum of angles there isn't constrained. You can go as high as you want.
I'm not 100% certain of this though
@@Kram1032You don't need to constrain yourself to the hyperbolic plane.
You can think about it as a gaph mesh.
This is fantastic. I'd love to see how the data is represented for this. I'm a software engineer attempting to approach music and this could be very useful for one of my pursuits.
There's actually no data per se - only the home key. Everything else is generated dynamically according to the underlying hierarchies.
@@DanTepferMusic That's even better for the thing I'm approaching in my code!
This could be an app in the app store😂
This is really cool. Two hugely unreasonable requests from a complete stranger:
1. Make the code / app public plz?
2. Make another video somehow animating a flight through this landscape to Giant Steps so it finally makes sense to me.
1. considering it, will let you know
2. giant steps isn't exactly tonal; it's modal. it's written in messiaen mode 3. the same ideas as here apply, actually - but I'd have to rewrite the program to use that mode rather than maj / min.
this is a beautiful visual sonic representation - thanks mate - btw where can I get one to play with?
thinking about how to release it as an app...
what software did you make this in, did you use a game engine or is this just like, a very large amount of c++ or something...
after reading the description im assuming the latter is correct... how many lines is this thing jesus... very very impressive. voice leading especially is super impressice
regardless, this super cool and i wanna try it!
I coded it all in Processing.org. A nice environment for quick prototyping.
Wtf did I just stumble into? 😂
From C to shining C
So cool. What did you write this in?
Processing.org!
Nice!!!
loved it! somehow it reminded me of Jurassic Park
that's hilarious
So, it's more like a fractal
like
Incredible! What programming language was used to create this?
i wrote it all in processing 🙂
@@DanTepferMusic that's impressive!
What kind of algorithm you used for voice leading?
@@DiogoCocharro just wrote my own following some of the principles of counterpoint :-)
isnt it in a public yet?
not yet
@@DanTepferMusic thanks for reply, still waiting)
isnt it a public yet?
you mean an app?
Mindblowingly cool - the fractal secondary chords especially :D
Makes me think a lot about the geometric relationship between all of these things, especially when you mentioned Wagner etc modulating to 'more distant' keys. Do you imagine this structure extending out further than was shown in this video, with something like the key of D being one step 'further' in the direction of G from C? If you kept going in that direction long eonugh, modulating by 5ths, would you eventually come back to C? Or is the structure relevant only for a particular piece of music which will always have the I chord of the home key at its center?
Thanks much, and great question. The answer is yes - the structure extends infinitely in all directions. So, if you're in C Maj and you modulate to D min, then you could modulate to G min (just an example of a key related to D min) from there. Bach tends to stay with the keys that are directly related to the home key, but composers after Bach often go further. For example, if you want to go from C Maj to D Maj, you can't go there directly; you have to make a stop along the way - could be G Maj, but also could be A min (D Maj being the raised IV of A min). You can also go to the parallel minor of keys - and this is something Bach does (see for example the Prelude in D Maj from WTC Book I, where the whole ending is suddenly in D min), so if you wanted to go from C Maj to Ab Maj, for example, you could go C Maj -> C min -> Ab Maj. The issue is that the farther you go away, the less the reference to the home key - that essential gravity - is preserved. So the storytelling aspect can be lost if you're not careful.
@@DanTepferMusic Brilliant, thank you! I suppose you have to produce a whole volume of work to do a full loop, well-tempered clavier style :P
I actually have one more question - I've been scratching my head over your secondary chords - it seems like you have some system that you're using to identify some of the more exotic ones e.g. E7 -> C. Is that system your own invention or is there somewhere I can read more about it?
My best attempt so far is "chords that have at least two semitone intervals to the target chord, have four notes, a tritone, and the tritone can't contain any of the notes in the target chord', but that's giving me things like B7 leading to C which I'm not sure if I like...
@@lachlansleight I think I touch on this in the video. The mother of all the secondary chords is the diminished seventh a half step below the root of the chord we're aiming for. This diminished seventh chord has two tritones which both resolve very strongly towards the notes of target chord. The easiest way to think of the other secondaries is that they're the chords you get if you move any of the four notes of the mother chord by a half step in either direction. If you really want to understand how this stuff works, I highly recommend Schoenberg's Theory of Harmony.
@@DanTepferMusic Oh man yep you literally say it right in the video...nobody shall ever see the abomination of an algorithm that I made to output those same chords hahaha....
Thanks again!! Looking forward to the album release. Don't leave Australia off the tour! :D