First of all, from a personal and very prejudiced point of view, I think, you should consider having progressions of "cells" and ditch this triadic way of thinking. I often like harmonically static music, I don't think that's the problem. I think the problem is that the harmony chosen is of the simplest kind. For minimal types of techno, I prefer static over the kinds of stupid triad sequences we get in pop music and such. However, it's best if the harmony chosen were some cell like, F Gb A Bb B Eb, much less offensive than C E G. If you do stick with triads, consider Wagnerian type sequences and chromatic cycles.
<br><br>I can tell from the jazz point of view, C major is not what it is in classical music. For instance, giving an extremely simple example, the construction C E G B D F# A, would be a perfectly valid chord to impose over C major. Or, listen to John Coltrane live solos on "Impressions", which goes {D minor, D minor, Eb minor, D minor} -- harmonically static, yet inclusive of all 12 notes (not too mention some sounds that can't really be described as notes per so).
<br><br>Also, any solutions will be trivial, if they do not have the possibility to produce bad results. It might be cooler, to have a computer spit out progressions, and you choose whether you like it. Perhaps a neural net could learn your taste in harmony?
<br><br>Technically, this sounds like a job for markov chains. <br><br>~David<br><br><div><span class="gmail_quote">On 8/11/06, <b class="gmail_sendername">Damian Stewart</b> <<a href="mailto:damian@frey.co.nz">damian@frey.co.nz
</a>> wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">hey everyone<br><br>i'm setting out to build an automatic chord progression system - you tell
<br>it to start in C Major, centre around E minor, with a given deviance<br>factor, and then bang it repeatedly and it spits out a new chord/voicing<br>each time you bang it, that makes harmonic sense and sounds good as a
<br>progression.<br><br>(why? it struck me while i was listening to my friend's set the other night<br>that too much dance- or dance-derived music is harmonically static. simple<br>solution: make a quasi-intelligent system that knows what progressions
<br>sound good, and get it to do all the work. imagining coupling it up to<br>fiddle~ and a vocalist..)<br><br>based on jazz harmony theory, which i have had the tiniest of nosies into,<br>this will involve encoding knowledge about all twelve scales, major and
<br>minor, as well as the modes and relationships between them. before i start,<br>is there anything i should look at that might help, or solve the problem<br>for me, or make the whole idea irrelevant?<br><br>cheers<br>d<br>
<br>--<br>f r e y<br>live music with machines<br><a href="http://www.frey.co.nz">http://www.frey.co.nz</a><br><br>_______________________________________________<br><a href="mailto:PD-list@iem.at">PD-list@iem.at</a> mailing list
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