Two things come to me right away. One of the things Bach did was to start using certain notes that implied a key change before there was any indication of momentum towards a key change. It's easy to work a Bb into a theme in C without giving too much away. Then when it happens, the change sounds like it fulfilled some subtle destiny. I have *no idea* how you could do this with Pd. You can get away with a lot of little borrowed progressions with jazz. Any chord whatsoever can be preceded by a dominant 7th, or a tritone sub for a dominant 7th, and that in turn can be preceded by a minor 7th, or a tritone sub for that, and so on. You could actually have lots of momentary forays that would end up returning to the original key.
Far easier to come up with ideas for it than to actually patch them... -Chuckk
On 8/11/06, Damian Stewart damian@frey.co.nz wrote:
hey everyone
i'm setting out to build an automatic chord progression system - you tell it to start in C Major, centre around E minor, with a given deviance factor, and then bang it repeatedly and it spits out a new chord/voicing each time you bang it, that makes harmonic sense and sounds good as a progression.
(why? it struck me while i was listening to my friend's set the other night that too much dance- or dance-derived music is harmonically static. simple solution: make a quasi-intelligent system that knows what progressions sound good, and get it to do all the work. imagining coupling it up to fiddle~ and a vocalist..)
based on jazz harmony theory, which i have had the tiniest of nosies into, this will involve encoding knowledge about all twelve scales, major and minor, as well as the modes and relationships between them. before i start, is there anything i should look at that might help, or solve the problem for me, or make the whole idea irrelevant?
cheers d
-- f r e y live music with machines http://www.frey.co.nz
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