Raw Notes: iReal Pro x Loopy Pro x Scaler

Low hanging fruit: Ableton Link
Ultimate Jazz Improv solution: from training to performance and recording, even analysis
Kludgy workaround (Design Thinking’s skateboard): Sync through MIDI?
MVP: plugin host with recording
Better: chord memory/pads
Alternate path: “theory” plugin
Probable deadend: internal pianoroll
Norman’s Law of EdTech convergence: any sufficiently elaborate tool will take on properties of a DAW
Necessary AI hype: like musicians playing with you, responding to what you play, proposing new ideas, adapting as you go along, developing a bond, inspiring you, occasionally coaching you, understanding what you mean
Some implementation details, along the way (to be classified in order of feasability later)…
Identify chord tones, passing tones, off-scale with both colour and shape
Chord/scale visibility along the way: making available, taking away the “crutch” at the appropriate time
Semi-generative basslines (from elaborate arpeggiator to continuous learning)
Generating chord progressions, with voice leading
Sync chord track across all tracks
Microtonality with MTS-ESP
Hermode-like dynamic tuning
Dynamic scale quantizer based on scale/chord compatibility
Identifying avoid notes for each chord
Diverse chord voicing, including some based on basic acoustics
Automatic harmonization and counterpoint
Rotating chords
Expressive instruments and voice-like expression
GAN-like “Trade Fours”
Call and response with variations
Identifying riffs, motifs, patterns, quotes… with repetition and transposition
Buildup and solo structure
Exercise/drill with numbered patterns (in fourths, minor thirds, chromatically, in whole steps… modulated across scales)
Tritone substitutions and “playing out”
Tension/release with heat map
Drum patterns with fills, suggestions, responses, following established pattern (à la Logic Pro), sidechaining
Sampled Jazzy Chords
Generative soloing à la Impro-Visor
Live recording per chord
Metadata per “song”, track, with versioning and Linked Open Data
Public Domain material
Creative Commons attribution
Sample Library finding similarities
Citizen DJ, Atlas, XO…
Leadsheets with lyrics
Visualization track sending to separate monitor, allowing for recording
Image to chords
Chords and moods
Chord suggestions
Context for song/progression
Blues logic
Diatonic playing
Moving from diatonic to ii-V-I progressions
Identifying ii-V-I and other chord patterns
Use in classroom
Collaborative editing
Full scale database with Forte numbers and chord/scale compatibility
Shape of Jazz to Come
Bringing back Soul to the machine
Eargasm improv method
Generic backing tracks
Design insight: from paper prototype to fully-produced track with lots of improv in the middle
(While listening to Figma interview on Decoder)
From top notes to full melody to ornementation, à la Irish traditional music
Diverse répertoire including “World Music”
Quartal and other approaches to harmony
Brainstorming a song
JazzImprov insight for organizations
Non-Jazz approaches, including xenharmonic improvising (EDO or not)
Going beyond the quartet
Classifying sounds/instruments, functionally (from drums/rhythm and chords/pads/keys and bass and lead to…)
chords as stabs
sound design
Participatory discrepancies
Tutorial mode (as “crutch”) to Open World and Free Jazz with automatic shifting of chords to fit what’s played
Playful Musicking
Avoiding cultural reappropriation
Informed consent
Cybersecurity on access, confidentiality, integrity
Lower stakes
Fleeting moment, disappearing content, modular rig, no posterity
Chord identification
Alternative chord names
Full structure with voicings
“Pianoroll” and TUBS as alternatives to staff notation
LinnStrument-like controller with chromatic rows in fourths
Training à la “Building Blocks” (Audible Genius)
Times to practice
Sequencing learning modules: nonlinear learning pathways
Practicing with headphones as revealing
Sending recordings to teacher
ROMplers and Physical Modelling
Expressive synths
Uncanny Valley vs. organic-sounding impossible instrument
Expressive controllers
MIDI 2.0 story with sending chord information
Digital notation for scales in n bits (number of notes in the scale)
Combinatorics and Pitch-Class Sets
From math problem to feels
Groans to curate lick/chords combination
Tabla playing tension from polyrhythm resolving in sync
Group improv as active listening
“Getting to Yes, And…”
Relative contributions
Wall of noise and lost in sound
Stems as practice tracks
Lone performer with full automated band
Topic Modelling for riffs, licks, patterns?
Autoethnography and self-compassion (prelude to Participatory-Action Research)
Inclusive Learning through Music Technology
Reflexivity in mirrored playing
Listening to your own recordings, identifying key points without judgment and with compassionate assessment
Curator’s mindset and criteria not set in advance
Productive mistakes
Failing elegantly
Assessing competencies
Debrief after jam session?
Jamming as workplace practice
From narrative to conversation
Verbal Art as Performance
Breakthrough into Performance
Stage Fright
Stage Freight
Free Associations
Musicking as meditation
Musicking as discovery
Musicking as teambuilding
Musicking as initiation
Rites of passage and communitas
Jamming as condensed friendship
Losing the perception of hierarchy and judgment
Not all soloists are extroverts
From instrument as body’s extension to posthumanism
Voice envy
Polyvocality and voice notes
Welcoming thoughts
Musical collabs
Playing with more experienced players across traditions, schools, genres, ages…
Switching roles in Silicon Beats
Ritzer’s Prosumption
Prosumer market for “music production”
Addressable market with multiple niches
Musicking games and toys
Early Childhood Education
Avoiding pianocentrism and scriptocentrism
Broad database of musical elements, from patterns to pieces, authorship to influences

Differences between raga, maqam, “church modes”, serialism, Neo-Riemannian…


A cappella harmonies as inspiration

Inner Jacob Collier
Business models for musicking
Make music, not war

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