Polaris

I learned something else. The numbers representing the chord transformations cannot go into the negatives, because doing so has a harsh effect. Here's the improved version of that song generated from my simple input melody:

One of my main goals is just to be the shoulders on which giants stand. Everything I discover about music, however small, will go on to inspire generation after generation to come, sending waves and waves of inspiration throughout the rest of history.

I believe I have found the main principle behind varying and selecting a variety of chord types rather than mainly just one as happened in many of my previous pieces from the program of mine. A short example. All I did was enter the simple melody and then, through trial and error, chose the chord types by inputting from a very limited selection of numbers representing different transformations of the input melody notes into a full chords.

Music is, like all, things modeled after the Trinity--a threefold difference within sameness. That's precisely what harmony is--first of all, primarily triadic (as there are only three broad pitch classes that can be simultaneously combined while achieving a truly consonant effect); second of all, it is a coordinated action by separate agents united under one will and purpose; third, a harmony is one thing with many--primarily, three--parts. We simultaneously hear it as one and as more than one. If it were just one, it would not be harmony; and if it were composed of things completely separate, it would not be harmony either. It is, like the Trinity, both at the same time.

Not so much Hegel. Christianity, in my own highly mystical and unique brand, is the primary philosophical inspiration behind this program. I know not everyone agrees with the teachings of Christ, but there are million things in my life that point strongly and unambiguously to the truth of the religion. Christianity is written into the very fabric of the universe at all levels. And no, I'm not one of those naive Christians who believe everything they say at church. I have a lot of strong disagreements with common teachings in the religion. But I do think the religion is at its heart true, and it has served as a wellspring of inspiration for me.

Kudos to you for knowing who Hegel is. I'm a philosophy buff, so, unsurprisingly, I'm familiar with his teachings, as well. My love of philosophy is one of the major inspirations behind my design of this program.

I don't think the music is that great. I still have a long way to go. But I'm having some interesting and rather effective ideas. Keep in mind that I started designing this thing from scratch less than half a month ago. So obviously it hasn't attained anything approaching its final state. EDIT: My goal was to be able to take a simple melody and have this program do something elaborate with it, something that preserves the melody's governing role and its status as initiator and foundation. That's basically what I've been doing so far, with ever greater precision.

I agree, the piece I posted most recently did have a grating sound. I took a slight misstep, although it's interesting that I was able to get that shivering sound consistently. It at least means I was onto some kind of principle behind sound, and I learned something from it. I'm using what is called a phasor to produce the sound. It is indeed a sawtooth wave, which is, yes, a grating sound. I intend to swap it out for something more organic, or at least pleasanter-sounding, but I haven't yet gotten around to doing that. The phasor object is what is provided ready-made in the programming language I'm using, so I've defaulted to it for now. Here's a piece I accidentally deleted and had to reupload. I like it even if you don't:

Also, you're not correct that the music I've posted so far consists of purely parallel motion. It did have a fair lot of that for reasons I've already mentioned and corrected. But there were, in fact, several melodies moving independently in a number of the pieces I've posted. This is not a delusion on my part. The program I'm using tells me what notes are being used by each melody, so I know what I'm talking about.

I'm gradually improving the program. Obviously, it's not perfect. It's just getting better and better. As far as why I'm doing this, it's because I want to understand the nature of music. I don't care that AI can do a better job. That isn't the point of this endeavor.

I've been studying dissonance for the past hour, and I've come up with a theory that I think explains it very well. Here's a melodic fragment input into my program, where my theories are used to its advantage:

Until now, I had only used one type of chord in my compositions using the program I developed. Here is a very short example of using dissonance and varied chord varieties. The next thing I'm going to do is apply the same principle to a longer song.

There is a setting in my program that controls both the chord type and its level of dissonance. I had accidentally set this to slight dissonance for the previously posted song. So here's the same input melody, this time in a minor key. The next thing I'm going to do is render the same input melody with a variety of chord types instead of endless minor chords.

By the way, here's the octave-corrected version of the song I previously posted. It might interest you to learn that part of what I was attempting to do with this piece was write a kind of fugue. How? By having the input melody repeat the a certain motif at various, often wildly different pitch ranges. Whether it worked or not is debatable, but it was a worthwhile attempt. Also, on a side note, I learned with this pieces that getting the melody too far out of middle range results in an unclear sound. So in the future, I'm probably going to stick close to the middle octave when writing the input melody, or at least dip into other octaves only relatively briefly.

I just realized that the song is an octave too high. Not a huge deal, but it would sound better transposed down. Another thing I realized: whether the chords are major or minor is actually determined by the input melody's tessitura. There are a few minor chords in the song I posted above, and it's because the melody entered the proper range.