307 karma · joined June 25, 2024
But if that's what they were going for it should be something on a completely different and more abstract topic like "develop a method for emptying your swimming pool without electricity in under four hours"
edit: [link](https://github.com/simonw/llm)
I have spent a lot of time measuring rooms and you can't underestimate how they can mess with frequencies, but it's also true that good speakers sound pretty good in almost any room, and bad ones will sound bad.
Here's an experiment: give an LLM a balanced middle game board position and ask it "play a new move that a creative grandmaster has discovered, never before played in chess and explain the tactics and strategy behind it". Repeat many times. Now analyse each move in an engine and look at the distribution of moves and responses. Hypothesis: It is going to come up with a bunch of moves all over the ratings map with some sound and some fallacious arguments.
I really don't think there's anything too mysterious going on here. It just synthesizes existing knowledge and gives answers that includes bit hits, big misses and everything in between. Creators chip away at the edges to change that distribution but the fundamental workings don't change.
It has no idea about the quality of it's data. "Act like x" prompts are no substitute for actual reasoning and deterministic computation which clearly chess requires.
I mean, it's pretty clear to me they're a potentially great human-machine interface, but trying to make LLMs - in their current fundamental form - a reliable computational tool.. well, at best it's an expensive hack, but it's just not the right tool for the job.
I expect the next leap forward will require some orthogonal discovery and lead to a different kind of tool. But perhaps we'll continue to use LLMs as we knownthem now for what they're good at - language.
- Chords are definitely not always built on thirds. Mainly the traditional western sounds are.
- Even more importantly, chords are never named in isolation, they are named with respect to their musical context. An Am7 could more correctly be called a C/A depending on the overall harmonic picture - the melody, the chords before and after and even the emphasis created by the performing musicians. Voicings are basically ignored but could be said to come under this point.
When I teach harmony to students I always point out the key thing to understand is how the harmony is changing, and to look at it dynamically not statically. It's more about the relative motion of notes comprising chords than names although names are obviously a useful construct.