Pepperidge Farms remembers that Indiana Jones was the good guy.
9,859 karma · joined April 16, 2009
After the demise of Twitter, I first tried Post.news — which had great branding but failed to get the everything-is-a-tweet model right (comments were 2nd class citizens to posts).
Then I moved to Mastodon, which I enjoy. Mastodon’s biggest issue is the enormous UX hurdle to pick an instance before even signing up, though. That and the lack of a unified view (mentioned in the article) will probably keep it niche. Also lack of quote-tweeting, a deliberate choice.
BlueSky is the first truly worthy successor. It’s better than Twitter in its prime, before it went algorithmic. It allows quote-tweeting but gives the quoted party control over the scenarios that Mastodon was trying to prevent by avoiding the feature entirely.
https://www.youtube.com/watch?v=CrmnaiyS5EE
This thread reminded me of the "Conclusions" slide.
That's definitely not the aim here. There's nothing here related to consonance/dissonance, and there are no variations in hues. There's just one red, one yellow, one blue, one orange, one purple, and a single green: six fixed colors altogether.
So a major/minor triad that has one yellow note and two red notes is the same shade of orange as one that has two yellow notes and one red note.
The utility and beauty of the colors is that the 3 primary colors — and their equal-parts mixing forms secondary colors — makes an astonishing metaphor for how individual notes mix to create base triads that have one of 3 musical functions, which correspond to the secondary colors.
Then, in addition to that, the color of extension notes (which will again be primary colors) seem to make that chord "want to resolve" to chords where the base triad is the complement of that extension note's color.
One can try to take the metaphor too far, but just this much is compels me.
There are other interesting details, though, like all augmented triads and sus2 or sus4 triads are tri-color, which seems to align well with their functional ambiguities.
If you look at the screenshot of the Tonnetz I linked to elsewhere in the thread, it seems that what we feel when we sense that we have moved from one chord-function to another (in some chord progression) actually comes from moving from one of the diagonal secondary-color "lanes" in the tonnetz to another.
I ultimately made peace with this because the greater goal is to break you out of the key prison so you can learn to move anywhere. In this light, it makes sense to assign the colors to the pitch class.
Here's a video someone made to describe the idea better than I have:
https://www.youtube.com/watch?v=qjR13Jz7YYw
Here's a screenshot of a Tonnetz I drew in SwiftUI using this color scheme:
https://imgur.com/a/metaharmony-tonnetz-c-major-6th-diminish...
C is yellow, C#/Db is red, D is blue, D#/Eb is yellow,...etc
First observation: the notes of each of the three diminished tetrads are monochromatic (their notes all have the same color.)
Then, look at the major minor triads and assign them secondary colors (purple, orange, green) depending upon the colors of their constituent notes.
So, for example the C major and C minor triads are both orange chords. F major and F minor triads are green chords. E minor and E major triads are green chords, etc.
This is a scheme that Tom Glazebrook calls "metaharmony", and he uses it in the context of studying the Barry Harris approach to Jazz, but it's actually isomorphic to Erno Lendvai's "Axis Theory" analysis of the music of Bela Bartok. (The secondary colors correspond to the T, D, and S functions.)
Is this accurate? I had no idea.
I thought the oil and gas industry famously got about $4B in subsidies per year, and about $20B to fossil fuel industries in general. Has that changed recently?