#Blender uv unwrap torus donut movie#

This can lead to interesting results if you start on a minor key instead of a major one, or vice versa. This is probably pretty accurate, though.Īnd the nice thing about these tracings is that they are completely relative! May It Be isn’t even in the key pictured above! Transposition simply means moving the pattern around. And, to my delight, it did.ĭisclaimer: I didn’t use any data to make the lines in the picture here, I looked over on guitar tab and guessed. Okay, so I had my basis for this whole whatever-I-was-doing. So I went with the next best thing and moved up a major third to E minor (I felt as though things should be symmetrical, and moving between C major and E minor is a bit more natural than moving between C major to E major).

#Blender uv unwrap torus donut movie#

But, despite being used fairly often in The Lord of the Rings movie soundtrack, the transition from C major to E flat anything was a rather obscure one, and I didn’t want to use it. However, it was a minor third down from C, so ideally, the next step in the pattern (A, C, …) would be E flat. Clearly, that wasn’t possible in this case A is in no way a perfect fifth from C. But what should I put in the bottom-left hand corner? Well, with F, C, and G, I had gone around the circle of fifths.

So if I have to go from C major to any minor key, which one is the most natural to pick? Obviously, the relative minor! So I put A minor on the upper-right hand corner. Well, I knew that a major key key couldn’t only be connected to other major keys, otherwise the graph would never become minor at all! I was working with key signatures / chords, so I knew that never going minor would probably be pretty boring. Apparently I had decided each chord/key would have four others connected to itself, and this led to the question of what I should use for the other two connections. Okay, so that was good, I could continue up the circle of fifths until I looped back around to where I started. Each successive note is a perfect fifth up from the previous one. For example, if I had extended the structure a bit more, it would have gone: (F, C, G, D, A, E, …). I wanted this graph to have a nice, uniform, lattice structure and this spacing was nice and tileable. Secondly, C is a perfect fifth up from F, and G is a perfect fifth up from C. Pretty much the building blocks of music. Well, first and foremost, in C major, G is the dominant note, and F is the subdominant. I placed the two chords/key signatures to to the upper left and bottom right of the C in the middle. There were two obvious choices right off the bat. I couldn’t remember the Tonnetz very well then, so I assumed I was working with key signatures, instead of notes. So I started off by drawing the letter C and putting it in a circle.

I half-decided then to reproduce this graph, or at least make something similar to it. At the time, I remembered a few things: the Tonnetz had a bunch of letter names of musical notes on it, these letters had lines running between them showing harmonic relationships, and that they were arranged in a grid-like pattern. The other thing I had in mind was Leonhard Euler’s Tonnetz. I had this in mind when I sat on a couch with a clipboard and blank piece of paper. But, of course, you can’t just take any random set of chords and mix them together, as this will usually return a dissonant conglomeration of messy frequency ratios. Music is built around chord progressions. If you have ever done anything music-related, you will probably know that staying on the same chord throughout a piece of music doesn’t usually make for a great song.