Another question that popped now is, how do you get the triad (major third) at all? I assume the previous examples worked because you had stetereo: one sound comes from L and another from R. For the triad trick to work the clicks must come from different spatial positions, otherwise they would combine and create one pitch… maybe. Could you explain this? Thanks in advance.

]]>Thanks so much for this. I’ll dig into the papers you’re citing here and hope we can meet in person sometime.

Dan ]]>

Thanks so much for the kind note you left me in Maui, and thanks for the update on the title. I hope to get to it!

My best,

Dan ]]>

Unfortunately the transfer wasn’t available by the time I got to it.

Dan ]]>

Try moving your mouse around on the screen! That should do it.

Dan ]]>

Thanks so much for this! I’m glad some of this spoke to you. And great question regarding the first movement of Algorithmic Transform. It’s a transcription for orchestra of an improvisation I did with an algorithm. In other words, I programmed a computer algorithm that responds in real time to my improvisation; so naturally I respond to it, too, as I improvise. NPR made a beautiful video about this project last summer: https://www.npr.org/2017/07/24/538677517/fascinating-algorithm-dan-tepfers-player-piano-is-his-composing-partner

Be well! Dan ]]>