Musical fractals 

SophisticatedBanjo a minor in jazz....? Why am I not doing this???

a minor jazz is the best kind of jazz

I'm a Sound Engineering student *and* bassist, so this whole channel is heaven for me.

iopklmification a minor jazz is also the most deliberate kind of jazz - it's never accidental.

only on a channel like this will I find jokes like this.

Oh no baby, what is you doing? lol

The Real Flenuan how can words do what you just did to my brain

This could destroy the Universe! DO IT!

I've tried to do this but the problem is every time you try to listen to it, all that cames out of the speakers is... "We're no strangers to love..."

+Yungblut "You know the rules, and so do I..."

I call dibs on this

MAKE THAT

And then all you need to do is generate the audio in the Bee Movie with Smash Mouth

Do it with Shrek audio

Lithium Polygon if he made a separate video with this title and just showed the song, it would get millions of views.

All Star but every note is All Star

400th like

As 3b1b once said: Fractals aren’t typically Self Similar

Actually, to be precise, some fractals, like the Koch curve, Sierpiński gasket, and Menger sponge, *are* strictly self-similar. Others, like the Mandelbrot set and fractals that occur in nature are approximately self-similar (over a limited range for those in nature). And, yes, some fractals are statistically self-similar and this type of scaling can occur in music. Adam's example is a great demonstration of fractal scaling!

@@HarlanBrothers You are missing the point. The definition of a fractal is not self-similarity. Almost all fractals are self-similar. However, some fractals are. You are misusing the word "strictly" here, which implies all fractals are self-similar, which is false.

​ @Angel Mendez-Rivera Hi, Angel. It's not clear what point you think I'm missing. I was lucky enough to work closely with Benoit Mandelbrot and I try to be precise in my descriptions of fractal phenomena. This brief article might help clear things up: www.cantorsparadise.com/what-makes-something-fractal-c3609996178b

@@HarlanBrothers Insisting that you are correct because you happened to work alongside Benoit Mandelbrot does not actually mean you are correct. The source you cited is not scholarly, and your definition of a fractal is incorrect. It is widely agreed by mathematicians that fractals are not, in general, self-similar. The most commonly known ones are, but this is irrelevant. Do you care about boasting about your credentials, or do you care about presenting information that is accurate?

I do believe you're correct. Not a fractal, but definitely very cool.

hook it up!

Actually, if you reverse your thought process here, he's already started from the smallest unit. What you should do now is make the entire current file into the new pitch frequency and repeat the process over again to see if it works...if it doesn't break your computer (or Ableton Live) first.

Moses Ramirez - remember that a fractal is a *formula* that produces a series of infinite regression and infinite repetition. If someone were to repeat Adam's process a number of times, that still doesn't make it a fractal. For this to be a fractal, Someone needs to write a formula that produces the song with infinite regression. Adams process isn't a musical version of a fractal. It's more like a musical Mazaika, where an image is made of hundreds of other smaller images.

I reckon this is closer to recursion than fractal.

so the grand unification theory is that Smash Mouth's All Star, Einstein's General Relativity and Shakespeare's Romeo and Juliet are all the same thing? Awesome.

Hey, Alex! Although why am I even surprised. I just looked at your featured channels and I'm subscribed to more than half of them.

wingracer 16 Don't forget the physical models postulated by Dewey B. Larson.

Luke Menniss Just like.... just like an Ogre!

Wes Tolson just like an onion

That's the idea of a fractal, but then with downward repitition instead of upward.

The memory use would (ignoring the possibility of more efficiency by maths inside the program) exceed the possible after a few layers, I guess. Assume you had 1 note in All Star. Just for simplicity... Let, at 1024x, the size of one hole melody equal the size of one of the original notes. This would mean: original note * 1024 = one new note = one shrinked copy of All Star After 3 layers (^3), you had more than one Milliard = one Billion notes (2^30). If each of them is just one Byte, this relates to excactly 1 GB. Let the RAM enjoy that. And it's more because of many notes in All Star and many bytes to store a note...

A. O. It could be possible if you create a program to create it automatically in a file and then read a Filestream instead of the file in memory when you read it. The only thing that limits you is your hard drive. Plus, since there are only 12 notes, you can compress it to a 4bit words to halve the size of the generated file. With custom made software, it's certainly possible.

I love that book, I have a copy

GEB is referenced pretty often in certain communities, actually - it's considered one of the greatest works of nonfiction in the second half of the twentieth century.

work smarter, not harder

wait... so does that mean than Mega Man sfx...

Lol

Ah I love acid

is slightly meme

much meme

Whole lotta meme

This is meme with a side of meme.

This is meme inside meme inside meme

Well I just watched that other video you had now and it seems you were explaining this very concept, except you seem to miss the areas of application because it could never meaningfully handle the full complicated treatment that harmony has. I think these changes should only occur on the scale of key changes rather than say chord progression for the sake of performance and listener, and to bring a new clearly linked dimension to contrast and bring together motifs. But I think the connection in reasoning here is the first step to doing many great things.

Hey man, You might be interested in looking into "irrational" time signatures - where the bottom number of the time signature is a number that doesn't divide by 2, e.g. 3/5 or 7/9. A useful link to get started would be en.wikipedia.org/wiki/Time_signature#Irrational_meters. en.wikipedia.org/wiki/List_of_musical_works_in_unusual_time_signatures also lists a couple of pieces with some different denominators if you want to find some examples of these in music (although I believe there are only two or three examples on there - irrational time signatures aren't particularly popular). Metric modulation, on the other hand, has been used a bit in music since the 20th century - for some very recent examples, I would suggest checking out the endings of "Binky" and "Flood" by Snarky Puppy, where it sounds like they've changed the time signature and tempo, but in reality they have in fact stayed the same - the pulse has just shifted. Happy searching!

I guess the biggest difficulty in telling if there is even such a relationship in the Snarky Puppy ones is that they have arbitrarily long pauses before they change meter and thus the meter is interrupted anyway, so it is hard to tell what relationship it has to the one before. Cool music though.

Trying to wrap my head around what you're suggesting and it's pretty interesting, certainly something that gets hinted at within the larger jazz/prog/math/minimalism/avant-garde/experimental canon (so many genres, so much rhythmic fun), but that I can't say I've ever heard a band using productively with that intent. Do I understand you correctly - you're essentially talking about using polyrhythms that would be complementary chords and melodies if sped up, but instead playing them at tempos that we perceive as rhythm; and hoping that people might learn to perceive the rhythmic relations just as we perceive harmonic relations? If that's what you mean - I'll test out writing a typical pop chord sequence as polyrhythms see how it turns out, and maybe post a soundcloud link.

Paste this instagram url /p/BScjI2lAZ9p/?taken-by=campbell.i I wrote out the rhythmic homes and equivalent harmonic keys in a partial circle of 5ths. As you can see from that, if you go too many steps along it, the rhythmic relationships are too disparate to imitate normal harmony and melody meaningfully (if you make a major triad in 4 measures of 4/4, the root is 16 beats, the 5th is 24 beats, and the 3rd is 81 beats!) The one relationship I do think people may get used to though, is that of closely related key changes. And so that would be a large scale device used to divide up sections of a piece, (A section in the home key, B section in the dominant, etc). You could also take inspiration from fugue type writing where you modulate the rhythmic meter between the dominant and home key and just use those "home beat" changes of perspective to recontextualize themes/grooves and play around with all kinds of stuff. Imagine a piece that starts off with a certain theme that you get used to and grounded in, and it continues while the beat itself changes making quarter note triplets the new home beat. It could introduce a countertheme in the new meter that works alongside it. Then the beat could change back and you have new perspective on which of the themes feels more at home. In addition to this you could swap the rhythmic homes of the different themes, that would be quite the exercise in counterpoint to have 2 themes that work at both the ratios of 3/2 and in 2/3. Imo pure 2/1 diminution and augmentation is more like octaves, going nowhere. 3/2 and 2/3 introduces a system of nested relationships and changing perspectives.

Jeff Whittle Yeah, same here!

AllStarceptionj.

I'm not enough of a math wonk to think that one out, but it sounds like a fun experiment.

Yeah, but then it wouldn't have that sweet fractal association

I had the very same thought, and I'm pretty sure that that is the case. The "unit pulse" seems to be arbitrary

Yes, you definitely could, and as a matter of fact you can construct whatever one you use out of another song. You could technically mash every song ever made into a single one.

Yea, you could see the underlying All Star hook as the waveform, which could also be any other waveform, I suppose.

the ocarina bard it would be quite challenging to create some kind of device that could strobe white light at a frequency that would be perceived as a color, litteraly flashing on and off at a speed only a few fractions the speed of light, but i suppose it’s theoretically possible.

I like the question?

The issue is that visible light has frequency in hundreds of terahertz, far beyond any switching mechanism possible.

Not to mention light has a dual nature besides the wave nature it also has a particle nature.

the ocarina bard, sorry dude but your comment didn’t make much sense.

Croix total mind bender, just gets more crazy!

Almost.

Do you not understand or does nobody care...?

Dude. You waited an _hour_ before getting snippy with your reading audience. Calm yourself. Most of what you write will disappear into the ether, so yes, no one cares, or everyone is stupid. Pick one. Still doesn't matter. I would say without any malice that this is questionable. You (as in an artist) could say a song can continue in a fractalized pattern, but you can't say that for every song - most have a definite limit. If you can't show a statistical pattern that can be extended to produce _more song_, it's not fractal.

Lmao how wrong can a single human be?