Walking by four-note chords.

This work can be considered a continuation (or a second track of the same album) of one of my previous works "Parsimonious Trichords".
This is the case since in the elaboration of its harmonies I have followed the same line of work but taking one more step in the current work. In the harmony of the two works I have used the Tonnetz. This comes from the German term "Tonnetzwerk" which means network of tones. The prototypical case is the one that is formed by the major and minor chords (of three notes) organized in such a way that those that are contiguous only differ by a single note (with only a semitone or tone of difference) and on this network we can go chaining the chords following different itineraries or paths thus defining the harmonic progression. In the work "Parsimonious Trichords" I used this Tonnetz with three-note chords. The present work tries to go a step further and use four-note chords to define the Tonnetz. To achieve this I have applied the ideas developed by Dmitri Tymoczko in his excellent article "The Generalized Tonnetz" (dmitri.mycpanel.princeton.edu/tonnetzes.pdf). The objective will be the same: to get a network that organizes the chords (in this case of four notes) in such a way that those that are contiguous continue to be differentiated by a single note. In this case, to achieve this, it is necessary to use 12 chords of dominant seventh, 12 chords of half-diminished seventh, 12 chords of minor seventh and 6 chords of French sixth. To achieve To achieve the harmonic progression, on this network of chords I have defined 7 itineraries (one for each part of the work) of the so-called Hamiltonians, which means that they go through all 42 Tonnetz chords once and only once. As can be assumed, the chord succession that is achieved is also very parsimonious in the sense that there is very little variation between a chord and the one that follows it.

The work of creating the Tonnetz of four-note chords and as well as the elaboration of the itineraries I have done it by programming a series of algorithms in Python language.

Regarding the rhythmic aspect of the work, I have used an archetype: the rhythmic "motif of the walker" (half, quarter, quarter) for two reasons: one, which is quite evident, to reinforce the concept of itinerary or path and the other as a small tribute to the recently published book "Paisajes del Romanticismo musical" by the composer and theorist Benet Casablancas since it is one of the many characteristics that he analyzes about the music of the Romantic period.

For all these reasons, the exhaustive title of this work could have been "Walking through the Hamiltonian itineraries of the graph (of minimal variation) of four-note chords." which I have not dared to use for obvious reasons.

Regarding the interpretation, it should be said that it is done through NotePerformer playback engine.
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Traducción de esta introducción al castellano:

https://drive.google.com/file/d/1daCJQkXXW8_1gj9H7pzbkHWQPANP6T7L/view?usp=sharing

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Traducció d'aquesta introducció al català:

https://drive.google.com/file/d/1DByRKuTZAfrodnbwF_1muzsVB3pV62FY/view?usp=sharing
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Walking by four-note chords

Anna Sutyagina plays the original composition by Chris Hill "Inside".  This piece personifies the constant movement of nature and life, with it's flowing and very subtle tonal changes.  Chris about his music: "This was the most frustrating piece I've ever  composed. I spent months trying to create something that was meant to be  almost the complete opposite of this, and yet it didn't turn out too  badly. I'll say a prayer for your fingers."  https://musescore.com/user/3766071/scores/5550316    Discover more exciting modern piano music with Moving Classics TV.

Chris Hill - Inside

The Silence That Binds the Lost is a saga carved in breath, not stone. It begins with elders who carried grief in silence—never speaking, only carving memory into ritual. The warband forgot. The child hummed. Ash sang in sleep. A horn broke the sky.

Across twenty tracks, silence becomes flame. Names buried in shame are unearthed. The warband hears again. The elders rise in fire. And the tribe, once fractured, becomes one breath.

This is not an album. It’s a funeral chant. A sacred lament. A mythic inheritance. It binds the lost not with sound, but with silence that burns.

And this is not the final chapter. There are more breaths to carve. More silence to bind. More flame to rise.

You will not leave this unchanged. You will carry it. You will hum it. You will become it.

The Cave That Held Our Names

Dreamflow is a slow, soothing journey into sound—an intimate blend of soft jazz textures and calming saxophone melodies that drift like moonlight across quiet waters. Each piece moves with unhurried grace, inviting the listener into a world where time stretches, breath deepens, and the soul unwinds.

Warm saxophone lines float over gentle harmonies, creating waves of peaceful resonance that flow effortlessly from one moment to the next. The music feels like a nighttime breeze—smooth, comforting, and lightly illuminated—guiding the mind into rest and the heart into ease.

Perfect for deep relaxation, prayerful reflection, evening unwinding, or simply finding stillness, Dreamflow turns every listening space into a sanctuary of calm. Let the melodies carry you, slow your spirit, and awaken a quiet sense of peace within.

In Good Company

I DONT LOVE YOU ANYMORE //H3ATH3R//

A measure of time

One of the most critical and yet most undervalued members of The Faces, Ronnie Lane collaborated with both Rod Stewart and Ronnie Wood to write most of their all-time favorite hits. This was one of them. Here's my take on it, vinyl edition...

Debris

The Goddess of the sea performed and recorded by 
Ronnie Franson (Sweden) Vocals 
Maly Reyes (Mexico) Vocals choirs
Lucas Diaz Falabella (Argentina) Rhytmic Guitars 
Walter Pallares (Argentina) Bass
German Makoev (Rusia) Keyboards 
Dylan Edd (United Kingdom) Arrengements 
Xourel PS (España) Lead Guitar and solo 
Richard Grose (Usa) Drums
G4z G (Denmark) Mix and audio Master





desolation
wherever I see
civilisation
on killing spree
consummation
we sold our world
we burnd it to the ground

its falling out of our hands
corroded dust on our plains
surviving is none of our plans
devouring on the remains...  

on the remains
on the remains
ahh
ahh 

poisonous soil on our field
from the sky falls acid rain
scars that never been healed
devouring on the remains

now storm is on its way
thus we sail away
out to the open sea

oh

she take us for what we are
take us to her world
the goddess of the sea

oh 

take us to your world
save us to your world
take us to your world

devastation 
soon be fullfilled
all the nation 
we haved killed
annihilation 
that mold our world
we burned it to the ground

we drowning into the sands
pollutions makes us insaine
surviving is none of our plans
devouring on the remains

on the remains
on the remains
ahh
ahh 

its falling out of our hands
pollutions makes us insaine
surviving is none of our plans
devouring on the remains 

now storm is on its way
thus we sail away
out to the open sea

oh

she take us for what we are
take us to her world
the goddess of the sea

oh....

she take us for what we are...
the goddess of the sea

now storm is on its way
thus we sail away
out to the open sea

oh

she take us for what we are
take us to her world
the goddess of the sea

oh

The Goddess of the sea

Spotify: https://open.spotify.com/album/2pxi2xlMa6jMfCm5UvsehP?si=7LmElwCHTEOsL7P1M-rhNA&dl_branch=1

Solitude

Shoot To Kill
© Simon St John Chamberlain 2021
Vocals: Morna
Artwork: Marcus Trapp

Lyrics:
What do you see when you see through me?
What do you know that haunts your heart?
What do you feel that no-one else feels?
What do you fear that’s in the dark?

How can do the things that you do?
How can you justify the lies?
How can you sleep alone with your thoughts?
When will you read between the lines?

What did they do to you?
The vengeance you pursue
I see the darkness in your eyes

Taught you to shoot to kill
A moment that stands still
A cold assassin in the night

Count to ten
Then hold your breath
Then count to ten again

Count to ten
Then hold your breath
Then count to ten again

Shoot To Kill

Vehemence

Gas Huffer

"move 37" is the creation of Simon Chamberlain, an English musical experimenter based in London. If you like any of the tunes here please leave a comment.

All tracks are original compositions, except for covers.