Source: The Guide formerly known as the Ravenspiral Guide, version 0.8.1, Cadence Appendix, pages 90–97. This document converts the appendix into a producer-facing map using G as the center. It replaces interval codes such as b5 with concrete notes such as C# / Db.

The original appendix is qualitative and subjective. Treat the tables below as audition prompts, not laws. In techno, especially with basslines, you can use only roots or fragments rather than full chords.

How to read this document

• Start chord means the starting color, always rooted on G in this document.
• Target chord type means the kind of chord you move to.
• Target roots to try are the actual root notes for the next chord or bass event.
• Example: under “from G major to major”, a target root of C# / Db means try C# major / Db major after G major; or, in a minimal techno bassline, try moving the low note G → C#.
• For Oxide-like machine tension, you usually want G, F#, G#, C#, and you usually avoid too much Bb and D.

G-centered note map

flowchart TD
    G((G center / floor))
    Fs[F# / Gb: pulls into G] --> G
    G --> Gs[G# / Ab: acid rub above G]
    G --> Cs[C# / Db: tritone corrosion]
    G --> D[D: stable power fifth]
    G --> Bb[A# / Bb: minor sadness]
    G --> B[B: major brightness]
    G --> C[C: suspended push-away]
    G --> F[F: unresolved loop color]
    G --> Eb[D# / Eb: heavy dark weight]
    G --> E[E: lift / strange optimism]

Core techno translation

flowchart LR
    O[Oxide-like] --> O1[G center]
    O1 --> O2[F# snap-back pressure]
    O1 --> O3[G# close acid rub]
    O1 --> O4[C# tritone pole]
    M[Sad minor] --> M1[G] --> M2[Bb] --> M3[D] --> M4[F]
    P[Stable power] --> P1[G] --> P2[D]
    A[Acid float] --> A1[G] --> A2[A] --> A3[B] --> A4[C#] --> A5[D#] --> A6[F]

Chord quality reference rooted on G

Full cadence inventory

Cadences from G major

Start chord: G B D. Start from a clear, stable major center. Anything altered will read as a deliberate bend away from stability.

flowchart TD
    S(("G major<br/>G B D"))
    S --> T1["to major<br/>clear major / bold / stable"]
    S --> T2["to minor<br/>minor sadness / human darkness"]
    S --> T3["to suspended fourth<br/>thirdless suspension / neither major nor minor"]
    S --> T4["to augmented<br/>sci-fi lift / unstable raised fifth"]
    S --> T5["to diminished<br/>compact tension / tritone inside"]
    S --> T6["to seventh<br/>dominant/blues tension / wants movement"]
    S --> T7["to minor seventh<br/>moody minor loop / softer darkness"]
    S --> T8["to major seventh<br/>glossy / bittersweet / polished"]
    S --> T9["to minor/major seventh<br/>minor with sharp unresolved edge"]
    S --> T10["to diminished seventh<br/>universal unstable carrier / stacked tension"]
    S --> T11["to seventh diminished fifth<br/>dominant with tritone/floating fifth"]
    S --> T12["to minor seventh diminished fifth<br/>half-diminished / spooky minor tension"]
    S --> T13["to seventh suspended fourth<br/>dominant pressure without major/minor third"]
    S --> T14["to major seventh suspended fourth<br/>floating suspended major-seventh color"]
    S --> T15["to seventh suspended second<br/>open suspended dominant loop"]
    S --> T16["to sixth<br/>major with lift / smooth extension"]
    S --> T17["to minor sixth<br/>minor plus tritone / brooding sophistication"]

From G major to major chords

Target chord type rooted on G would be G major: G B D. But the table gives other target roots to try after the starting G chord.

From G major to minor chords

Target chord type rooted on G would be G minor: G Bb D. But the table gives other target roots to try after the starting G chord.

From G major to suspended fourth chords

Target chord type rooted on G would be Gsus4: G C D. But the table gives other target roots to try after the starting G chord.

From G major to augmented chords

Target chord type rooted on G would be G augmented: G B D#. But the table gives other target roots to try after the starting G chord.

From G major to diminished chords

Target chord type rooted on G would be G diminished: G Bb C#. But the table gives other target roots to try after the starting G chord.

From G major to seventh chords

Target chord type rooted on G would be G7: G B D F. But the table gives other target roots to try after the starting G chord.

From G major to minor seventh chords

Target chord type rooted on G would be Gm7: G Bb D F. But the table gives other target roots to try after the starting G chord.

From G major to major seventh chords

Target chord type rooted on G would be Gmaj7: G B D F#. But the table gives other target roots to try after the starting G chord.

From G major to minor/major seventh chords

Target chord type rooted on G would be Gm(maj7): G Bb D F#. But the table gives other target roots to try after the starting G chord.

From G major to diminished seventh chords

Target chord type rooted on G would be Gdim7: G Bb C# E. But the table gives other target roots to try after the starting G chord.

From G major to seventh diminished fifth chords

Target chord type rooted on G would be G7 flat-five: G B C# F. But the table gives other target roots to try after the starting G chord.

From G major to minor seventh diminished fifth chords

Target chord type rooted on G would be Gm7 flat-five: G Bb C# F. But the table gives other target roots to try after the starting G chord.

From G major to seventh suspended fourth chords

Target chord type rooted on G would be G7sus4: G C D F. But the table gives other target roots to try after the starting G chord.

From G major to major seventh suspended fourth chords

Target chord type rooted on G would be Gmaj7sus4: G C D F#. But the table gives other target roots to try after the starting G chord.

From G major to seventh suspended second chords

Target chord type rooted on G would be G7sus2: G A D F. But the table gives other target roots to try after the starting G chord.

From G major to sixth chords

Target chord type rooted on G would be G6: G B D E. But the table gives other target roots to try after the starting G chord.

From G major to minor sixth chords

Target chord type rooted on G would be Gm6: G Bb D E. But the table gives other target roots to try after the starting G chord.

Cadences from G minor

Start chord: G Bb D. Start from a stable but darker minor center. Movements often develop melancholy into gloom, sci-fi, or modulation.

flowchart TD
    S(("G minor<br/>G Bb D"))
    S --> T1["to major<br/>clear major / bold / stable"]
    S --> T2["to minor<br/>minor sadness / human darkness"]
    S --> T3["to suspended fourth<br/>thirdless suspension / neither major nor minor"]
    S --> T4["to augmented<br/>sci-fi lift / unstable raised fifth"]
    S --> T5["to diminished<br/>compact tension / tritone inside"]
    S --> T6["to seventh<br/>dominant/blues tension / wants movement"]
    S --> T7["to minor seventh<br/>moody minor loop / softer darkness"]
    S --> T8["to major seventh<br/>glossy / bittersweet / polished"]
    S --> T9["to minor/major seventh<br/>minor with sharp unresolved edge"]
    S --> T10["to diminished seventh<br/>universal unstable carrier / stacked tension"]
    S --> T11["to seventh diminished fifth<br/>dominant with tritone/floating fifth"]
    S --> T12["to minor seventh diminished fifth<br/>half-diminished / spooky minor tension"]
    S --> T13["to seventh suspended fourth<br/>dominant pressure without major/minor third"]
    S --> T14["to major seventh suspended fourth<br/>floating suspended major-seventh color"]
    S --> T15["to sixth<br/>major with lift / smooth extension"]
    S --> T16["to minor sixth<br/>minor plus tritone / brooding sophistication"]

From G minor to major chords

Target chord type rooted on G would be G major: G B D. But the table gives other target roots to try after the starting G chord.

From G minor to minor chords

Target chord type rooted on G would be G minor: G Bb D. But the table gives other target roots to try after the starting G chord.

From G minor to suspended fourth chords

Target chord type rooted on G would be Gsus4: G C D. But the table gives other target roots to try after the starting G chord.

From G minor to augmented chords

Target chord type rooted on G would be G augmented: G B D#. But the table gives other target roots to try after the starting G chord.

From G minor to diminished chords

Target chord type rooted on G would be G diminished: G Bb C#. But the table gives other target roots to try after the starting G chord.

From G minor to seventh chords

Target chord type rooted on G would be G7: G B D F. But the table gives other target roots to try after the starting G chord.

From G minor to minor seventh chords

Target chord type rooted on G would be Gm7: G Bb D F. But the table gives other target roots to try after the starting G chord.

From G minor to major seventh chords

Target chord type rooted on G would be Gmaj7: G B D F#. But the table gives other target roots to try after the starting G chord.

From G minor to minor/major seventh chords

Target chord type rooted on G would be Gm(maj7): G Bb D F#. But the table gives other target roots to try after the starting G chord.

From G minor to diminished seventh chords

Target chord type rooted on G would be Gdim7: G Bb C# E. But the table gives other target roots to try after the starting G chord.

From G minor to seventh diminished fifth chords

Target chord type rooted on G would be G7 flat-five: G B C# F. But the table gives other target roots to try after the starting G chord.

From G minor to minor seventh diminished fifth chords

Target chord type rooted on G would be Gm7 flat-five: G Bb C# F. But the table gives other target roots to try after the starting G chord.

From G minor to seventh suspended fourth chords

Target chord type rooted on G would be G7sus4: G C D F. But the table gives other target roots to try after the starting G chord.

From G minor to major seventh suspended fourth chords

Target chord type rooted on G would be Gmaj7sus4: G C D F#. But the table gives other target roots to try after the starting G chord.

From G minor to sixth chords

Target chord type rooted on G would be G6: G B D E. But the table gives other target roots to try after the starting G chord.

From G minor to minor sixth chords

Target chord type rooted on G would be Gm6: G Bb D E. But the table gives other target roots to try after the starting G chord.

Cadences from Gsus4

Start chord: G C D. Start from a thirdless suspended center. This is excellent for techno because it avoids major/minor commitment.

flowchart TD
    S(("Gsus4<br/>G C D"))
    S --> T1["to major<br/>clear major / bold / stable"]
    S --> T2["to minor<br/>minor sadness / human darkness"]
    S --> T3["to suspended fourth<br/>thirdless suspension / neither major nor minor"]
    S --> T4["to augmented<br/>sci-fi lift / unstable raised fifth"]
    S --> T5["to diminished<br/>compact tension / tritone inside"]
    S --> T6["to seventh<br/>dominant/blues tension / wants movement"]
    S --> T7["to minor seventh<br/>moody minor loop / softer darkness"]
    S --> T8["to major seventh<br/>glossy / bittersweet / polished"]
    S --> T9["to minor/major seventh<br/>minor with sharp unresolved edge"]
    S --> T10["to diminished seventh<br/>universal unstable carrier / stacked tension"]
    S --> T11["to seventh diminished fifth<br/>dominant with tritone/floating fifth"]
    S --> T12["to minor seventh diminished fifth<br/>half-diminished / spooky minor tension"]
    S --> T13["to seventh suspended fourth<br/>dominant pressure without major/minor third"]
    S --> T14["to major seventh suspended fourth<br/>floating suspended major-seventh color"]
    S --> T15["to sixth<br/>major with lift / smooth extension"]
    S --> T16["to minor sixth<br/>minor plus tritone / brooding sophistication"]

From Gsus4 to major chords

Target chord type rooted on G would be G major: G B D. But the table gives other target roots to try after the starting G chord.

From Gsus4 to minor chords

Target chord type rooted on G would be G minor: G Bb D. But the table gives other target roots to try after the starting G chord.

From Gsus4 to suspended fourth chords

Target chord type rooted on G would be Gsus4: G C D. But the table gives other target roots to try after the starting G chord.

From Gsus4 to augmented chords

Target chord type rooted on G would be G augmented: G B D#. But the table gives other target roots to try after the starting G chord.

From Gsus4 to diminished chords

Target chord type rooted on G would be G diminished: G Bb C#. But the table gives other target roots to try after the starting G chord.

From Gsus4 to seventh chords

Target chord type rooted on G would be G7: G B D F. But the table gives other target roots to try after the starting G chord.

From Gsus4 to minor seventh chords

Target chord type rooted on G would be Gm7: G Bb D F. But the table gives other target roots to try after the starting G chord.

From Gsus4 to major seventh chords

Target chord type rooted on G would be Gmaj7: G B D F#. But the table gives other target roots to try after the starting G chord.

From Gsus4 to minor/major seventh chords

Target chord type rooted on G would be Gm(maj7): G Bb D F#. But the table gives other target roots to try after the starting G chord.

From Gsus4 to diminished seventh chords

Target chord type rooted on G would be Gdim7: G Bb C# E. But the table gives other target roots to try after the starting G chord.

From Gsus4 to seventh diminished fifth chords

Target chord type rooted on G would be G7 flat-five: G B C# F. But the table gives other target roots to try after the starting G chord.

From Gsus4 to minor seventh diminished fifth chords

Target chord type rooted on G would be Gm7 flat-five: G Bb C# F. But the table gives other target roots to try after the starting G chord.

From Gsus4 to seventh suspended fourth chords

Target chord type rooted on G would be G7sus4: G C D F. But the table gives other target roots to try after the starting G chord.

From Gsus4 to major seventh suspended fourth chords

Target chord type rooted on G would be Gmaj7sus4: G C D F#. But the table gives other target roots to try after the starting G chord.

From Gsus4 to sixth chords

Target chord type rooted on G would be G6: G B D E. But the table gives other target roots to try after the starting G chord.

From Gsus4 to minor sixth chords

Target chord type rooted on G would be Gm6: G Bb D E. But the table gives other target roots to try after the starting G chord.

Cadences from G augmented

Start chord: G B D#. Start from a raised-fifth, sci-fi center. It already floats, so following moves often sound uncanny.

flowchart TD
    S(("G augmented<br/>G B D#"))
    S --> T1["to major<br/>clear major / bold / stable"]
    S --> T2["to minor<br/>minor sadness / human darkness"]
    S --> T3["to suspended fourth<br/>thirdless suspension / neither major nor minor"]
    S --> T4["to augmented<br/>sci-fi lift / unstable raised fifth"]
    S --> T5["to diminished<br/>compact tension / tritone inside"]
    S --> T6["to seventh<br/>dominant/blues tension / wants movement"]
    S --> T7["to minor seventh<br/>moody minor loop / softer darkness"]
    S --> T8["to major seventh<br/>glossy / bittersweet / polished"]
    S --> T9["to minor/major seventh<br/>minor with sharp unresolved edge"]
    S --> T10["to diminished seventh<br/>universal unstable carrier / stacked tension"]
    S --> T11["to seventh diminished fifth<br/>dominant with tritone/floating fifth"]
    S --> T12["to minor seventh diminished fifth<br/>half-diminished / spooky minor tension"]
    S --> T13["to seventh suspended fourth<br/>dominant pressure without major/minor third"]
    S --> T14["to major seventh suspended fourth<br/>floating suspended major-seventh color"]
    S --> T15["to sixth<br/>major with lift / smooth extension"]
    S --> T16["to minor sixth<br/>minor plus tritone / brooding sophistication"]

From G augmented to major chords

Target chord type rooted on G would be G major: G B D. But the table gives other target roots to try after the starting G chord.

From G augmented to minor chords

Target chord type rooted on G would be G minor: G Bb D. But the table gives other target roots to try after the starting G chord.

From G augmented to suspended fourth chords

Target chord type rooted on G would be Gsus4: G C D. But the table gives other target roots to try after the starting G chord.

From G augmented to augmented chords

Target chord type rooted on G would be G augmented: G B D#. But the table gives other target roots to try after the starting G chord.

From G augmented to diminished chords

Target chord type rooted on G would be G diminished: G Bb C#. But the table gives other target roots to try after the starting G chord.

From G augmented to seventh chords

Target chord type rooted on G would be G7: G B D F. But the table gives other target roots to try after the starting G chord.

From G augmented to minor seventh chords

Target chord type rooted on G would be Gm7: G Bb D F. But the table gives other target roots to try after the starting G chord.

From G augmented to major seventh chords

Target chord type rooted on G would be Gmaj7: G B D F#. But the table gives other target roots to try after the starting G chord.

From G augmented to minor/major seventh chords

Target chord type rooted on G would be Gm(maj7): G Bb D F#. But the table gives other target roots to try after the starting G chord.

From G augmented to diminished seventh chords

Target chord type rooted on G would be Gdim7: G Bb C# E. But the table gives other target roots to try after the starting G chord.

From G augmented to seventh diminished fifth chords

Target chord type rooted on G would be G7 flat-five: G B C# F. But the table gives other target roots to try after the starting G chord.

From G augmented to minor seventh diminished fifth chords

Target chord type rooted on G would be Gm7 flat-five: G Bb C# F. But the table gives other target roots to try after the starting G chord.

From G augmented to seventh suspended fourth chords

Target chord type rooted on G would be G7sus4: G C D F. But the table gives other target roots to try after the starting G chord.

From G augmented to major seventh suspended fourth chords

Target chord type rooted on G would be Gmaj7sus4: G C D F#. But the table gives other target roots to try after the starting G chord.

From G augmented to sixth chords

Target chord type rooted on G would be G6: G B D E. But the table gives other target roots to try after the starting G chord.

From G augmented to minor sixth chords

Target chord type rooted on G would be Gm6: G Bb D E. But the table gives other target roots to try after the starting G chord.

Cadences from G diminished

Start chord: G Bb C#. Start from a compact tritone tension. It can resolve almost anywhere or make the groove feel unstable.

flowchart TD
    S(("G diminished<br/>G Bb C#"))
    S --> T1["to major<br/>clear major / bold / stable"]
    S --> T2["to minor<br/>minor sadness / human darkness"]
    S --> T3["to suspended fourth<br/>thirdless suspension / neither major nor minor"]
    S --> T4["to augmented<br/>sci-fi lift / unstable raised fifth"]
    S --> T5["to diminished<br/>compact tension / tritone inside"]
    S --> T6["to seventh<br/>dominant/blues tension / wants movement"]
    S --> T7["to minor seventh<br/>moody minor loop / softer darkness"]
    S --> T8["to major seventh<br/>glossy / bittersweet / polished"]
    S --> T9["to minor/major seventh<br/>minor with sharp unresolved edge"]
    S --> T10["to diminished seventh<br/>universal unstable carrier / stacked tension"]
    S --> T11["to seventh diminished fifth<br/>dominant with tritone/floating fifth"]
    S --> T12["to minor seventh diminished fifth<br/>half-diminished / spooky minor tension"]
    S --> T13["to seventh suspended fourth<br/>dominant pressure without major/minor third"]
    S --> T14["to major seventh suspended fourth<br/>floating suspended major-seventh color"]
    S --> T15["to sixth<br/>major with lift / smooth extension"]
    S --> T16["to minor sixth<br/>minor plus tritone / brooding sophistication"]

From G diminished to major chords

Target chord type rooted on G would be G major: G B D. But the table gives other target roots to try after the starting G chord.

From G diminished to minor chords

Target chord type rooted on G would be G minor: G Bb D. But the table gives other target roots to try after the starting G chord.

From G diminished to suspended fourth chords

Target chord type rooted on G would be Gsus4: G C D. But the table gives other target roots to try after the starting G chord.

From G diminished to augmented chords

Target chord type rooted on G would be G augmented: G B D#. But the table gives other target roots to try after the starting G chord.

From G diminished to diminished chords

Target chord type rooted on G would be G diminished: G Bb C#. But the table gives other target roots to try after the starting G chord.

From G diminished to seventh chords

Target chord type rooted on G would be G7: G B D F. But the table gives other target roots to try after the starting G chord.

From G diminished to minor seventh chords

Target chord type rooted on G would be Gm7: G Bb D F. But the table gives other target roots to try after the starting G chord.

From G diminished to major seventh chords

Target chord type rooted on G would be Gmaj7: G B D F#. But the table gives other target roots to try after the starting G chord.

From G diminished to minor/major seventh chords

Target chord type rooted on G would be Gm(maj7): G Bb D F#. But the table gives other target roots to try after the starting G chord.

From G diminished to diminished seventh chords

Target chord type rooted on G would be Gdim7: G Bb C# E. But the table gives other target roots to try after the starting G chord.

From G diminished to seventh diminished fifth chords

Target chord type rooted on G would be G7 flat-five: G B C# F. But the table gives other target roots to try after the starting G chord.

From G diminished to minor seventh diminished fifth chords

Target chord type rooted on G would be Gm7 flat-five: G Bb C# F. But the table gives other target roots to try after the starting G chord.

From G diminished to seventh suspended fourth chords

Target chord type rooted on G would be G7sus4: G C D F. But the table gives other target roots to try after the starting G chord.

From G diminished to major seventh suspended fourth chords

Target chord type rooted on G would be Gmaj7sus4: G C D F#. But the table gives other target roots to try after the starting G chord.

From G diminished to sixth chords

Target chord type rooted on G would be G6: G B D E. But the table gives other target roots to try after the starting G chord.

From G diminished to minor sixth chords

Target chord type rooted on G would be Gm6: G Bb D E. But the table gives other target roots to try after the starting G chord.

Cadences from G7

Start chord: G B D F. Start from dominant tension. It naturally wants motion, but in techno it can become a loop engine.

flowchart TD
    S(("G7<br/>G B D F"))
    S --> T1["to major<br/>clear major / bold / stable"]
    S --> T2["to minor<br/>minor sadness / human darkness"]
    S --> T3["to suspended fourth<br/>thirdless suspension / neither major nor minor"]
    S --> T4["to augmented<br/>sci-fi lift / unstable raised fifth"]
    S --> T5["to diminished<br/>compact tension / tritone inside"]
    S --> T6["to seventh<br/>dominant/blues tension / wants movement"]
    S --> T7["to minor seventh<br/>moody minor loop / softer darkness"]
    S --> T8["to major seventh<br/>glossy / bittersweet / polished"]
    S --> T9["to minor/major seventh<br/>minor with sharp unresolved edge"]
    S --> T10["to diminished seventh<br/>universal unstable carrier / stacked tension"]
    S --> T11["to seventh diminished fifth<br/>dominant with tritone/floating fifth"]
    S --> T12["to minor seventh diminished fifth<br/>half-diminished / spooky minor tension"]
    S --> T13["to seventh suspended fourth<br/>dominant pressure without major/minor third"]
    S --> T14["to major seventh suspended fourth<br/>floating suspended major-seventh color"]
    S --> T15["to sixth<br/>major with lift / smooth extension"]
    S --> T16["to minor sixth<br/>minor plus tritone / brooding sophistication"]

From G7 to major chords

Target chord type rooted on G would be G major: G B D. But the table gives other target roots to try after the starting G chord.

From G7 to minor chords

Target chord type rooted on G would be G minor: G Bb D. But the table gives other target roots to try after the starting G chord.

From G7 to suspended fourth chords

Target chord type rooted on G would be Gsus4: G C D. But the table gives other target roots to try after the starting G chord.

From G7 to augmented chords

Target chord type rooted on G would be G augmented: G B D#. But the table gives other target roots to try after the starting G chord.

From G7 to diminished chords

Target chord type rooted on G would be G diminished: G Bb C#. But the table gives other target roots to try after the starting G chord.

From G7 to seventh chords

Target chord type rooted on G would be G7: G B D F. But the table gives other target roots to try after the starting G chord.

From G7 to minor seventh chords

Target chord type rooted on G would be Gm7: G Bb D F. But the table gives other target roots to try after the starting G chord.

From G7 to major seventh chords

Target chord type rooted on G would be Gmaj7: G B D F#. But the table gives other target roots to try after the starting G chord.

From G7 to minor/major seventh chords

Target chord type rooted on G would be Gm(maj7): G Bb D F#. But the table gives other target roots to try after the starting G chord.

From G7 to diminished seventh chords

Target chord type rooted on G would be Gdim7: G Bb C# E. But the table gives other target roots to try after the starting G chord.

From G7 to seventh diminished fifth chords

Target chord type rooted on G would be G7 flat-five: G B C# F. But the table gives other target roots to try after the starting G chord.

From G7 to minor seventh diminished fifth chords

Target chord type rooted on G would be Gm7 flat-five: G Bb C# F. But the table gives other target roots to try after the starting G chord.

From G7 to seventh suspended fourth chords

Target chord type rooted on G would be G7sus4: G C D F. But the table gives other target roots to try after the starting G chord.

From G7 to major seventh suspended fourth chords

Target chord type rooted on G would be Gmaj7sus4: G C D F#. But the table gives other target roots to try after the starting G chord.

From G7 to sixth chords

Target chord type rooted on G would be G6: G B D E. But the table gives other target roots to try after the starting G chord.

From G7 to minor sixth chords

Target chord type rooted on G would be Gm6: G Bb D E. But the table gives other target roots to try after the starting G chord.

Cadences from Gm7

Start chord: G Bb D F. Start from moody minor-loop color. It is softer than a plain minor triad and very useful for sustained grooves.

flowchart TD
    S(("Gm7<br/>G Bb D F"))
    S --> T1["to major<br/>clear major / bold / stable"]
    S --> T2["to minor<br/>minor sadness / human darkness"]
    S --> T3["to suspended fourth<br/>thirdless suspension / neither major nor minor"]
    S --> T4["to augmented<br/>sci-fi lift / unstable raised fifth"]
    S --> T5["to diminished<br/>compact tension / tritone inside"]
    S --> T6["to seventh<br/>dominant/blues tension / wants movement"]
    S --> T7["to minor seventh<br/>moody minor loop / softer darkness"]
    S --> T8["to major seventh<br/>glossy / bittersweet / polished"]
    S --> T9["to minor/major seventh<br/>minor with sharp unresolved edge"]
    S --> T10["to diminished seventh<br/>universal unstable carrier / stacked tension"]
    S --> T11["to seventh diminished fifth<br/>dominant with tritone/floating fifth"]
    S --> T12["to minor seventh diminished fifth<br/>half-diminished / spooky minor tension"]
    S --> T13["to seventh suspended fourth<br/>dominant pressure without major/minor third"]
    S --> T14["to seventh suspended second<br/>open suspended dominant loop"]
    S --> T15["to sixth<br/>major with lift / smooth extension"]
    S --> T16["to minor sixth<br/>minor plus tritone / brooding sophistication"]

From Gm7 to major chords

Target chord type rooted on G would be G major: G B D. But the table gives other target roots to try after the starting G chord.

From Gm7 to minor chords

Target chord type rooted on G would be G minor: G Bb D. But the table gives other target roots to try after the starting G chord.

From Gm7 to suspended fourth chords

Target chord type rooted on G would be Gsus4: G C D. But the table gives other target roots to try after the starting G chord.

From Gm7 to augmented chords

Target chord type rooted on G would be G augmented: G B D#. But the table gives other target roots to try after the starting G chord.

From Gm7 to diminished chords

Target chord type rooted on G would be G diminished: G Bb C#. But the table gives other target roots to try after the starting G chord.

From Gm7 to seventh chords

Target chord type rooted on G would be G7: G B D F. But the table gives other target roots to try after the starting G chord.

From Gm7 to minor seventh chords

Target chord type rooted on G would be Gm7: G Bb D F. But the table gives other target roots to try after the starting G chord.

From Gm7 to major seventh chords

Target chord type rooted on G would be Gmaj7: G B D F#. But the table gives other target roots to try after the starting G chord.

From Gm7 to minor/major seventh chords

Target chord type rooted on G would be Gm(maj7): G Bb D F#. But the table gives other target roots to try after the starting G chord.

From Gm7 to diminished seventh chords

Target chord type rooted on G would be Gdim7: G Bb C# E. But the table gives other target roots to try after the starting G chord.

From Gm7 to seventh diminished fifth chords

Target chord type rooted on G would be G7 flat-five: G B C# F. But the table gives other target roots to try after the starting G chord.

From Gm7 to minor seventh diminished fifth chords

Target chord type rooted on G would be Gm7 flat-five: G Bb C# F. But the table gives other target roots to try after the starting G chord.

From Gm7 to seventh suspended fourth chords

Target chord type rooted on G would be G7sus4: G C D F. But the table gives other target roots to try after the starting G chord.

From Gm7 to seventh suspended second chords

Target chord type rooted on G would be G7sus2: G A D F. But the table gives other target roots to try after the starting G chord.

From Gm7 to sixth chords

Target chord type rooted on G would be G6: G B D E. But the table gives other target roots to try after the starting G chord.

From Gm7 to minor sixth chords

Target chord type rooted on G would be Gm6: G Bb D E. But the table gives other target roots to try after the starting G chord.

Oxide-style extraction as a reusable rule

For the track discussed earlier, the low-register set was dominated by G, C#, G#, F#. In this system, that means:

flowchart TD
    G((G center))
    Fs[F# / Gb: return pressure] --> G
    G --> Gs[G# / Ab: acid rub]
    G --> Cs[C# / Db: tritone pole]
    Cs -. unresolved mirror tension .- G
    Bb[A# / Bb: minor sadness] -. avoid for Oxide-like ambiguity .-> G
    D[D: stable fifth] -. use less if you want instability .-> G

A practical 16-step grammar:

G  = HOME / FLOOR
F# = RETURN PRESSURE
G# = ACID RUB
C# = DESTABILIZER
.
Example: G . F# G# | G . C# . | G G# F# . | C# . G .

Local rendering note

This Markdown file uses Mermaid fenced code blocks. To render the diagrams locally, open it in Obsidian, Typora, GitHub, or VS Code with a Mermaid-capable Markdown preview extension. If your editor does not support Mermaid, the tables still contain the full practical inventory.

Cassegrain & Tin Man - Oxide: Techno Production Assessment

Source: /Users/me/Music/Ableton/User Library/Samples/BEATPORT/Techno (Peak Time : Driving)/rest/Cassegrain & Tin Man - Oxide.mp3

MCP reference: ref_3f734af7838c0600

This assessment uses RipX DAW MCP evidence to build a production-study blueprint. It focuses on harmonic vocabulary, rhythmic vocabulary, and arrangement technique. Interpretations are deliberately phrased as evidence-grounded production hypotheses, not as claims about the producer's intent.

Evidence Boundary

• RipX reports the track at 130.0118 BPM, 4/4, 367.14s, 199 bars.
• Layer-aware analysis is available through instrument-field filters such as instrument:bass, instrument:kick, instrument:drums, instrument:piano, instrument:strings, and instrument:percussion.
• The bridge reports layer_membership as unavailable, so layer names are RipX instrument-field evidence, not guaranteed UI-layer object membership.
• Drum and percussion pitch names are RipX note/pitch-class evidence, not literal tuned drum notes.
• Timbre, synthesis method, distortion, compression, space, and mix balance are not proven by this evidence.

High-Level Production Read

The track is built around a long-form 130 BPM techno arrangement with a dense, continuously varied low-end layer and a very dense upper harmonic/textural layer. The Bass layer is most active at the beginning and returns strongly around bars 145-176, while the Piano layer has clear activity bursts around bars 17-32, 65-96, and 129-160. The Strings layer, filtered to MIDI 48-84, is extremely dense for most of the track and behaves more like a harmonic/tonal texture field than a simple lead phrase.

The main production vocabulary visible from the MCP evidence:

• Rolling bass: low notes are distributed across many 16th subdivisions rather than only on downbeats.
• Chromatic neighbor pressure: the Bass layer centers on G, with frequent G# and F#, plus C# as a smaller but important color.
• Density-based arrangement: intensity changes are strongly visible in notes-per-bar curves, especially Bass and Piano.
• Textural harmony: upper layers favor dense pitch-class clouds around G, G#, A, D#, B, C, and C#, suggesting color and pressure more than functional chord progression.
• Percussive ambiguity: Kick and Drums layers each carry partial rhythmic evidence; combined reading is safer than trusting a single layer.

Opening Analysis — Cassegrain & Tin Man - Oxide

This is a very useful analysis because it tells us Oxide is not built like a simple kick + static bass techno loop. The low end behaves more like a continuously mutating sequenced machine pattern.

1. Tonal center: G vs C# tension

The strongest low-register pitch classes are:

G → C# → G# → F#

The important thing is the relationship between G and C#.

G to C# is a tritone.

That immediately gives the track a very industrial, acidic, unstable quality. It is not “sad” in the minor-key sense. It is more like:

mechanical tension, corrosion, pressure, metallic dissonance

That fits the title Oxide very well aesthetically.

The low end being centered around G and C# means the track probably does not want to resolve comfortably. Instead, it creates a loop where the ear keeps hearing a strong tonal anchor, then a strong anti-anchor.

So I would describe the pitch language as:

G-centered techno with heavy tritone pressure from C#, supported by chromatic/neighbor tones G# and F#.

Not “G minor” or “C# something”. More like atonal-functional techno centered on G.

2. Why G#, F# matter

If G is the main center:

• F# is the major seventh below/leading tone into G.
• G# is the minor second above G.
• C# is the tritone.

So around G you have:

F#  G  G#

That is a tight chromatic cluster around the center.

And then you have:

C#

as the destabilizing pole.

That gives two layers of tension:

local tension:      F# - G - G#
global tension:     G  <->  C#

This is very techno: the harmony is not “chords”, but pressure relationships between pitch centers.

Bass Layer

Filter: layer_id=instrument:bass, MIDI pitch 20-48.

Pitch-class evidence:

Production vocabulary:

• G is the main bass center.
• F# and G# work as lower/upper chromatic pressure around G.
• C# appears as a secondary color. In production terms, it can imply a darker intervallic relationship without needing to call a key.
• The rhythm is a 16th-grid rolling pattern, not a simple downbeat-only bass.

1-Bar Bass Loop, Bar 1

flowchart LR
  subgraph beat1["Beat 1"]
    b1s1["1 -"] --> b1s2["2 -"] --> b1s3["3 -"] --> b1s4["4 G"]
  end
  subgraph beat2["Beat 2"]
    b1s5["5 G + A"] --> b1s6["6 G"] --> b1s7["7 C# + G"] --> b1s8["8 -"]
  end
  subgraph beat3["Beat 3"]
    b1s9["9 -"] --> b1s10["10 F#"] --> b1s11["11 G#"] --> b1s12["12 -"]
  end
  subgraph beat4["Beat 4"]
    b1s13["13 G"] --> b1s14["14 G"] --> b1s15["15 -"] --> b1s16["16 -"]
  end
  b1s4 --> b1s5
  b1s8 --> b1s9
  b1s12 --> b1s13

Study point: the bar avoids beat-1 bass certainty and instead starts its main low movement late in beat 1. That creates forward motion without relying on a simple root-on-one pattern.

2-Bar Bass Loop, Bars 1-2

flowchart LR
  bar1["Bar 1: 4 G | 5 G+A | 6 G | 7 C#+G | 10 F# | 11 G# | 13 G | 14 G"]
  bar2["Bar 2: 2 F# | 3 C# | 4 G | 6 G | 7 G | 9 F# | 11 G# | 12 G# | 13 G | 14 G | 15 G"]
  bar1 --> bar2

Study point: the second bar answers the first by bringing motion earlier in the bar and extending activity through subdivisions 13-15. This is loop variation through onset displacement, not through new harmonic material.

4-Bar Bass Loop, Bars 1-4

flowchart TB
  b1["Bar 1: late-beat entry; G center; F#/G# chromatic pressure"]
  b2["Bar 2: earlier pickup; F# -> C# -> G; late G cluster"]
  b3["Bar 3: F#/C# opening; F#/G cluster; G# at 11"]
  b4["Bar 4: C#+G block at 4; G run 5-9; F/F#/G# color at 11-12"]
  b1 --> b2 --> b3 --> b4

Study point: the 4-bar bass idea is stable in vocabulary but varied in placement. That is a professional techno technique: keep the pitch world narrow while constantly shifting micro-events.

3. The bass is probably more “sequencer line” than “bassline”

The fact that the low-register onset grid shows dense 16th-note activity from the beginning is very important.

A lot of techno bass parts are either:

kick + offbeat rumble

or

simple repeated 1-bar bass pulse

But here your data suggests something closer to:

16th-note machine sequence
constantly shifting accents
small pitch mutations
rolling low-end propulsion

So the bass/low-register material is likely doing the work that, in other genres, would be done by a riff.

It is not merely supporting the kick. It is part of the main rhythmic identity.

4. No exact 4-bar repetition = “same engine, changing surface”

The 4-bar repetition map not finding exact repeated signatures is especially interesting.

That does not necessarily mean the track is totally non-repetitive. Techno often works by repeating the idea while changing tiny details.

So the likely structure is:

same pattern logic
same pitch vocabulary
same machine groove
but continuously varied note placement / density / accents

This is a very Cassegrain / Tin Man type of approach: hypnotic, but not lazy-looped. It creates the feeling that the machine is alive or slightly unstable.

For your own production, this is one of the biggest takeaways:

You can keep the same pitch vocabulary for minutes, but avoid exact loop fatigue by continuously altering density, rests, accents, note length, octave placement, filter envelope, or velocity.

Kick and Drum Evidence

The Kick layer alone is incomplete as a classic four-on-the-floor description, while the Drums layer contains clearer quarter-grid evidence. This suggests a practical MCP reading: treat Kick, Drums, and Percussion together when describing the groove, and separate them only when the evidence is strong.

Kick onset evidence for bars 1-4:

• Bar 1: subdivisions 1, 4, 8, 12, mostly C# hit evidence.
• Bar 3: subdivision 16.
• Bar 4: subdivisions 5, 8.

Drums onset evidence for bars 1-4:

• Bar 1: subdivisions 1, 16.
• Bar 2: subdivisions 4, 8, 12, 16.
• Bar 3: subdivisions 4, 8, 12.
• Bar 4: subdivisions 9, 12, 16.

1-Bar Drum Grid, Bar 2

flowchart LR
  d2s1["1 -"] --> d2s2["2 -"] --> d2s3["3 -"] --> d2s4["4 C# hit"]
  d2s4 --> d2s5["5 -"] --> d2s6["6 -"] --> d2s7["7 -"] --> d2s8["8 C# hit"]
  d2s8 --> d2s9["9 -"] --> d2s10["10 -"] --> d2s11["11 -"] --> d2s12["12 C# hit"]
  d2s12 --> d2s13["13 -"] --> d2s14["14 -"] --> d2s15["15 -"] --> d2s16["16 C# hit"]

Study point: even when the layer labels are noisy, the drum evidence shows a quarter-grid pulse. In techno production language this is the stabilizing grid against which the bass can roll and syncopate.

4-Bar Drum/Kick Composite, Bars 1-4

flowchart TB
  subgraph kick["Kick layer"]
    k1["Bar 1: 1 C# | 4 C# | 8 C# | 12 C#"]
    k2["Bar 2: sparse/no extracted hits in this window"]
    k3["Bar 3: 16 C#"]
    k4["Bar 4: 5 C# | 8 C"]
  end
  subgraph drums["Drums layer"]
    d1["Bar 1: 1 C | 16 C#"]
    d2["Bar 2: 4 C# | 8 C# | 12 C# | 16 C#"]
    d3["Bar 3: 4 C# | 8 C# | 12 C#"]
    d4["Bar 4: 9 C# | 12 C# | 16 C#"]
  end
  k1 --> k2 --> k3 --> k4
  d1 --> d2 --> d3 --> d4

Study point: the groove is better understood as a composite of percussive layers. One layer carries some downbeat/quarter evidence, another provides displaced reinforcement. This is a useful production vocabulary item: composite pulse.

Piano Layer

Filter: layer_id=instrument:piano, MIDI pitch 36-84.

Piano density is not continuous. It appears as activity bursts:

• Bars 17-32: 11.44 notes/bar, the strongest early piano activity.
• Bars 65-80: 10.13 notes/bar.
• Bars 81-96: 9.25 notes/bar.
• Bars 129-144: 9.38 notes/bar.
• Bars 145-160: 8.19 notes/bar.
• Bars 177-199: nearly gone.

This suggests a production role closer to stab/gesture/phrase material than a constant harmonic bed.

2-Bar Piano Harmonic Gesture, Bars 17-18

flowchart LR
  p17a["Bar 17 early: D | C# + A# | G | G# | D | G+B"]
  p17b["Bar 17 late: C# | G#+A# | G | C#+D+G | D+E+A+A# | C#+G+A"]
  p18a["Bar 18 early: D | C#+G | E+A# | A | D+G | D+B | G"]
  p18b["Bar 18 late: D | G | D+A#"]
  p17a --> p17b --> p18a --> p18b

Study point: the piano evidence is chromatic and clustered. A practical production translation is "atonal or weakly tonal stab field" rather than "clear chord progression."

Strings / Upper Harmonic Texture

Filter: layer_id=instrument:strings, MIDI pitch 48-84.

Strongest pitch classes:

Production vocabulary:

• This is a dense chromatic upper field.
• G still dominates, aligning with the Bass layer's G center.
• The surrounding pitch classes create pressure and ambiguity rather than a stable diatonic harmonic progression.
• The layer stays dense through much of the arrangement, peaking around bars 145-160 at 45.25 notes/bar.

Harmonic Field Relationship

flowchart TB
  center["Shared center: G"]
  lower["Bass pressure: F# <-> G <-> G# plus C# color"]
  upper["Upper texture: G, G#, A, D#, B, C, C#"]
  effect["Production effect: tonal center with chromatic pressure, not clean functional harmony"]
  lower --> center
  upper --> center
  center --> effect

Study point: a techno track can feel harmonically coherent without using a conventional chord loop. The coherence comes from pitch-class gravity around G, while intensity comes from chromatic saturation.

Percussion Layer

The Percussion layer is extremely dense in RipX extraction:

• Bars 1-16: about 141.25 notes/bar.
• Bars 17-32: about 119.5 notes/bar.
• Bars 33-48: about 123.44 notes/bar.
• Bars 177-192: about 106.69 notes/bar.
• Bars 193-199: about 13.57 notes/bar.

This is too dense for hand-readable note-by-note study with current MCP output. It is still valuable as evidence of a persistent high-frequency/percussive texture layer. The next MCP improvement should produce compact percussive summaries: hit density, accent positions, periodicity, and phrase-level change points without returning every note index.

Arrangement Density Map

Values are notes per bar in 16-bar chunks. Higher values are stronger activity or denser extraction, not necessarily louder audio.

5. Arrangement: density as the main form-builder

Your 16-bar density map shows the arrangement is strongly controlled by low-register density, not necessarily by big harmonic changes.

Roughly:

1-64      stable dense motion
65-80     first density lift
81-96     pullback
97-112    second lift
113-128   thinner region
129-144   renewed build
145-176   peak density
177-192   taper
193-199   coda / ending

This is almost a textbook techno arrangement where the “story” is:

establish machine
increase pressure
release slightly
increase again
thin out
rebuild
maximum pressure
decompress
exit

The peak at bars 145-176 is very clear. That is about 32 bars of highest low-end density, which is a long sustained pressure zone.

So the track is not arranged as:

intro → breakdown → drop → breakdown → drop

but more like:

continuous pressure curve with density waves

6. What this means sonically

Given the pitch and rhythm data, I would expect the track to feel like:

• rolling rather than bouncy
• acidic/metallic rather than warm
• tense rather than melancholic
• hypnotic but not static
• machine-driven rather than “played”
• peak-time compatible, but not obvious big-room peak-time

The low end probably creates motion through micro-variation, not through chord progression.

7. How to borrow the idea in your own track

A practical reconstruction strategy would be:

Pitch set

Start with this pitch vocabulary:

G, C#, G#, F#

Think of G as the gravitational center.

Use C# as the “corrosive” tension tone.

Use F# and G# as chromatic neighbors around G.

A simple pitch pool:

G1 / G2
C#2
F#1 / F#2
G#1 / G#2

Avoid making it too melodic. Treat the notes like voltage states.

Rhythm

Use 16th-note sequencing, but do not fill every 16th equally.

For example, instead of:

x x x x | x x x x | x x x x | x x x x

use something like:

x . x x | . x . x | x x . . | x . x .

Then mutate it every 1 or 2 bars:

bar 1: x . x x | . x . x | x x . . | x . x .
bar 2: x . x . | . x x x | x . . x | . x x .
bar 3: x x . x | . x . x | x x . . | x . . x
bar 4: x . x x | x . . x | . x x . | x . x .

The point is not to write a “cool bass riff”. The point is to create a low-end engine.

Arrangement

You can mirror the density curve:

1-64      20-24 notes/bar
65-80     increase to ~28 notes/bar
81-96     pull back
97-112    increase again
113-128   thinner
129-144   build
145-176   maximum density
177-192   taper
193-end    sparse coda

In Ableton/Digitakt terms, this could mean:

• more trigs per bar
• fewer rests
• shorter amp envelope during dense sections
• more filter modulation at peaks
• occasional C# emphasis during high-pressure sections
• more G-only material during pullbacks

8. The core production lesson

For me, the central idea of Oxide from your data is:

A techno track can have a very restricted pitch vocabulary, but still feel alive if the low-register rhythm is dense, syncopated, and continuously varied.

The low end is not just “bass”. It is the track’s main compositional system.

In one sentence:

Oxide appears to be built around a G-centered, tritone-charged, chromatically pressured low-end sequencer pattern whose arrangement evolves mainly through density rather than through conventional harmonic progression.

Composite Production Blueprint

flowchart TB
  arrangement["Arrangement: 199 bars at 130 BPM"]
  bass["Bass: G-centered rolling 16th activity, chromatic F#/G# pressure"]
  drums["Drums/Kick: composite pulse, quarter-grid evidence plus displaced hits"]
  piano["Piano: burst-like chromatic stabs/gestures"]
  strings["Strings: dense upper chromatic texture, G gravity"]
  percussion["Percussion: dense texture bed, needs compact summarization"]
  vocabulary["Technique vocabulary: rolling bass, composite pulse, chromatic pressure, density automation, texture bed"]

  arrangement --> bass
  arrangement --> drums
  arrangement --> piano
  arrangement --> strings
  arrangement --> percussion
  bass --> vocabulary
  drums --> vocabulary
  piano --> vocabulary
  strings --> vocabulary
  percussion --> vocabulary

Study Checklist

1. Recreate a 1-bar bass cell using G as center with F#, G#, and occasional C#.
2. Avoid putting every bass note on beat 1. Start some bars on subdivisions 2, 4, or later.
3. Keep the pitch vocabulary narrow while varying 16th placements every bar.
4. Build a separate drum grid that gives stability even when the bass is syncopated.
5. Treat Kick and Drums as a composite pulse when layer extraction is ambiguous.
6. Use upper harmonic texture as a pressure field, not necessarily as a chord progression.
7. Vary arrangement density by layer: bass can thin while piano or strings become denser.
8. Use late-track density return as a structural device, visible here around bars 145-176.

MCP Gaps Exposed by This Assessment

• Layer-aware tools work, but the MCP should provide compact layer summaries without huge note-index arrays.
• Percussion needs specialized summarization: accent grid, periodicity, and hit-class clustering.
• Phrase-level tools are still needed: 1-bar, 2-bar, and 4-bar signatures should be computed directly.
• Harmonic summaries should distinguish tonal-center evidence from true key/chord claims.
• Drum pitch classes should be marked explicitly as extraction labels, not musical pitch claims.