u/adridem22

... And max -13% drawdown BTC trading strategy but that doesn't beat holding ? Profit ratio 1.1-1.25

... and I built an interactive tool, would love your feedback.

Hello everyone,

A while back I decided to try (re)learning music theory from scratch. The general principles (intervals, keys, modes, voice leading), then specifically how it all maps onto the guitar fretboard (CAGED, voicings, drop voicings, modal harmonization, and so on).

Once I started internalizing it, I couldn't resist and started coding tools for my own journey. The first thing I built was a tiny interactive Circle of Fifths on my android phone, and dynamic scale maps, for myself, then I shipped it to google play, it worked quite well but I didn't maintain it so eventually it got suppressed from the platform. That snowballed into another full project now called FretMotion, an interactive theory engine for guitar that I'm still building in the open.

https://fretmotion.com

It’s 100% free. At least for now, I don’t think it’s worth worrying about what could be commercialized. I genuinely just want to share the tools I wish I’d had when I started.

If any of this feels new, the best entry points are before hitting the main page (where the tool lives).

Theory primer: https://fretmotion.com/theory/

How It Works: https://fretmotion.com/how-it-works/

Those two last pages explain everything you'll see on the demo so you're not just clicking around colored dots without context.

What's in the demo right now (the homepage):

Chord input. Type any progression like Am F C G, or Cm Fm G7 Cm, or Dmaj7 Bm7 E7 Asus2, and it parses, voices, and renders the diagrams.

Auto key and degree detection. It tells you the key and labels each chord by its Roman numeral (i, iv, V, and so on), including borrowed chords like the major V in a minor key.

Interactive Circle of Fifths. Pick a root and a scale (ionian, dorian, phrygian, lydian, mixolydian, aeolian, locrian) and the wheel rebuilds itself with the correct parallel mode harmony, proper enharmonic spelling (Bb in flat keys, not A sharp), and tappable diatonic chords.

Mini fretboard viewer. Switch between scale view and chord view, with audio playback using real guitar samples.

Style filtering. The same progression rendered in folk, jazz, blues, and other voicings so you can hear and see the difference.

Alt voicings and a nearest neighbor optimizer. Cycle through voicings of any chord and see how it changes the hand movement distance to the next chord.

Everything is computed by a music theory engine I wrote from scratch. No MIDI files, no pre baked tables, just the math.

I'm not stopping here. Coming next:

Full scale explorer (modes of melodic minor, harmonic minor, harmonic major, symmetric scales).
Chord scale relationship browser.
Practice and progression builder.
Reharmonizer.
Singer key adapter (transpose for vocal range).
Chord X ray to deep analyze any shape.
A bunch of other tools already half built behind the scenes...

One honest note about the rate limiting. The demo on the homepage has a rate limiter. It's not a paywall. It's there because the moment you put a public API on the internet, bots and scrapers hammer it around the clock and I'd rather keep the server bill sane than block real humans.

If you hit the limit and want to keep playing, just register a free account and you get effectively unlimited use. No email spam, just an email and password so I know you're a person and not a script. That's it.

I'd genuinely love feedback from people who actually live in theory! Does it check out on edge cases like the modal V in minor, secondary dominants, tritone subs? Are the voicings idiomatic for the styles? What's missing that you'd actually use?

Please roast it, suggest things. I will read everything and continue developing until the loop is closed !

Let's forget modern time’s swift race, Google Maps, and all the modern filters, and let's dive into the Lewis & Clark journals and maps from 1805.

These maps and journals are online, safely preserved by university libraries and still studied by new generations of students and professors (check online Yale archives for high res maps and journals).

After the Three Forks, the Missouri wanders through about 42 miles of gentle meanders before it gets into that Canyon Ferry / Hauser / Holter / Gates corridor.

In that stretch there are many bends and necks. One in particular, near the Gates of the Mountains is a Big Bend type feature with a very narrow neck.

In 1805, Lewis & Clark had already been moving near Missouri waters for a long time, and by mid-July they were hoping for something greater: the Rockies, the Shoshone, horses, and a way forward.

On July 16, 1805, Lewis literally wrote that the signs of Native people gave him “much hope” of meeting them soon. So “hope" is right there in his journal.

On July 18, 1805, Clark, after rounding the Big Bend, went ahead by land because the Missouri was so crooked and winding, he kept walking near waters. He was basically cutting off the river’s meanders while the boats dealt with the water route.

Then on July 19, 1805, Lewis (on the boat) entered the place he named the Gates of the Rocky Mountains.

That same entry is where he described the cliffs as “black grannite.” 👀

Modern geology says the Gates are limestone, not granite...

So ... maybe “granite bold” is not asking us for modern geology. Maybe it is asking us to read the landscape through Lewis’s 1805 eyes and words.

This poem has a strong element of Time, Justin said? It's a stack of 2, my guess is 3, layers of times and events... All converging at some point to form The Checkpoint that we don't need to worry about because it's part of the discovery, not a physical object to move or pass by. Zero doubt is when coïncidence becomes very unlikely.

Back to the Gates, in this same area, you also have the Sleeping Giant / Beartooth Mountain. His “realm” is literally bear country / Beartooth country, east of the Missouri. And “awaits” works pretty well since the giant is Sleeping ... I feel this is 100% biased here 😄, but there's a small chance that it might not...

Then his bride, Sacagawea, is right there too: Sacagawea Mountain. The bride is big enough to stand and guard the Gates, better at least than a random statue, grave, or half-living person... She is not alive, and the mountain named for her is a real natural feature, tied directly to Lewis & Clark, and positioned in the landscape of the July 19th 1805 encampment.

Now another layer of interest...

The Gates area has Native American pictographs painted on the canyon walls, visible from the river tour. The man-made part of the solve?

Some sources describe more than 125 red-orange images on multiple canyon walls, including animals and human figures, with some dating back to around 640 AD.

So ... “where secrets of the past still hold,” does not have to be abstract. There are literally ancient images still holding on the canyon walls.

And if “granite bold” is Lewis’s historical “black grannite,” then pictographs painted on those same cliffs become a serious candidate for “double arcs on granite bold.”

Last but not least, this very same area carries another historical fact. The Mann Gulch tragedy happened there in 1949, when 13 brave firefighters died. One of the firefighter, Wag Dodge, survived by using his wisdom and the escape fire, and Mann Gulch became one of the most studied wildfire disasters in American history. Wisdom in shadowed sight? A sacred space?

Maybe not too close, at a Respectable and Sufficiant distance from the memorial...

That's where I am today folks!