Cubes, Bugs, And The Ultimate Chord Map

[@12tone]

Some additional thoughts/corrections: 1) Some folks are asking why this graph doesn't include the fourth standard triad quality, diminished. As far as I know, the main reason diminished triads are left out is just because they're unnecessary. Augmented triads were added because we needed them in order to bridge the various hexatonic cycles, but diminished triads don't really do that very well. Each one is only connected to one major and one minor chord, so they only facilitate one transformation, the Slide, which the augmented triad already covers so the diminished triads are redundant. For each augmented triad on the chart, you could add in three diminished triads along the same lines, but there's not really a lot to be gained from that so they tend to get left out. 2) That's it for now, I'll add more if I think of anything else.

[@archerparks4617]

The Weitzman region water bug thing in your video actually reminded me of something I'd read in The Barry Harris Harmonic method. It was about diminished chords. They actually have really similar properties if you allow for the possibility of four-note chords. Move one note up a half step in a diminished chord and you get a minor seven flat five or "half-diminished" chord, move one note down and you get a dominant 7th. You could make a whole other Weitzman region with a four-note diminished chord in the center and dominant 7th chord on one side and half diminished chords on the other! The only question would be how to create cycles like that with seventh chords... Love your stuff man. I think this was one of my favorite videos of yours so far.

[@kengonzo1640]

I don't know how anyone could dislike this video. It's exactly what it is suppose to be. Great job! Always inspiring! Thank you!

[@eritain]

@@archerparks4617 Oh boy, tesseract dance incoming! There are only 3 diminished chords, and each is going to have 8 other tetrads in its Weitzmann region: 4 pitches, each of which can be raised or lowered one half step. And then I thinnnnk the tesseract shown by Dmitri Tymoczko in vimeo.com/15130841 is the neo-Riemannian equivalent of the cube, but for tetrads instead of triads. Edit: Confirmed, that's what it is. Also discovered earlier by Douthett, who gave the name Power Tower to the 4-note equivalent of Cube Dance, even though it's not actually a tower but a triangle. Edit 2: And if that's not gnarly enough, last year Hon Ki Cheung published the "Extended 4-Cube Trio," which contains the "Tesseract Dance" plus additional 4-note chord types and voice leadings to and from triads. It's going to take some study though. Cheung 2018, "A study of inter-cardinality voice leading using voice-leading zones and the Extended 4-Cube Trio." Gamut vol. 8 no. 1 pp. 189--223, trace.tennessee.edu/gamut/vol8/iss1/8/

[@edbuller4435]

@@stoferb876 id say they pretty much are always dominant in some way

[@HalfEvilTripl3]

So would the Cube dance be considered a multi-tonic system in itself, or would it just be considered a collection of multi-tonic systems strung together?

[@Paul_K_]

"diminished fourth, which is just a fancy name for a major third" *cries in just intonation*

[@Pablo360able]

yes, cry

[@awelotta]

Interestingly, a diminished fourth I think is actually closer to 5/4 than a major third, if you use pure or slightly large fifths. That's called schismatic temperament.

[@shannonrowan4671]

Hexatonic cycles don’t exist in just intonation. They require every half step movement to be exactly the same to keep from drifting off the circle.

[@actualizedanimal]

Now I know exactly how to escape if someone traps me in a chord prison. Thanks, 12tone!

[@seanonel]

Not exactly escaping; just walking a specific route around your cell...

[@CityBeautiful]

It's really cool to see music shown so graphically like this. Illuminating!

[@hayzukreesto]

Wow, do all my favorite supernerd youtubers follow each other??

[@Michael-de7jt]

imagine if he uploaded these without sound and was like “figure it out”

[@Seltaeb_]

This channel is one of my favorite things on KZbin. I can't wait until I find the time to start writing and arranging to actually be able to use some of this stuff practically lol

[@mrwizardalien]

I usually find these kinds of videos awesome and fun but not super useful in my day to day music making. But this! This is amazingly applicable! I could go out right now and use this diagram to get from one chord to another in like 10 different ways!

[@SendyTheEndless]

Cube dance? So like a square dance but with an extra dimension?

[@jasminedakota3958]

Yes

[@thealientree3821]

Can only be achieved by 4d people.

[@AllonKirtchik]

And line dance is one fewer dimension

[@pst9056]

What about point dance?

[@SendyTheEndless]

@@pst9056 There's nothing to it ;)

[@dauwpuntje]

I LOVE this kind of music theory based around geometry... Will definitely play around with this :)

[@daltorb8739]

Can we petition to change the patreon of the month name to "elephant in the room?"

[@lizs004]

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[@yuvalsela4482]

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[@pathagas]

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[@thezipcreator]

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[@NotHPotter]

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[@MuzikBike]

Cube dance? Minecraft's 10th anniversary today? Coincidence?

[@benjaminl8680]

I don't know where to leave this, but this video is as good as any. After discovering this through a combination of messing with chords, inversions, and randomness on my mini midi keyboard, it's really cool to see how the theory fits into it. Literally 2 weeks ago before I got this stuff down onto a keyboard, I would've been totally lost. But now the whole theory (or a bite-sized version) makes absolute sense in context and I love it! Thanks man

[@abramthiessen8749]

So, it seems that now each major and minor chord has 3 exochords under cube dance, and each augmented chord has exactly one exochord. For example C has only 3 chords that take exactly 6 steps: F#, D, and Bb. And D Aug has only Ab Aug as an exochord. I also kinda want a 3D representation of this with 4 connected stretched cubes that can rotate at their augmented vertices. I also note that the graph of Cube dance has the same genus as the typical neoriemannian graph, as both are tori.

[@a52productions]

I don't know, if anything I would argue that the relative transformation is _more_ "valid" than the parallel one, because it stays within the key, and more than the leading tone one, because it stays on a tonic function chord. Splitting it into an augmented chord can sound nice in certain cases and maybe makes the theory a bit more symmetrical, but it seems like it would be much more common to just move directly. It might be further in terms of steps, but it's closer aurally.

[@MrDuncanBelfast]

"A fully functional Tonality GPS." -Tony Stark

[@macronencer]

I love it when music and maths work in such perfect harmony. And when the maths veers toward geometry, it's even more satisfying. Thank you!

[@kevinberstler]

Just started watching this video and decided I needed to tell you thank you and all those involved in creating and supporting your work. I’ve been watching your videos for a while, and I’ve grown to assume your newest video will be great without even watching. Now I’ll go watch and pay attention. Haha thanks.

[@segrist223]

You've blown my mind wide open. Took a handful of videos for me to get to this understanding though. Your videos are the best, Tone.

[@NotHPotter]

The way you can draw out elegant beauty from chaos reminds me of advanced mathematics. I daresay that cube dance picture suggests a 4 dimensional hypercube.

[@Vulume]

A hypercube only has 16 points whereas cube dance has 28. The 4 cubes in a hypercube share all edges, in cube dance they only share some points. Maybe there's something higher up though.

[@Mel_Adroit]

Wow, thank you so much! I've just been working on something that requires me to get from C maj to B maj and, while I haven't yet made sense of this video, clearly you've just given me multiple interesting ways to get there.

[@penguindrum264]

Had to rewatch the last three minutes on the Cube Dance like twice. Mind-blown, I wouldn't have been able to decipher it without this video. I probably will never use this in analysis, but it did excite the music theory nerd side in me and gave me new ideas on modulations.

[@SundayMatinee]

This looks like so much fun! I'm going to try and create a piece with these progressions as a foundation. Thanks for putting this together and introducing us to this concept!

[@ianfoote]

Can you add in diminished chords instead of or as well as augmented ones? What happens then?

[@MrTheSmoon]

the property of augmented cords that makes the weitzman regions work is their symetry and diminished are not symetrical. also there is no way to turn a major cord into a diminished cord in 1 half step move. there is a way to map diminished chords into a system similar to this (by just defining additional transformations) but i am unsure if it would retain any usefull relationship to our perseption of harmony. sounds like a fun puzzle tho

[@bassamromolino]

@@MrTheSmoon maybe not diminished triads, but diminished 7 chords are perfectly symmetrical. Also you can make a major chord diminished by raising the root 1 half step Edit: Fully diminished 7 chords

[@Tsskyx]

I have figured it out, mostly. I'll try emailing 12tone about the graphic I've come up with :)

[@bigsanctions1142]

@@bassamromolino Diminished 7th chords get used in the "Power Towers" diagram. Which is basically the cube dance but using 7th chords instead of triads. Also diminished triads CAN be used to connect components of the cube dance graph, but the augmented triads provide the greatest amount of connectivity.

[@SteffenThole]

Thank you so much for revisiting the Neo-Riemannian theory and going more in depth! I really appreciate you looking into non-standard stuff (even though I believe Neo-Riemannian theory will eventually or is already getting more and more popular).

[@denisbaranov1367]

Wow, this is almost exactly how I thought about "nearest neighbour" chord transformations some time ago when I was practicing basics of progressions. Now I know the proper name for this concept. Thank you so much!

[@jerrytingley8972]

I very much enjoyed this. The diagrams you drew and the way you defined them remind me of diagrams you find in subjects like category theory. I had not given the algebraic structure of chords much thought but the ideas presented here seem to imply these transformations, and other operations, could be modeled with something as simple as a finite group or possibly something with more structure. Neo-Riemannian theory seems the most mathematical description of harmony than other schools of thought that I know, are there other theories in music that may lend themselves well to mathematical structures?

[@eritain]

You're going to love Dmitri Tymoczko's work.

[@apalomba]

I love this! Are there any other harmonic models like this? Hyper-cube dance perhaps?

[@AidanMmusic96]

Couldn't help but think of the tune Good Side In by The Japanese House, which moves directly from alternating D minor and major to the verses in C minor. Really jarring but also cool, I think!

[@anthonywestbrook2155]

You should show some of this stuff on an instrument with a harmonic table key layout (or one of the many apps). Playing around on one has blown my mind being able to see the relationships in the chords of songs.

[@Benji2N]

For all of the ridiculously informative content in this video, my one burning question is why Diglett means "revisit?"

[@Viviantoga]

Diglett is probably the most iconic pokemon to use the move "Dig," which when used outside of battle in indoor areas (caves, dungeons, the occasional gym) will warp you back to the last Pokemon Center you checked in to.

[@ZipplyZane]

I would play D, G, G7, Cm. It seems the chart would want me to play a Bm between the D and G. I'm curious if that sounds "smoother." Edit: seems to work best if I keep a D in the bass and use the Bm as a variation on the D chord. If I walk the bass like I normally would for a I-VIm-IV progression, it doesn't work as well. It too heavily implies the doo op changes. Also, I have to keep the G and G7 in the same harmonic rhythm, so the Bm replaces part of where I held the D chord before. Edit2: but D7 fits better than Bm. Seems this cube could be fleshed out with seventh chords. They can replace the augmented chords. D D+ G G+ Cm works, but replace the augmented chords with dominant 7ths, and its even smoother, with D D7 G G7 Cm.

[@ZipplyZane]

Haakon Dahl I did partway through writing that wonder if just reducing the V7 to vii° chords would be simpler.

[@macronencer]

This got me thinking about tetrads as well. I suspect it's harder to play this game with tetrads, because you'd probably need a larger set of chord types as you'd be moving more notes, a half-step at a time. But it would be interesting to explore the idea... it would be all too easy to keep accidentally ending up with a triad. For example, if you take C(maj7) (CEGB) and move the C down, you'd end up with Em, which is no longer a tetrad.

[@luizcadu]

Dmitri Tymoczko describes a similar "cube" relationship, but involving transformation of scales from one to another. It's pretty neat as well.

[@JPPWB]

The knee bone's connected to the- to the... *has a stroke*

[@leomeneghelli1795]

That was mind blowing! Could you show us a practical example applied to a soundtrack or song? (perhaps movie cues has a lot to do with this than ordinary songs)

[@jojo-fj7lw]

I WAS JUST JOKINGLY SEARCH CUBE DANCE HOPING FOR A MEME & THEN THIS CAME OUT SO I WATCH IT THEN IT GOT ME MESMERIZED ON THIS THEORY😭❤️

[@nihilith8832]

Hey! What about diminished triads? They provide in some scenarios pathings with equal number of steps (for example: Am -> G#+ -> G# ___Am -> Adim -> G#). So they are redundant or do not explain any transformations faster, but they offer of course different chordal flavours. Any reason they are left out in the model?

[@12tone]

As far as I know, the main reason diminished triads are left out is because they're unnecessary. Augmented triads were added because we needed them in order to bridge the various hexatonic cycles, but diminished triads don't really do that very well. Each one is only connected to one major and one minor chord, so they only facilitate one transformation, the Slide, which the augmented triad already covers so the diminished triads are redundant.

[@wege8409]

Oh man, I've been waiting for this, thank you!

[@CMM5300]

If we use it as a key center, can we just substitute a diminished 7th chord for the augmented? If really love to see how diminished chords will work with this! Great lesson!

[@eritain]

4-note chords form tesseracts instead of cubes, and of course there are only 3 dim7 chords where they join each other, but yeah, it's been done. Douthett called it the Power Tower (even though it's really a triangle, not a tower), and Tymoczko rediscovered it (you can find video of him using it to explain Chopin's E minor prelude).

[@CMM5300]

Nathan Rasmussen thanks! I'll check it out!

[@thealientree3821]

If you're doing diminished chords, it'll be like the cube dance, except much stricter because diminished chords only go one way. If you're going to compare that to the augmented chords, diminished is the long path, and augmented is the shortcut.

[@Stigstigmamatata]

this is fascinating, thank you as always

[@mikulassvoboda9002]

Is there a system similar to neo-riemannian theory that you could apply to chords with a seventh? I've been trying to come up with way to organize those chords via the same voice leading ideas but the structure seems too complex...

[@bribes_for_nouns]

great question

[@paulsherrill]

Yeah, there is! The relevant graph for seventh chords is called "power towers." I recommend the book *Audacious Euphony* by Richard Cohn, which offers a great introduction to all this stuff.

[@kevinfitzgerald8922]

I have been trying to work on a map that includes sevenths. It may end up being multiple maps because there are several kinds of sevenths. In the case of major or minor triads, a single transformation leads to a flip from one to the other. Only the quality of the 3rd changes. If we maintain the major to minor flip when sevenths are included, the map we get will depend on the type of seventh added *and* whether or not the quality of the 7th changes. Consider Cmaj7. It could be linked to these 4 7th chords by changing only one note: Cmaj7 -> Cmin-maj7 (C Eb G B) 1 note moves by half step Cmaj7 -> Cdom7 (C E G Bb) 1 note moves by half step Cmaj7 -> Amin7 (A C E G) 1 note moves by whole step Cmaj7 -> Emin7 (E G B D) 1 note moves by whole step Likewise, we can move to 5 7th chords by changing only one note of a min7 chord: Cmin7 -> Cmin-maj7 Cmin7 -> Cdom7 Cmin7 -> Ebmaj7 Cmin7 -> Ebdom7 Cmin7 -> Abmaj7 The following contain augmented or diminished triads that give less options for movement: Cdom7 -> Cmin7 Cdom7 -> Cmaj7 Cmin-maj7 -> Cmin7 Cmin-maj7 -> Cmaj7 I'm not yet sure where to go with it. My intuition tells me that any complete map that includes 7ths would be multidimensional and difficult to display all at once.

[@mikulassvoboda9002]

@@kevinfitzgerald8922 yes! Displaying it properly is definitely the main problem :) I also think that in order to make it the least complex it can be its necessary to leave out the min-maj7 chords because they after a while create sort of a loop and they dont connect to that many chords after all

[@kevinfitzgerald8922]

Looks like Paul is correct, I found a diagram for 7ths . Check out p. 74 in this books.google.com/books?id=dUIaBwAAQBAJ&lpg=PA75&ots=_kBYneivXB&dq=chord%20power%20towers&pg=PA74#v=onepage&q=chord%20power%20towers&f=false

[@gettingkilt]

A question that just came up for me: some songs seem to slide around on the circle of fifths: They start with tonic in, say, F, but seem to pull in sharps chords (D, A, G) as well as flats chords (Bb, Eb, Ab) without really modulating. Examples: Goodbye Yellow Brick Road, Love of My Life. What is going on there? Is it a quick modulation or is there some way those chords (and their I, IV, V) are legitimately reachable in F?

[@tomatut2425]

Thankyou, your lessons are very useful. But my brain has to do more processing because of those images you draw, most of them are metaphors and homonyms word-play which create unnecessary distraction and I find it harder to follow with the speed of this advance music theory. Images are great but maybe consider some simpler ways to use pen and ink :P

[@TheCryoFist]

Would you consider doing a similar dive into Richard Cohn's Hexatonic System?

[@AlbertAnguela]

hi, very very interesting sounds come from this. is it possible you add a link to a printable DANCE CUBE. the ones I have found are small or have funny notiations.

[@oomphywhoomp2508]

love your videos. keep up the good work 💙💙

[@robertstone1218]

Pat Martino developed this idea for guitar as an easier way to map the fretboard, breaking it down to diminished and augmented chords as parental forms. Move any one note in the diminished form and it becomes a dominant chord, and then the augmented form changes to major or minor like described in this video. I don’t fully understand it but any guitarists interested in this video should definitely check out Pat Martino’s masterclasses.

[@twothousandcookies]

I just want to see the shape if there were diminished added in. You could go from any minor to a diminished or any major to a diminished with one half step movement.

[@jakepierce5183]

Hey you should do an analysis of the psychedelic furs they have some really interesting modality, they don’t usually follow functional harmony... the song Sister Europe would be interesting to see analyzed especially by you

[@kevinmccluskey8899]

That's intense. What about creating a sus chord by moving the major 3rd up a 1/2-step? So in addition to the minor and augmented chords, also created by the 1/2-step movement, you have a third choice. I don't know enough about your example to understand the implications of trying to build the cube using chords built with 1,4,5. Is it possible?

[@tymime]

I wonder why augmented chords aren't used for deceptive cadances more often, since they're just as symmetrical as diminished chords. I've used augmented chords ambiguously, so an E+ chord can also be C+ and resolve to either A or F.

[@homebakedgoods]

Tritones are easier to resolve than #5s or M3s

[@Cjthecc]

So I'm fascinated by this model- and have been since i was shown it by an old teacher of mine who (I believe) was in contact with the author. This video provides an explanation of it but id love to see a demonstration of how to use it to make music as I'm currently looking at it in bafflement, wondering why it's better than the scales and modes I already know. Has anyone seen any video examples of this? Thanks.

[@TheGuitarChief]

This is AWESOME!!!

[@ckarladones]

1:45 like a rainbow with all of the colors

[@wido123123]

this sounds VERY interesting but......can you give an example using this, maybe in a few genres (like pop, rock and dunno...reggae?)

[@ornleifs]

Exactly what I was thinking - I wanted to hear some musical examples.

[@zachdavenport8509]

None of those genes very commonly use chromatic harmony in a way that really requires this kind of analysis.

[@wido123123]

@@zachdavenport8509 Sorry, I don't know enough theory to understand how this would be used. That's why I think giving examples would be more useful, to get a better understanding of whowo use them (this would be interesting to see Adam Neely do, maybe?)

[@zachdavenport8509]

@@wido123123 this could be used to analyze 20th century classical music, some jazz, and maybe even some prog rock/metal. Most music uses chords within one key, so functional harmony is used to analyze that (12tone uses that frequently). This is useful when the chords come from different keys. It shows how they are related.

[@hijackal2804]

what are some songs that use this kind of movement?

[@KrisCadwell]

This is so cool, I have to write something with it.

[@grimwax5053]

Any one have a copy of this version of the Cube Dance diagram? I can't seem to find the same one, and the ones I find aren't as straight forward

[@anirudhsilai5790]

Cool stuff!

[@nicholaslupinacci6925]

You should do a video on the filming of these videos.

[@Purpose_Tortoise]

looks like some mysterious alchemy table :D I'm not sure if I'm ever gonna use this.. but it sure looks cool!

[@spartanshot1]

Can you talk about Blackbird by Alter Bridge?

[@SebastianWeissMusic]

Hi, where can I find the Cubedance diagram to print it out? I can't find it in the sources. Thank you.

[@12tone]

Oh, I made that one myself. It's present in the book I cited, though, Audacious Euphony, page 86.

[@busiestytnerd5175]

Oh my God thank you!!!

[@lawrencetaylor4101]

I have looked at other music theory videos. Then someone slipped me some mind altering drugs and I watched this.

[@lawrencetaylor4101]

Changing chords in one move? Stevie Wonder: Hold my beer!

[@andersonkurk]

Fitting video for Minecraft's 10th anniversary...

[@nacoran]

Very Cool!

[@ChristianPaulDelage]

Mind = Blown

[@brianwarner308]

that was......FUCKING AWESOME!!!!

[@bigcrunch1971]

holy shit what have I stumbled into?? Subbed

[@noambarenholtz5804]

With 12tone it’s tesseract dance

[@sammy3212321]

Clearly you require the diatonic (D) transformation to complete the PRNDL abbreviation.

[@kwilamowski]

Mind blown.

[@5up3rp3rs0n]

6:46 oh he has a right hand This disproves the theory that his right hand is eaten by an elephant while feeding it then?

[@chain3519]

2:11

[@ceegers]

This could really stand to have more explanation as to how this actually... means anything real. Like in the key of G, you could easily have a C chord go to a D chord with nothing in between (like in the super common I vi IV V), which is literally on the opposite side of this thing, as far away as you can get.

[@eritain]

Romantic-era music started out with the Classical tonality like you're describing, and added a layer of chromaticism with smooth voice leading that sometimes fills in between Classical tonal moves and sometimes makes side trips from them. Cube Dance doesn't attempt to describe the tonal foundation, only the chromatic superstructure.

[@joebowbeer]

Compare to Euler's Tonnetz or maybe Vogel's 3-dimensional Tonnetz?

[@bobthabuilda1525]

Wow I've never been this early

[@clayray2589]

Although I only understand about 50% of this I find it 100% interesting very good Brain food

[@juanchis.investigadorsonoro]

Great! Your the best :)

[@Fluxus_Lux]

Wow! I’ve been playing with the Major Augmented scale lately (ianring.com/musictheory/scales/2457) and this concept is extremely relevant to it.

[@MatthieuStepec]

Cube dance is an impressive graphical tool as far as neo-riemannian theory is concerned, but it's not "THE" map that unifies all chords, or rather, it's not the map that shows you all relationships between chords. It emphasises parcimony, which is useful to find out which devices set cycles of thirds in motion (in the music of Schubert mainly, which seems to make up three quarters of neo-riemannian literature, or others like Brahms or Wagner). However, it is also curiously amnesic about functional tonal relationships, which makes neo-riemannian analyses sometimes strange (a nice word for "completely outlandish"). Don't get me wrong, I like the idea of neo-riemannian theory a lot, but calling this "the ultimate chord map" is misleading in a very symptomatic way: it seems as if you would forget just for the time of this explanation that you were also perfectly fine with 5ths relationships before (and after) using the Douthett graph. The fact that Weitzmann regions are drawn along an augmented triad is also very telling: augmented triads are rare even in late romantic harmony, much rarer than the diminished triad. This for me is also an element indicating that neo-riemannian theory opens the possibility of composing music in a different way, solely based on parcimonious voice leading (or at least orienting itself based on voice leading parcimony) rather than offering analytical tools used to analyse already existing music. It also beautifully enables symmetry to emerge out of an otherwise stubbornly asymmetrical tonal world. One last word - a technicality: The content of your video is good! I just tend to find your explanations too fast; as someone who usually already knows the stuff you describe, I still can tell that I wouldn't really be able to grasp it at that tempo.

[@kevolegend]

join facebook group - Musica Universalis - Universal Music

[@CMM5300]

Will some please chart this put with diminished chords! Lol! I know it can be done.... some how..... I think!

[@milastrausz5589]

You should do understanding four out of five by arctic monkeys :D

[@rowanhollingsworth5231]

1:04 *DEMONITIZED*

[@ponceponce4431]

Where I come from, we call it "The Tesseract".

[@niclasvestman]

Massive thanks for awesome content! Great explanation. You rock... (pun intended) ;-)

[@everab1209]

Justo veía tus videos Lol

[@QuikVidGuy]

Cory why are you so fcuking smart

[@vladanikin696]

Soooo, maybe we should address an elephant in this room? What about diminished chords?

[@anirudhsilai5790]

D# dim can only transform to D or D#m, which makes it less effective than D+.

[@DarkScarlatti]

WOW, this blew my mind!

[@dysxleia]

566 likes and no dislikes? Not bad, not bad

[@linkVIII]

But I want to see the dance in action now

[@conradthe2]

Oh yeah the bvii (Cmi) and I (D) is just iv - Cmi V - D i - Gmi

[@matthewkeogh8102]

Im not sure or why. this video made me think of Tim Smith (cardiacs)

[@sschmidtfilms]

I guess I am still confused on how to use the chart practically...

[@Samscoinsandheavymetal]

I prefer square dancing myself followed only by line dancing

[@MattMoney]

Us 3D beings have the Square dance, so do 4D beings have the Cube Dance?

[@consequenceable]

wow