I'm interested to know how some of you apply this concept to improvising/composing:
+1It looks to me like a formula to find some possible interesting chord substitutions (or borrowed chords from the parallel major or minor key). Like he mentions, not all of them sound good.
I think the logic is in the stable notes going to stable and the active notes into active- but only on that axis. I do wonder how "regular" reharmonization as you call it fits into the construct- such as tritone subs.+1
I don't find the concept really logical - but perhaps it's sometimes a good way to leave your harmonisation routine and find a progression you did not think of before.
Well put and thanks for sharing it. Very helpful for me to go through different approaches until one works for me ("is more accessible"). FWIW I find it more intuitive to rename "active" to "unstable" to express the tendency to resolve towards stability....But this way of looking at it is much more accessible to me. It reminds me of different ways Japanese and American children learn math- there are so many different ways people think and put things together, and for some reason, this way of looking at it helped me...