Two cadences, such as the tonal Perfect cadence and the renaissance Phrygian cadence (more generally, two chord transitions) may be blended giving rise to new cadences, such as the Tritone Substitution progression (a cadential type that emerged in jazz, centuries after the main tonal/modal input cadences). The generated new cadences feature important characteristics from both of the input cadence spaces, such as the ascending and descending leading notes to the tonic, preserving thus the closure effect of the resulting ‘new’ cadential formula. (Eppe et al. 2015, Zacharakis et al. 2015)

Chord transition blending can be employed to allow the blending of whole chord transition matrices from different spaces. Chord transitions from different chord transition matrices are blended and ranked. When only the top ranking blends are preserved, then the system has introduced a way to connect the two input chord spaces. If more blends are selected then the composite transition matrix becomes more populated allowing more connections between the spaces. If the probabilities of the new ‘invented’ transitions are low, then the chord generation system creates chord sequences mostly within each of the constituent input spaces occasionally allowing passage from one to the other. If the probabilities of the new blended transitions are increased, then the whole space becomes unified and movement between most or all of the chords of both spaces is enabled. This latter strong blending between input spaces can generate new harmonic spaces that are radically different from the initial input spaces.

In the following examples manual analysis of harmonic progressions through the use of Latin roman numeral notation of tonal harmonisation was made in certain cases. The pitch content of the chords was always kept intact, and the bass line was manually altered in very few cases (indicated by * in the scores) in order to avoid stylistic inconsistencies or achieve more effective voice-leading. Manual reworking of the inner voices was applied where needed, although a strict application of common-practice voice-leading rules was not pursued.

A special purpose melody (without the third and sixth degrees of the major-minor scales) is harmonised, firstly, in the major mode, secondly, in the harmonic minor mode, and then in the blended major-minor chord transition space (two harmonic versions).

A special purpose-made melody, featuring a distant key transposition (C – F# major) is harmonised, firstly, in C major mode (unsuccessful/awkward harmonisation in the F# region), then, in the blended C – F# major space (two versions: low and high blending values).

A traditional scottish pentatonic melody “Ye Banks and Braes” is harmonised in the style of Bach chorales, firstly, in G major alone, then, three more times blending G major with Bb major, B major and C# major respectively. The blended harmonisations illustrate a radical departure from the initial common practice tonal harmony (Bach chorale style) towards chromatic harmony (harmony of the romantic period); the more distant blending of G-C# major results in a more 'adventurous' harnomisation.

Beethoven’s Ode to Joy theme is harmonised in the classical tonal style, in the classical Jazz style and in a blended idiom between the two.

A traditional Greek melody “Apopse  ta mesanychta” in Aeolian mode is creatively harmonised once in the blended space that combines  Constantinidis’ harmonic style with whole-tone harmony, and once in the blended space of Jazz harmony with Hindemith’s harmonic idiom.