Appendix A Types of Recorded Chords

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Appendix A Types of Recorded Chords In this appendix, detailed lists of the types of recorded chords are presented. These lists include: The conventional name of the chord [13, 15]. The intervals between the notes that compose the chord. The intervals are denoted as X : (a,b,c,...) where X represents the root note of the chord, and (a,b,c,...) represent the basic interval with the root note. Note that, in the recordings, these intervals can be simple or composed by one or more octaves. These intervals are represented by a number and an alteration (v.gr. 5 means a perfect fifth chord, 5b means a diminished fifth chord and 5# means augmented fifth chord (see Table 2.1)) [15]. The intervals between the notes that compose the chord expressed in MIDI numbers. An example of the chord for the C key. The selected chords contain from 3 to 7 different tones. Note that some chords contain doubled notes, then up to 10 different sounds can be contained in the recorded chords (see Sect. 3.3) In the recording process, some of these notes are doubled to give rise to the same chord but with different polyphony number. Table A.1 shows the organization of the tables in which the different recorded chords are presented. This table also refers the tables in Sect. 3.1. A.M. Barbancho et al., Database of Piano Chords: An Engineering View of Harmony, SpringerBriefs in Electrical and Computer Engineering, DOI 10.1007/978-1-4614-7476-0, The Author(s) 2013 37

38 A Types of Recorded Chords Table A.1 Organization of the tables in which the different recorded chords are presented Number of notes Tables 3 3.2, A.2 4 3.3, A.3 5 3.4, A.4, A.5 6 3.5, A.6, A.7 7 3.6, A.8, A.9 Table A.2 Types of recorded chords with three different notes

A Types of Recorded Chords 39 Table A.3 Types of recorded chords with four different notes

40 A Types of Recorded Chords Table A.4 Types of recorded chords with five different notes (I)

A Types of Recorded Chords 41 Table A.5 Types of recorded chords with five different notes (II)

42 A Types of Recorded Chords Table A.6 Types of recorded chords with six different notes (I)

A Types of Recorded Chords 43 Table A.7 Types of recorded chords with six different notes (II)

44 A Types of Recorded Chords Table A.8 Types of recorded chords with seven different notes (I)

A Types of Recorded Chords 45 Table A.9 Types of recorded chords with seven different notes (II)

References 1. A.P. Klapuri, Multiple fundamental frequency estimation based on harmonicity and spectral smoothness, IEEE Transaction on Speech and Audio Processing, vol.11, no.6, pp. 804 816, 2003. 2. M. Marolt, A connectionist approach to automatic transcription of polyphonic piano music, IEEE Transaction on Multimedia, vol. 6, no.3, pp. 439 449, 2004. 3. J.P. Bello, L. Daudet and M.B. Sandler, Automatic piano transcription using frequency and time-domain information, IEEE Transaction on Audio, Speech and Language Processing, vol. 14, pp. 2242 2251, Nov. 2006. 4. G.E. Poliner and D.P.W. Ellis, A discriminative model for polyphonic piano transcription, EURASIP Journal on Advances in Signal Processing, vol. 8, pp. 1 9, 2007. 5. I. Barbancho, A.M. Barbancho, A. Jurado and L.J. Tardón, Transcription of Piano Recordings, Applied Acoustics, vol. 65, pp. 1261 1287, December 2004. 6. A.M. Barbancho, L.J. Tardón and I. Barbancho, PIC Detector por Piano Chords, EURASIP Journal on Advances in Signal Processing, pp.1 12, 2010. 7. A.M. Barbancho, I. Barbancho, B. Soto and L.J. Tardón, SIC Receiver for Polyphonic Piano Music, in IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP 2011), pp. 377 380, May 2011. 8. A.M. Barbancho, I. Barbancho, J. Alamos and L.J. Tardón, Polyphony number estimator for piano recordings using different spectral patterns, in Audio Engineering Society Convention (AES 128th), 2009. 9. M. Goto, Development of the RWC Music Database, Proceedings of the 18th International Congress on Acoustics, April 2004. 10. Grove Music Online: the world s premier authority on all aspects in music. Oxford University Press. www.oxfordmusiconline.com 11. F. Opolko and J. Wapnick, McGill University Master Samples. A 3-DVD Set, 2006. 12. The Complete MIDI 1.0 Detailed Specification, 2nd ed., The MIDI Manufacturers Association, 1996, website: www.midi.org. 13. W. Apel, Harvard Dictionary of Music, 2nd. ed., The Belknap Press of Harvard University Press, Cambridge, Massachusetts 2000. 14. C. L. Krumhansl, Cognitive Foundation of Musical Pitch,Oxford University Press, New York, NY, USA, 1990. 15. www.music-ir.org/mirex/ 16. A. Klapuri and M. Davy, Signal processing methods for music transcription, Springer, 2006. 17. J. M. Barbour, Tuning and Temperament: A Historical Survey, Dover Publications 2004. A.M. Barbancho et al., Database of Piano Chords: An Engineering View of Harmony, SpringerBriefs in Electrical and Computer Engineering, DOI 10.1007/978-1-4614-7476-0, The Author(s) 2013 47

48 References 18. P. Vos and B. G. V. Vianen, Thresholds for discrimination between pure and tempered intervals: The relevance of nearly coinciding harmonics, Journal of the Acoustical Society of America, vol. 77, pp.176 187, 1984. 19. I. Kosuke, M. Ken Ichi and N. Tsutomu, Ear advantage and consonance of dichotic pitch intervals in absolute-pitch possessors. Brain and cognition, vol. 53, no.3, pp.464 471, 2003. 20. C. de la Bandera, S. Sammartino, I. Barbancho and L.J. Tardón, Evaluation of music similarity based on tonal behavior, In 7th International Symposium On Computer Music Modeling and Retrieval Málaga (Spain), June 21-24, 2010. 21. K. Jensen, Envelope model of isolated musical sounds, In Proceeedings of the 2nd COST G-6 Workshop on Digital Audio Effects (DAFx99), NTNU, Trondheim, December 9-11, 1999. 22. H.L.F. von Helmholtz, On the Sensations of Tone as a Physiological Basis for the Theory of Music, 4th edition. Trans., A.J. Ellis, New York: Dover, 1954. 23. T.D. Rossing, F.R. Moore and P.A. Wheeler, The Science of Sound, 3rd edition, Addison Wesley, 2002. 24. P.D. Lehrman and T. Tully, MIDI for the Professional, Amsco Publications, 1993. 25. A. V. Oppenheim and R.W. Schafer, Discrete-Time Signal Processing, Prentice Hall, 1989. 26. R. Cruz, A. Ortiz, A.M Barbancho and I. Barbancho, Unsupervised classification of audio signals by self-organizing maps and bayesian labeling. International Conference on Hybrid Artificial Intelligence Systems. 2012. LNAI 7208. 27. A. Ortiz, L. Tardón, A.M. Barbancho and I. Barbancho Unsupervised and neural hybrid techniques for audio signal classification. Independent Component Analysis for Audio and Biosignal applications. In-Tech, Viena, Austria, 2012, ISBN: 980-953-307-197-3.

Index C characterization, 3, 4 chord, 1, 3, 13, 17, 35 consonant, 13, 16 diminished minor, 15 dissonant, 13, 16, 18 eleventh, 29 ninth, 26 perfect major, 14, 17 perfect minor, 14 seventh, 26 suspended 4, 24 thirteenth, 31 consonance, 7, 9, 14 D degree diminished fifth, 16 fifth, 13, 14 minor third, 16 scale, 20 third, 13, 14 dissonance, 14 dynamics levels, 2, 20, 35 E enharmonic, 9, 10, 19 envelope, 4 F files, 2, 20, 33, 35 Fourier analysis, 14 short-time transform, 6 theory, 4 frequency, 4, 6, 12, 15 domain, 4 fundamental, 4, 7, 9, 15 rate, 33 separation, 17 standard reference, 7 fundamental tone, 23 H harmonic, 4, 9, 14, 16, 17 center, 8 series, 9 harmony, 3, 13, 35 I inharmonicity, 16 interval, 3, 6 11, 13, 17, 24 harmonic, 3 inversion, 14, 25 J jazz music, 29, 31 33 K key, 3, 8, 9, 23, 36 black, 7 piano, 2 recorded, 23, 24, 34 relative, 8 signature, 8, 19 A.M. Barbancho et al., Database of Piano Chords: An Engineering View of Harmony, SpringerBriefs in Electrical and Computer Engineering, DOI 10.1007/978-1-4614-7476-0, The Author(s) 2013 49

50 Index key (cont.) white, 7 keyboard, 7, 25 L logarithmic, 7, 8, 10 M MIDI, 4, 7, 8, 11, 17, 36 N note, 1, 4, 6, 12, 17, 35 bass, 23 extended, 2 name, 19, 23 names, 7 root, 17, 37 single, 24 O overtone, 5 P partial, 5, 9, 14 pitch, 3, 4, 6, 8, 12, 19 classes, 7 estimation, 5 playing styles, 2, 20, 35 polyphony number, 2, 17, 20, 35 R recorded, 2, 15, 17, 18, 33, 35, 37 interval, 24 recording, 2, 17, 20, 33, 35, 37 S scale, 3, 6, 8 diatonic, 7 9 equal tempered, 3, 10, 13 harmonic, 3 just intonation, 3, 9, 11, 16 semitone, 7 10, 13 spectrum, 4, 14 STFT, 5 T time, 4, 6 domain, 4 play back, 33, 35 tonality, 8, 19 tonic, 8, 9, 21, 24 transcription, 1, 3, 14, 24 tune, 1, 3 W waveform, 4 Western music, 14, 17, 35 music theory, 7 note names, 7