On Tuesday, August 8, 2017 at 3:16:46 PM UTC+2, Alex Knauth wrote:
> > On Aug 8, 2017, at 8:15 AM, Luis Sanjuán <luisj.sanj...@gmail.com> wrote:
> > Hi, phillip
> > As far as I'm concerned, professional musician too, I wrote a little app,
> > just a prototype, using a similar representation of pitch classes and
> > intervals for basic chord analysis. Since actual chords can be seen as
> > sequences of intervals, its analysis can be reduced to determine the chord
> > patterns actual chords match. This leads to at least all possible
> > interpretations. Further work, some AI for sure, would be needed to select
> > proper interpretations. Without that, though, a summary of possible matches
> > cuold be as is useful for students in the first years of Harmony
> I've been trying to do something similar, representing chord-kinds as
> sequences of intervals and matching the possible chord patterns to the notes.
> I've been basing it on the chord-labeling algorithm in a paper I found,
> "Algorithms for Chordal Analysis" by Bryan Pardo and William P. Birmingham,
> but there are a few situations where this doesn't label the correct chord. In
> particular when there are something like short arpeggios in the harmony and
> longer passing tones or suspensions in the melody, it gives more weight to
> the passing tones and suspensions.
> Is that similar to the strategy you used? Is there any way to deal with
> passing tones like this?
> Alex Knauth
Regarding passing notes and suspensions, it occurs to me that one could try to
mimic the way musicians cope with them. If your chord patterns don't include
too many varieties, one would get more than a few 'unknown' chords. Still one
could later decide from the context, so if, for instance, most of the chord
progression in which the unknown chord is inserted can be labeled, one could
discard or label those added notes in the unknown chord as 'ornaments' and
label the chord accordingly.
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