Database of Piano Chords: An Engineering View of Harmony
Ana M. Barbancho, Isabel Barbancho, Lorenzo J. Tardón, Emilio Molina
Format: PDF / Kindle (mobi) / ePub
Database of Piano Chords: An Engineering View of Harmony includes a unique database of piano chords developed exclusively for music research purposes, and outlines the key advantages to using this dataset to further one’s research. The book also describes the physical bases of the occidental music chords and the influence used in the detection and transcription of the music, enabling researchers to intimately understand the construction of each occidental chord. The online database contains more than 275,000 chords with different degrees of polyphony and with different playing styles. Together, the database and the book are an invaluable tool for researchers in this field.
10. (a) Group 1. (b) Group 2 The chords in the first group (Fig. 3.10a) are composed by the fundamental tone (C, A, Eb) doubled, its Major or Minor third, its Diminished, Perfect or Augmented fifth and its Major or Minor seventh. These chords correspond to seventh chords. These chords are commonly used in Western music. In the second group, the chords (Fig. 3.10b) are composed by the fundamental tone (C, A, Eb), its Major or Minor third, its Diminished, Perfect or Augmented fifth, its Major or
of the notes for the different scale degrees in C key 21 Table 3.8 Directories in ‘UMAPiano-DB-Poly-2’23 Table 3.9 Directories in ‘UMAPiano-DB-Poly-2-X’, where ‘X’ can be: Second, third, fourth, fifth, sixth, seventh or octave23 Table 3.10 Directories in ‘UMAPiano-DB-Poly-3’23 Table 3.11 Kinds of intervals considered for polyphony 2 recordings24 Table A.1 Organization of the tables in which the different recorded chords are presented38 Table A.2 Types of recorded chords with three different
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and, in terms of frequency, it is described by the ratio between the respective frequencies of the involved notes. Therefore, in order to go up or down a musical interval, the frequencies must be multiplied or divided by the corresponding number. This is due to the fact that the frequencies in the scale follow a logarithmic relationship instead of a linear one. Musical intervals are defined by the musical scale used. So, the physical basis of scales are the physical basis of the intervals.
second 2 (C to D) Major seventh 11 (C to B) Minor second 1 (C to Db) Minor seventh 10 (C to Bb) Diminished third 2 (C to Dbb) Diminished fifth 6 (C to Gb) Diminished seventh 9 (C to Bbb) Diminished octave 11 (C to Cb) Augmented second 3 (C to D#) Diminished sixth 7 (C to Abb) Augmented fourth 6 (C to F#) Augmented fifth 8 (C to G#) Augmented octave 13 (C to C#) Augmented third 5 (C to E#) Augmented sixth 10 (C to A#) Diminished fourth 10 (C to Fb)