Tonic Chord Research Articles

Detecting chord tone alterations and suspensions

Chord detection is the task of assigning chord labels to segments of an input musical piece. The labels are typically drawn from a pre-defined vocabulary in which each symbol comprises at least a root pitch and a chord quality. In this paper, we introduce a post-processing method that takes as input a musical score with such labels and adds chord tone alterations such as suspensions to them. Although it is an important aspect of harmonic analysis, it is infeasible to do so by simply adding features to the labels in the vocabulary, given the multiplicative effect on vocabulary sizes which can already be over 1000. We evaluate our method using both ground truth input and input derived from a chord detection model, showing that it outperforms a strong heuristic baseline in both cases. Furthermore, we show that our model can be used to detect the rarer chord qualities from the model's output alterations, potentially enabling chord detection models to be trained on small vocabularies containing only the more common (and easier to identify) chord qualities (e.g. only triads).

Interactive effects of presentation mode and pitch register on simultaneous consonance

In this study, we tested for interactive effects of presentation mode (diotic vs. dichotic), pitch register, and both harmonicity and spectral interference on simultaneous consonance, the tendency to perceive some combinations of simultaneously sounded musical tones as more pleasant than others. In two experiments, participants were asked to rate the pleasantness of synthetic dyads (i.e., two-note chords) generated from an unconventional musical system, the Bohlen–Pierce chromatic just scale. Consistent with earlier findings, analyses of these ratings showed that diotic presentation bolsters the positive association between harmonicity and consonance. Analyses also newly revealed that diotic presentation bolsters the negative association between spectral interference and consonance, presumably reflecting the reduction in interference between close-frequency partials engendered by channeling chord tones to different ears. However, the results also showed that these interactive effects were no longer reliable when dyads were presented in a relatively high pitch register (centered at C7 vs. C4), even when controlling for potential confounds between register and loudness. This appears to reflect the marked aversion to dyads presented in a high-frequency range, a tendency that may have overwhelmed the relatively subtle contribution of presentation mode. In sum, our results point to the importance of taking pitch register into account when modeling the combined effects of presentation mode, harmonicity, and spectral interference on simultaneous consonance judgments.

Analysis Of the Structure of Music Penanian Dolo Mesa'ri Tendan Lamatoto' Song

Penanian Dolo This is a spiritual song brought by evangelists from the Netherlands along with the Dutch colonial events in Tana Toraja. Penanian Dolo is a song or song that was originally used in the liturgy of Christian worship in Tana Toraja. Over time, Penanian Dolo was used by the people of Gandangbatu in the procession of carrying the corpse (Ma'bulle Tomate).This study aims to determine the form and structure of Penanian Dolo music, Mesa'ri Tendan Lamatoto'. The research method used in this research is qualitative research using sociology and musicology approaches. The results of the study show that Penanian Dolo music, the song Mesa'ri Tendan Lamatoto'is a one-part song form with a total of 8 bars composed of one sentence/period. The song Mesa'ri Tendan Lamatoto' has two clauses, namely interrogative sentences/antecedent phrases (bars 1 – 4) and answer sentences/consequences phrases (bars 5 – 8). Each has the same number of bars but in the consequence phrase motif there are sentence pieces that are not the same length, in other words, they are not symmetrical. This can happen because the division of motifs must pay attention to the integrity of a sentence because the unity of the sentence is more important than the importance of each tone. The motif of the song begins with a tonic chord and ends with a dominant chord to a tonic chord (perfect cadences). The development of dominant motifs uses repetition techniques. The rhythm used in the song Mesa'ri Tendan Lamatoto' uses three types of note values, namely not , notes ¼ and notes 1/8 . The measure or beat pattern used in Mesa'ri Tendan Lamatoto's song uses 4/4 measure, which means that there are four quarter notes in one measure. The tempo used in Mesa'ri Tendan Lamatoto song is moderato which means moderate with a speed of 92-104 beats per minute. The melody used in the Penanian Dolo song as a whole uses diatonic scales. On the other hand, the lyrics in Mesa'ri Tendan Lamatoto' contain aspects of worship and surrender to the almighty. The melody used in the song Penanian Dolo as a whole uses a diatonic scale. On the other hand, the poems in the song Mesa'ri Tendan Lamatoto' contain aspects of worship and submission to the almighty. The melody used in the Penanian Dolo song as a whole uses diatonic scales. On the other hand, the lyrics in Mesa'ri Tendan Lamatoto' contain aspects of worship and surrender to the almighty.

On the Tonic Added-Sixth Chord in Jazz

This article investigates the major-mode tonic added-sixth chord in jazz, a characteristic harmony well established by the 1930s. Beginning around 1930, routine use of the tonic added-sixth chord established it as a “dialect” distinct from the triadic dialect of early jazz, ragtime, and the various styles and genres antecedent to jazz. The article begins with an examination of how ".fn_scaledegree(6)."/I can be understood as both “dependent” on ".fn_scaledegree(5)." and “independent” in both dialects. Examples from the literature then follow, with particular focus on transitional pieces, where the underlying tonics were triadic but independent ".fn_scaledegree(6)."/Is in the melody created de facto added-sixth chords. Such pieces exhibited a freer use of ".fn_scaledegree(6).", enabling it to function in tonic harmonies without depending on ".fn_scaledegree(5).". Once independent of ".fn_scaledegree(5).", ".fn_scaledegree(6)." was eventually treated as a chord tone routinely added to the triad without melodic impetus and establishing the added sixth as a standalone jazz chord. After presentation of a table that summarizes the functions of ".fn_scaledegree(6)."/I, the conclusion suggests a possible “inclusive” ".fn_scaledegree(6)." as a subcategory of the independent ".fn_scaledegree(6)." and then proceeds to issues regarding advancing ".fn_scaledegree(6)."/I, ".fn_scaledegree(5)."/I, or both to deeper structural levels and the relevance of tonic-triad types at such levels.

보컬 전공 학습자를 위한 작곡 지도방안 연구: 재즈 즉흥연주 원리를 중심으로

This study aims to develop a method of through singing that the principles of jazz improvisation, but focuses on improvisation as a tool for composition rather than to cultivate authentic jazz improvisational techniques. The lessons are divided into four phases: singing chord tones, singing chord tones over chord progressions, creating melodies over chord progressions, and creating melodies with lyrics, which can be broken down into smaller steps depending on the level of the overall lesson and the learner’s theoretical background and achievement. In the class, learners can experience creation through singing and lay the foundation for creative work. The significance of this study lies in the development of a pedagogical approach to help vocal majors expand their musical spectrum through opportunities to combine theory and performance.

Projection, Call‐Response and the Improvisational Moment

Projection, Call‐Response and the Improvisational Moment

Prediction errors arising from switches between major and minor modes in music: An fMRI study

The major and minor modes in Western music have positive and negative connotations, respectively. The present fMRI study examined listeners’ neural responses to switches between major and minor modes. We manipulated the final chords of J. S. Bach’s keyboard pieces so that each major-mode passage ended with either the major (Major-Major) or minor (Major-Minor) tonic chord, and each minor-mode passage ended with either the minor (Minor-Minor) or major (Minor-Major) tonic chord. If the final major and minor chords have positive and negative reward values respectively, the Major-Minor and Minor-Major stimuli would cause negative and positive reward prediction errors (RPEs) respectively in a listener’s brain. We found that activity in a frontoparietal network was significantly higher for Major-Minor than for Major-Major. Based on previous research, these results support the idea that a major-to-minor switch causes negative RPE. The contrast of Minor-Major minus Minor-Minor yielded activation in the ventral insula and visual cortex, speaking against the idea that a minor-to-major switch causes positive RPE. We discuss our results in relation to executive functions and the emotional connotations of major versus minor modes.

Scale Degree Six, Diatonicism, and Chromaticism in the Piano Music of Scott Joplin

Abstract: The hardly explored piano music of Scott Joplin (ragtime pieces, waltzes, and marches) is replete with subtle harmonic details within a square framework. These include specifically interesting usages of two idioms: (1) tonic chords with an added sixth and (2) chromatic voice leading that gives rise to plenty of rare intervals. Among these, there is special use for [inline-graphic 01], a corollary of the augmented-sixth [inline-graphic 02] before a major [inline-graphic 03], and enharmonic equivalent of ♭VI. Each of these idioms serves as a special kind of pivot chord, in Harmony Club Waltz and A Breeze from Alabama respectively. Awareness to Joplin's harmonic details may help to study his historical and cultural position more precisely.

마크 머피의 스캣 리듬 분석 연구 - 리듬 그루핑의 변칙 구조를 중심으로 -

The purpose of this study is to present an anomalous rhythm grouping structure by analyzing the rhythm grouping of scat used by Mark Murphy so that vocalists using scat can utilize various rhythms. In an interview with Kathryn Irene Reid, Jazz vocalist Mark Murphy said that the instrumentalist who had the greatest influence on his improvisation style was Miles Davis. and He said he listens to many jazz musicians, including Lester Young and Billie Holiday, to develop and train his musical style. In this way, Murphy has devised his own individual ways to extend music based on the bebop tradition, Murphy's solos use interesting melodic ideas and different chord tones and extensions to balance them out and creating his own unique scat syllables and creative rhythm patterns. In order to analyze from the point of view of grouping, the research method was centered on the anomalously expressed unique rhythm among the rhythms used in Murphy's studio album and live performance album, and the anomalous rhythm grouping structure applied to the analyzed song was presented. Murphy's scat rhythm deviates from the basic beat of the song, and the anomalous grouping structure with a length of two eighth notes, the length of one beat plus two of the eighth note triplets, and patterns of 6 beats and 5 beats is applied as a continuous repeating pattern, resulting in a unique rhythmic structure.

Smears, Laughs, and Barnyard Hokum: Early Jazz Trombone and the Problem of Novelty

Smears, Laughs, and Barnyard Hokum: Early Jazz Trombone and the Problem of Novelty

Structural, Apparent, or Parenthetical? The Tonic Chord in the First-Movement Recapitulation of Beethoven's Piano Sonata Op. 106

Much ink has been spilled regarding whether mm.224–26, which conclude the first-movement development section of Beethoven's Piano Sonata, Op. 106, the Hammerklavier , should contain A♮ or A♯. By contrast, what happens at the onset of the recapitulation, immediately after the A♮/A♯ controversy, has been taken for granted. Yet the beginning of the recapitulation features another, less obvious controversy: that of the structural role of the B♯ major chord in m. 227. This article discusses three different Schenkerian ways of interpreting the B♯ major chord that begins the recapitulation: structural, apparent, and parenthetical. It considers how these readings reflect the musical effect at the onset of the recapitulation, both locally and in the larger context. The essay favors the interpretation of a parenthetical tonic, arguing that it provides the best account of the multi-layered web of associations at the beginning of the recapitulation.

The Musical Language of Rock

The Musical Language of Rock

지미 블랜튼과 레이 브라운의 즉흥연주 비교 고찰 - 곡을 중심으로 -

1930-1940s Swing jazz music, called the big band era, is a period of rhythmic development. At the same time, thezrole of the tuba in the big band has changed to double bass. Jimmy Blanton, who was the bass player in Duke Ellington's band from 1939-1931, went beyond the simple traditional method and played with various techniques, not just scales and chords. This was the beginning to change the concept of jazz bass playing style. Jimmy Blanton is the first bassist to showcase his modern jazz-based playing style. Many bassists have appeared, including Jimmy Blanton, one of whom is Ray Brown. Ray Brown was a representative bassist of the bebop era, who was influenced by Jimmy Blanton's performance and was characterized by the use of mode scales and the use of half-tones. In this paper, Jimmy Blanton and Bassist Tray Brown, who were influenced by his performance, were analyzed and compared for each word of the two performers' common performances <Pitter Panther Patter>. Throughout this paper, Jimmy Blanton's use of accurate chord tones and scales, the use of patterns, the use of preceding notes, and the dynamic performance through repeated use of rhythms and melodies, as seen in Ray Brown's improvisation. I was able to know that I was able to play. On the contrary, Ray Brown was able to discover the characteristics of playing by borrowing the familiar melody, and Ray Brown played with a minor feeling by connecting the characteristic sounds with chord tones. I understood it. The author thinks that analyzing the performances of the performers advanced through this research and continuously studying their characteristics will be of great help to the future musical development and growth.

Parsimonious graphs for the most common trichords and tetrachords

Parsimonious transformations are common patterns in different musical styles and eras. In some cases, they can be represented on the Tonnetz, Cube Dance, Power Towers, or the central region of an orbifold, mainly when they only include the most even trichords and tetrachords. In this paper, two novel graphs, called Cyclopes, are presented, which include more than double the number of chord types in previously published graphs, thus allowing to represent a larger musical repertoire in a practical way. Apart from parsimonious transformations, they are also especially suitable for representing trichords a major third apart, tetrachords a minor third apart, and the cadences V7–I(m) and II–V7–I(m) with major or minor tonic chords. Therefore, they allow to clearly visualize the relationship among the corresponding chords and better understand those patterns, as well as being efficient mnemonic resources, all of which make them useful tools both for music analysis and composition.

Dig That Lick (DTL): Analyzing Large-Scale Data for Melodic Patterns in Jazz Performances

Dig That Lick (DTL): Analyzing Large-Scale Data for Melodic Patterns in Jazz Performances

FRENCH MUSETTE IN THE WORKS OF A. HAIDENKO

At the present stage of development of world music, the accordion and button accordion occupy one of the leading positions. Formation of instruments on the professional concert stage is an integral part of both world and Ukrainian musical culture, as evidenced by the composition, a large number of performing competitions and festivals that take place not only in Ukraine but also in Europe, Asia and America, and Australia. A significant phenomenon of the latest wave of development of accordion and button accordion art is the crystallization of pop and jazz in the works of composers and performers. From the second half of the twentieth century, the popularity of pop and jazz music among performers and listeners (due to its brightness and accessibility) opened new horizons, genre and stylistic searches which have largely affected the trends in the development of world accordion and button accordion art, including pop and jazz. The composer’s activity of leading performers is becoming a widespread phenomenon of modern pop-jazz accordion movement. Among them we note V. Podgorny, V. Zubytsky, V. Vlasov, A. Haidenko, O. Nazarenko, B. Myronchuk, A. Stashevsky and others. Well aware of the specifics of technical-expressive, acoustic and textural capabilities of modern accordion and button accordion, domestic composers-accordionists have created a large number of bright works of pop and jazz direction. Thus, the intensification of composer’s work and the emergence of new works of pop and jazz in the accordion and button accordion art of modern times have determined the relevance of the topic of this article. The purpose of the article is to identify the main stylistic and genre features of the French musette in the works of A. Haidenko. One of the most significant examples of this genre is the series «Paris Secrets» of five waltzes in the style of French musettes for accordion by A. Haidenko. Such a work as a «musette» has not yet been mastered by any of the domestic composers, especially in the form of a cycle. The composer rethought the basics of the French folk instrumental genre in terms of professional accordion performance. This synthesis transforms the genre of the musette, embodies the pop genre in terms of academic art. The use of professional performance capabilities distinguishes the artist’s works from other compositions of this style, with the general availability of musical material to a wide range of listeners. Typical melismatics of French musettes is organically and professionally implemented by A. Haidenko in the whole cycle. The melismatics is based on beamed ascending and descending grace notes on chord tones, “singing” grace notes on separate notes, chromatic grace notes (imitations of “transitions” to the sound), mordents. Sudden dynamic contrasts, shift of strong bars, chord introduction, virtuosity, brightness of phrases and sentences are typical for A. Haidenko’s musettes. The series of five waltzes for accordion “Paris Secrets” in the style of French musettes by A. Haidenko is a unique heritage not only of the domestic, but also of the world original repertoire.

Optimization of Intelligent Tuning System for Stringed Instruments Based on Wireless Sensor Network

With the increasing abundance of material civilization, people’s pursuit of spiritual civilization is also higher and higher. Although tuning is the analysis and processing of sound signal, the string signal is also a kind of sound signal, which follows the basic law of acoustics. In the field of wireless sensor network, this paper introduces the status quo of tuning tools for stringed instruments, analyses the existing problems of tuning tools for mainstream stringed instruments, and puts forward an automatic tuning system based on wireless sensor network. The hardware design of intelligent tuning system based on wireless sensor network includes audio acquisition module, tuning control module driver circuit design and voice broadcast module, and network communication module selection analysis. The software design of intelligent tuning system based on wireless sensor network includes embedded software design and mobile software design. Embedded software design mainly includes system flow design and automatic tuning function design. In this paper, an improved endpoint detection algorithm is used to separate the chord tone from the nonchord tone, and an improved pitch detection algorithm is used to get the accurate pitch frequency of the chord tone signal. The function and performance of the tuning system are tested to verify the reliability of the optimized intelligent tuning system.

Chord Conditioned Melody Generation With Transformer Based Decoders

For successful artificial music composition, chords and melody must be aligned well. Yet, chord conditioned melody generation remains a challenging task mainly due to its multimodality. While few studies have focused on this task, they face difficulties in generating dynamic rhythm patterns aligned appropriately with a given chord progression. In this paper, we propose a chord conditioned melody Transformer, a K-POP melody generation model, which separately produces rhythm and pitch conditioned on a chord progression. The model is trained in two phases. A rhythm decoder (RD) is trained first, and subsequently a pitch decoder is trained by utilizing the pre-trained RD. Experimental results show that reusing RD at the pitch decoding stage and training with pitch varied rhythm data improve the performance. It was also observed that the samples produced by the model well reflected the key characteristics of dataset in terms of both pitch and rhythm related features, including chord tone ratio and rhythm distribution. Qualitative analysis reveals the model's capability of generating various melodies in accordance with a given chord progression, as well as the presence of repetitions and variations within the generated melodies. With subjective human listening test, we come to a conclusion that the model was able to successfully produce new melodies that sound pleasant in terms of both rhythm and pitch (Source code available at https://github.com/ckycky3/CMT-pytorch).

Lennon vs. McCartney

In this analysis, the chord progressions used in songs by the Beatles are modelled as Markov chains to identify potential differences between songs for which John Lennon had more influence and those for which Paul McCartney had more influence. A preliminary comparison of random samples of songs from each artist did not identify noteworthy differences between Lennon and McCartney; most pieces resulted in regular Markov chains. This analysis then focusses on two songs from the Beatles – “Norwegian Wood”, primarily written by John Lennon, and “Good Day Sunshine”, primarily written by Paul McCartney – which deviated from this pattern. Similar patterns were found between the two songs despite major differences in the chords that made up each state space. In general, however, McCartney’s song had more variety in terms of the number of chords used and the paths taken between tonic chords.

Plateau Loops and Hybrid Tonics in Recent Pop Music

This paper investigates harmonic progressions built around two major chords and one minor chord, all related by step. In many pop/rock songs, these chords can be analyzed as Aeolian progressions—VI, VII, and i—(Moore 1992; Biamonte 2010; Richards 2017a). Recent songs by Bon Iver, The Chainsmokers, and others, however, use chord loops where the harmonies can be interpreted as IV, V, and vi, which I call theplateau loopfor its plateau-like activity: a constant hovering above Roman numeral I or i tonic chords, while retaining an overall consistent pitch-based topography. I interrogate the tonality of these songs, advancing the notion of ahybrid tonic. Hybrid tonics occur when a song or song section lacks a salient Ionian or (less often) Aeolian tonic on which both the harmony and melody concur. Instead, IV or (less often) VI or vi chords can function rhetorically as tonic, especially when the chords sound simultaneously with a melodic ".fn_scaledegree(1)." and occur in a metrically strong position, or initiate a plateau loop.The paper defines plateau loops and hybrid tonics, and explains the theoretical framework that supports them, consulting work by Harrison (1994), Nobile (2016), and Doll (2017) that decouples scale degree from harmonic function. Song examples by The Chainsmokers, Bon Iver, Jónsi, Astrid S., and M83 show how hybrid tonicity operates in varying degrees of prominence in popular music, and can also be contextualized with Spicer’s (2017) theory of fragile, emergent, and absent tonics. By building on prior scholarship, this paper aims to stimulate further inquiry into how tonal structures of recent popular music subtly differentiate themselves from conventions of common-practice tonality.