Beruflich Dokumente
Kultur Dokumente
Junko WATANABE,*1 Kaori WATANABE,*2 Norio EMURA,#1 Masanobu MIURA,#2 and Masuzo YANAGIDA*3
*
*1
*2
dti0774@mail4.doshisha.ac.jp,
dth0749@mail4.doshisha.ac.jp, #1norio.emura@gmail.com,
#2
miura@rins.ryukoku.ac.jp, *3myanagid@mail.doshisha.ac.jp
ABSTRACT
In composition and arrangement of tonal music, it is important to give
appropriate harmony to a given set of melody and its chord name
sequence, though that is a tough task for non-professionals. Then there
are a lot of research works and commercially available systems, such
as systems for automatic arrangement of music pieces given as note
sequences for solo pianos into a piano score in a specific style. These
systems, however, are usually designed to generate music by
concatenation of existing arrangement patterns. Such systems can not
meet user requirements. This paper proposes a system that generates
jazz-style chord sequences taking the structure of the input set of
melody and chord name sequence into account reflecting user
requirements. The system is implemented in an integrated modular
structure based on the classical theory of harmony and several jazz
arrangement techniques described in Jazz theory.
The performance of the proposed system is evaluated by comparing
the results given by the proposed system with those given by a popular
arrangement system available on the market. Experimental results
show that the proposed system yields more preferable outputs then a
commercial system available on the market.
I.
INTRODUCTION
II.
A. Voicing
Voicing is chord assignment including note allocation for
each given chord name. The notes consisting a chord are called
chord tones, and the notes other than the chord tones are called
non chord tones. In popular music, non chord tones are
frequently used in chords as Tension notes keeping the
function of the chord as original; tension notes have intervals
of either 9th, 11th or 13th from the root note. Voicing that
employs notes other than chord tones, is called Tension
Voicing. Tension voicing is used in case tones having
rich-color or complex note allocations are required. There are
hundreds of various voicing patterns for each individual chord
name. Moreover, combination of voicing for a sequence of
chord names expands the combinatorial possibility.
A7
Em7b5
A7
Dm7
m7b5
m7
Dm
A7
Em7b5
A7
Dm7
III.
A. Spread Voicing
Spread Voicing allocates five notes spanning more than one
octave assigning the root note at the bottom. This type of
voicing has broad register for note allocation spanning more
than one octave, so it can achieve more colorful sonority.
Voicing here means allocation of notes considering both
vertical structure related to chord sonority and horizontal or
temporal transition of each voice part.
Appropriateness of vertical allocation is assured by
observing the basic rules of voicing listed by Table 1, and
individual patterns aimed at expressing delicate nuance
depending on musical context for frequently-used chord type.
On the contrary, appropriateness of horizontal transition is
assured by following the same rules for Voice Leading and
Tension Resolve, both depicted in Fig. 5. Voice Leading
requires the 3rd and the 7th notes to move toward the note that
minimizes the difference in musical pitch among the 3rd and
the 7th notes in the next chord block to form motion of 5th
(going to the tonic tone by moving perfect fifth down or perfect
fourth up). Tension Resolve requires a tension note to move
toward the nearest chord tone or tension note in the next chord
in order not to lose harmonic function. These two requirements
lead smooth chord transition.
Spread Voicing requires difficult techniques because one
additional part is appended to ordinary voicings. Chords of
various register remain even after adopting the rules
mentioned above. Register change between succeeding
chords evokes sense of chord jump. Proposed here is a
method to avoid this chord jump to get smooth chord
transition. Figure 4 shows an example of Spread Voicing for
CM7.
Dm7
C m7
G7
7
CM7
9th
7th
Tension Resolve
5th
3rd
7th
Voice Leading
3rd
3rd
7th
Voice leading
Fig. 5 An example of Voice Leading and Tension Resolve
Dv (i ) = Vi
j =1
where Vi
(i )
( j)
Vi 1
( j)
first voice
second voice
third voice
fourth voice
Bottom Voice
rule 1
ua
ub
7th
3rd
root
rule 2
ua
ub
3rd
7th
root
rule 3
ua
7th
ub
3rd
root
rule 4
ua
3rd
ua
7th
root
(1)
A7
Em7b5
A7
Dm7
Dm7
Gm7
C7
FM7
IV.
PERFORMANCE EVALUATION
1
2
3
4
5
6
7
8
question ID
questionnaire
Do you feel the sonority of the specified chord novel?
Do you feel chord transition of smooth?
Do you feel the sonority of chord wide?
Do you feel chord sequence of the entire music beautiful?
Do you feel the chord progression appropriate?
Do you feel the chord easy to play?
Do you feel chord sequence jazzy?
Rate the arrangement on a scale 1 to 10.
B. Experimental results
Figure 9 shows the average and standard deviation of the
evaluation score for each questionnaire. Shaded and gray solid
bars represent results of arrangement by the proposed system
and Band in a box, respectively.
Results of two factor covariance analysis show the principal
effect on systems ( F (1,111) = 23,21( p < .01) ), but no principal
effect on questionnaire nor cross-effects between any two
factors. This result shows that the proposed system is
significantly superior to the commercial system regardless of
question items, so the proposed system was confirmed to be
more effective than the commercially sold system.
b) task
Five jazz standards are employed as test stimuli. In order to
make subjective judgment easy, all stimuli were made consist
of eight measures. The music excerpts employed in the
experiment are listed in Table 2. Stimuli are prepared by the
following procedures. Melodies and their chord name
sequences of the five jazz standards were fed to both the
commercial system and the proposed system, and the output
arrangements by both the systems were obtained as standard
MIDI files.
2.5
a) Evaluators
Evaluators are eight (two male and six female players)
having experience in playing the piano for eight to twenty
years.
Proposed system
Band in a box
2
1.5
1
0.5
0
1
-0.5
-1
questionnaire ID
composer
E.Van Alstyne
Old Irish Air
Billie Reid
Josepf Kosma
Frank Churchill
c) Assessment procedure
Outputs were presented in score form to the evaluators, and
they were asked to play the score on the acoustic piano.
CONCLUSIONS
Spread voicing is implemented in a modular structured
system for arrangement. The proposed system introduces a
method of taking smooth chord transition as the means to
choose the optimum voicing questionnaire techuque.
Experimental results show that the proposed system yields
more preferable outputs than a popular system available on the
market. However, implemented are modules only for three
types of voicings. Modules for other voicings, such as Upper
ACKNOWLEDGMENT
This work has been supported by Grant-in-Aid for Scientific
Research(No.195373), the High-tech Research Center
promoted by Ryukoku University, and Ryukoku University
Science and Technology fund.
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