Most recent edit on 2004-02-17 03:24:45 by RichardBerg
Additions:
Although the key of A was used to demonstrate the mathematical relationships, by convention C is the base note; everything "wraps" as necessary in the same way. In this way, the first test entry (e.g.) is represented as {4, 4, 9, 9, 2, 2, 11...} in the MLPChordFinder neural network, and as {4, 4, 3, 3, 2, 2, 5...} in the MLPCircleFinder network. In reduced frequency form it is simply {4, 3, 5}.
Deletions:
Although the key of A was used to demonstrate the mathematical relationships, by convention C is the base note; everything "wraps" as necessary in the same way. In this way, the first test entry (e.g.) is represented as {4, 4, 9, 9, 2, 2, 11...} in the MLPChordFinder neural network, and as {4, 4, 3, 3, 2, 2, 5...} in the MLPCircleFinder network.
Edited on 2004-02-09 01:54:24 by RichardBerg
Additions:
The comments on meter indicate how often a sample was taken of the current chord. The top note of the fraction ("time signature") indicates the number of beats in a measure, and the bottom denotes the inverse of the length of each beat. What's relevant is that generally we create one sample per beat -- i.e., the same number of samples per measure as there are beats -- except when the tempo is too fast to make this level of detail relevant. The last test entry, for example, is only sampled once per measure, or every third beat.
Although the key of A was used to demonstrate the mathematical relationships, by convention C is the base note; everything "wraps" as necessary in the same way. In this way, the first test entry (e.g.) is represented as {4, 4, 9, 9, 2, 2, 11...} in the MLPChordFinder neural network, and as {4, 4, 3, 3, 2, 2, 5...} in the MLPCircleFinder network.
Finally, we note that since the methodology for both datasets is identical, we can just as easily train on the test set and vice versa to observe the performance of the algorithms in twice as many situations.
Deletions:
Although the key of A was used to demonstrate the mathematical relationships, by convention C is the base note; everything "wraps" as necessary in the same way. In this way, the first test set (e.g.) is represented as {4, 4, 9, 9, 2, 2, 11...} in the MLPChordFinder neural network, and as {4, 4, 3, 3, 2, 2, 5...} in the MLPCircleFinder network.
Edited on 2004-02-09 01:30:22 by RichardBerg
Additions:
Although the key of A was used to demonstrate the mathematical relationships, by convention C is the base note; everything "wraps" as necessary in the same way. In this way, the first test set (e.g.) is represented as {4, 4, 9, 9, 2, 2, 11...} in the MLPChordFinder neural network, and as {4, 4, 3, 3, 2, 2, 5...} in the MLPCircleFinder network.
Edited on 2004-02-08 14:16:25 by RichardBerg
No differences.
Edited on 2004-02-08 13:52:47 by RichardBerg
Additions:
Here are the data as provided to each algorithm. The final chord given after "stop" is the key center of the piece, used either to train against or score itself.
onward to KeyFinderResults
Deletions:
Here are the data as provided to each algorithm.
Onward to KeyFinderResults
Oldest known version of this page was edited on 2004-02-08 13:51:32 by RichardBerg []
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Here are the data as provided to each algorithm.
Training:
# Op. 2 No. 1, 2nd movement, 3/4 with pickup
C F A# A# C C C F C F C C C F A# A# A# C F A# C C C F F
C C F C C F C C F C C C F A# A# A# A# C F A# C C F stop
F
# Op. 2 No. 3, 1st movement, 4/4 sampled in 2/2
C C G G G G C C C G C G C F G C C G C G C A G G
C C C C C C F G C C C C A A D D G G C C G G C C stop
C
# Op. 10 No. 1, 2nd movement, 2/4
G# D# G# G# D# G# D# D# G# G# C# C# C# G# D# D# G# D# G# G# D# G# D# D#
G# G# C# A# D# D# G# G# F F A# A# D# D# G# G# Cb Cb A# A# A# A# A# A# stop
G#
# Op. 27 No. 2 "Moonlight", 2nd movement, 3/4 with pickup
C# D# D# D# G# G# A# D# D# D# G# G# F# G# G# G# C# C# D# G# G# G# C# C# C#
G# G# D# G# G# A# D# D# D# G# G# F# C# C# G# C# C# D# G# G# G# C# C# stop
C#
Test:
# Op. 2 No. 2, 1st movement, 2/4
E E A A D D B B E E E E E E E E A A A A E E A A
E E A A E E A B E B E B E E E E E E A A A A A A stop
A
# Op. 7, 1st movement, 6/8
D# D# D# D# D# D# D# D# D# D# D# D# A# A# A# A# D# D# D# D# G# G# A# A#
D# D# D# G# A# A# A# A# D# G# A# D# A# G# A# A# D# G# A# D# G# G# A# A# stop
D#
# Op. 13 "Pathetique", 2nd movement, 2/4
G# D# G# D# G# A# D# D# C# D# G# F A# D# G# G# G# D# G# D# G# A# D# D#
C# D# G# F A# D# G# G# C F C F C F A# B C F D# A# D# D# A# A# stop
G#
# Op. 28, 1st movement, 3/4 sampled in 1/1
D D G E A A D D A D D D G E A A D D A D D D G D
E A D D D D G D E A D D E A D D A E A A E B E B stop
D
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KeyFinderResults