Harmonization

Reference: Pachet, F. Roy, P., Non-Conformant Harmonization: the Real Book in the Style of Take 6. Proceedings of ICCC 2014 (International Conference on Computational Creativity), Ljubljiana, 2014


You can click here to listen to many audio examples produced with this system. 

Figure 1

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 Figure 1. Example of a typical non-conformant harmonization by Take 6. Harmonies used (estimated from the score) go from Bb (which conforms to the leadsheet) to a surprising, non-conformant C7dim9#11 (Transcription by A. Dessein).

 

Figure 3

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 Figure 3. Various chord realizations from the Take 6 corpus for several values of ε (0.01, 0.1 and 0.2), representing increasing harmonic distance to a C 7 chord label. As ε increases, more notes outside of the legal notes of C7 (C, E, G, Bb) are added. For ε=1 (maximum distance) all possible chords of the corpus are considered. In practice, reasonable, conformant realizations lie within a distance of about .15.

 Figure 5

 harmonization_figure_5
Figure 5. The beginning of Giant Steps harmonized with a value of ε ε [0,0.01]. All realizations come from the Take 6 corpus satisfy exactly the chord labels. The overall harmonization is conformant but not very interesting.

Figure 6

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Figure 6. The beginning of Giant Steps with ε ε [0,0.2]. The chords are less conformant and more interesting, but the whole harmonization still lacks surprise.

 Figure 7

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Figure 7. The beginning of Giant Steps with ε ε [.3,.4]Chords are clearly farther away from the label, while retaining some flavor of the labels. However the decrease in harmonic conformance is musically not very interesting.

 Figure 9

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figure_9b
Figure 9. Two homophonic harmonization of the melody in Figure 10, with ε ε [0,0.1] and ε ε [.1,.2] respectively. A higher value of ε, the second one is more jazzy with a 9th added to the first chord and a 6th to the second one.

 Figure 10

 harmonization_figure_10a1
 harmonization_figure_10b2
 harmonization_figure_10c3
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 harmonization_figure_10e5
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Figure 10. Fioritures with various numbers of notes. First one introduces an interesting chromaticism (E to Eb then to D); second example (3 notes) introduces a clearly non conformant chord, that resolves nicely to the D; third example (4 notes) consists in a bold chromatic descent from A minor to D; fourth example (5 notes) uses an interesting triplet-based rhythm that also departs substantially from the A minor chord label; last example is a remarkable jazzy sequence of chords.

 Figure 13

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 Figure 14

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 Figure 14. Giant Steps with fioritures, in the style of Wagner (training corpus consists of the scores of the Ring tetralogy). The musical output definitely sounds Wagnerian yet follows strictly the Giant Steps leadsheet.

Giant Steps with Fioritures of lenght 2

Giant Steps with Fioriture of Lenght 2, in the style of Take 6

 

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