Blending on the chord level Sample Clauses

Blending on the chord level. ‌ A part of the harmonic character that is exposed by a chord transition is due to the underlying re- lations that exist between some of the notes that compose these chords. A characteristic example that is indicative of this statement, concerns the utilization of the pitch classes in the perfect ca- dence, which is a harmonic device comprised of two chords (namely the pre-final and final chord) commonly met in tonal music. This transition draws its unique character by the fact that it defines the tonality of a piece, for reasons that are musically explainable, but are beyond the scope of this report. Since this transition suggests a stable tonal environment by strongly implying a tonality (either the piece’s or an intermediate tonality), this musical device is utilized as a “cadence”, i.e. the ending part of a phrase. What is most characteristic about this cadence, is the third of the pre-final chord that constitutes the leading note to the tonic. There are some additional inter-chord note relations that are also of great importance, e.g. the seventh of the pre-final chord (if we con- sider the pre-final chord to be a dominant seventh) that leads to the third of the final chord, while some other relations are weak, e.g. the fifth of the pre-final chord could be omitted. The above mentioned example referred to the relations between notes of successive chords that comprise a cadence, while similar information could be utilized to describe relations for any chord transition – not necessarily the final transition (cadence). The rationale behind blending in the chord transition level is to take advantage of charac- teristic relations that exist between the involved chords of two input transitions, creating novel transitions that encompass the characteristics of both inputs. To this end, to efficiently perform such a blending, a representation scheme is needed that expresses:
Sample 1
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