Results 1 – 25 of 25 Cancioneiro Jobim – Obras Completas V.5 and a great selection of related books, art and collectibles available now at Cancioneiro Jobim: obras completas: arrangos para piano = complete works: piano arrangements. Responsibility: Antonio Carlos Jobim ; arranjos e revisão. Cancioneiro Jobim: obras completas, arranjos para piano = complete works, piano arrangements, Antonio Carlos Jobim ; concepça̋o Antonio Carlos Jobim, .

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Skip to main content. Log In Sign Up. We jobum this database for the scientific community with caniconeiro aim of encouraging research projects on the subject. This paper describes this cancionerio in order to assist researchers interested in using it. We also present some applications we developed to illustrate its potential, and make a comparison with a similar database describing the songs by the Beatles.

The publishing of authoritative scores jobum an opportunity to develop a database of chord symbols representing the harmonic progressions in his music for subsequent statistical analysis.

We think benchmarks are crucial to accelerate scientific progress, especially in the computer music domain. Handling Errors The first phase of the data entry process was to compare the chord symbols with the notes of the piano part, and some mistakes were found, as would be expected in any publication of over pages.

Any alterations to the chord symbols were noted in comments in the database. Conversion Other discrepancies between the chord symbols and the piano parts were believed to be the result of a desire by the arranger to simplify the notation.

Cancioneiro Tom Jobim

In these cases, since one of the intended applications of the database was to be the analysis of harmonic progressions, the chords when entered were converted to be more meaningful from a functional harmony perspective.

In some of the introductions the chord symbols were missing, because there cancooneiro a number of different introductions on the recordings Cardim, or because a guitarist was likely to wait for the main body of the song to begin. In these cases chord symbols were created for the database. The convention in popular music scores is to indicate a chord symbol only when the harmony changes. However, at times one appears to have been jobi because there is no standard chord symbol to use, as when the piano part gradually dissolves into a single note or octave.

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It cancioneio up to the analysis software to decide how to interpret them. Songs lacking chord symbols altogether were omitted from the database.

Data format The database was initially written in five Microsoft Word files corresponding to the volumes of the Cancioneiro series, with songs represented in tables, one measure per cell, and one row per score staff line.

These files were subsequently converted into simple text files, to facilitate the writing and reading software routines. These text files follow the format described in next section. Examples from the data are available online, along with other materials from the study http: The data from the five volumes can be obtained from the authors for research purposes.

Each file encloses a number of songs, each one having a header and a body. The header contains general information such as song title, key, time signature, volume, composer, etc. The body contains its chord progression. The chord progression in the body presents chords and key changes.

The chord canciojeiro is particularly flexible, allowing different syntaxes.

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The user can edit this particular field, in order to specify precise spellings. Figure 1 – BNF Notation of the file format. Our database explicitly includes repeats, unlike the work of Johansson with the Beatles. In his study, chords were grouped into blocks representing song form sections, such as introductions, verses, and choruses. While a field was created in the datafile to indicate the form, it was usually left blank, as Jobim often intentionally avoided standard forms like AABA.

Experiments We performed some experiments which illustrate the potential of use of this database, not only to the analysis of music but also to the creation of interactive musical systems, and composition tools. The tool developed to make this analysis HarmIn is described in Cabral and Willey It converted all chords to one of six possible classes.

The classification procedure is a way of interpreting the database. It is necessary for any analysis study, but the definition of how the classification will take place is left to the user.

The complete results will appear in a future publication, but some of them are anticipated in this paper. Figures 2a and 2b show graphs made of the frequency chords appear in songs in major keys made by Johansson of Beatles songs, followed by those of Jobim. The predominance of the ii chord in Jobim compared with the IV chord in the Beatles comes from a greater use of the standard jazz progression ii V I.

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Cancioneiro Jobim: obras escolhidas, arranjos para piano – Google Books

The graph on the left represents the first chord as the row and the second chord acncioneiro the column. For example, the pixels representing the transitions from ii to V7 and from V7 to I are clearly brighter, as annotated in Figure 4. Figures 3 and 4. Distribution of chord transitions. Figure 5 also shows the frequency of chord transitions, but in a more legible way as one can also follow the sequence of transitions.

The little circles represent the chords, and the lines connecting them represent the transitions. HarmIn chord transition graph. The chord roots are displayed following the circle of fifths, so that the final graph generally becomes simpler. Each line starts in the upper part of one circle and ends in the lower part of another.

For canciondiro, in Figure 5, the frequent transition from V7 to I is indicated by a thick line starting above the label V dom and ending below the label I maj.

We can gather non-visual information about the database as well. For example, the standard deviation of the chords, the most significant clusters and the most frequent subsequences. The latter can be seen in Figure 6. Also, the chord VI, cancioneiiro appears after a long list of chord sequences.

The database was also integrated in the interactive system Ramin Cabralwhich used this information to perform real time accompaniment, as well as to create new harmonies based on the learned transition data. Figure 7 shows one possible output. In other words, we can divide the songs according to some characteristic, and compare each sub dataset.

This result, as well expanded color graphics and other results from the project is available at http: Our progress in this area is described in another paper submitted to the conference. References Cabral, Giordano, and Willey, Robert. Hal Leonard Publishing Corporation, Remember me on this computer.

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