CITATION — REFERENCE ENTRY
Template-Based Chord Recognition — FMP Notebooks
- Key
- fmp-c5-chord-templates
- Authors
- Müller, Meinard; Weiß, Christof
- Type
- webpage
- Container
- FMP Notebooks
- Publisher
- International Audio Laboratories Erlangen
Raw CSL JSON
{
"URL": "https://www.audiolabs-erlangen.de/resources/MIR/FMP/C5/C5S2_ChordRec_Templates.html",
"type": "webpage",
"title": "Template-Based Chord Recognition",
"author": [
{
"given": "Meinard",
"family": "Müller"
},
{
"given": "Christof",
"family": "Weiß"
}
],
"accessed": {
"date-parts": [
[
2026,
11,
10
]
]
},
"publisher": "International Audio Laboratories Erlangen",
"container-title": "FMP Notebooks"
}
Claims
-
Restricting the chord labels to the twelve major and twelve minor triads is a common choice that is convenient but problematic from a musical point of view.
"For the chord label set Λ, we choose the twelve major and twelve minor triads. This choice, even though problematic from a musical point of view, is convenient and instructive."
-
In real recordings, harmonics and other sound components spread energy across the chroma bands in a non-binary way, unlike the idealized templates.
"For real music recordings, however, the presence of harmonics and other sound components leads to chroma features where the energy is spread over the chroma bands in a more unstructured, non-binary fashion."
-
Chord recognition consists of splitting a music recording into segments and assigning a chord label to each segment.
"The resulting chord recognition task consists in splitting up the recording into segments and assigning a chord label to each segment."
-
In template-based chord recognition, each template can be thought of as a prototypical chroma vector representing a particular chord; the C major template, for example, has ones at C, E and G and zeros elsewhere, and other chords are obtained by cyclic shifts.
"Intuitively, each template can be thought of as a prototypical chroma vector that represents a specific musical chord."
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