If you can't fit a single F0 pitch to the series of the spectral peaks, then you might try testing the hypothesis that the spectrum resolves to 2 or more f0 pitches, which would imply more than one speaker talking with an overlap of vowel sounds in their words. Detecting an overlap between a vowel and someone else's consonant, without lots of false positives, seems like it might be far more difficult. Better idea would be to use LP Linear Prediction residual for determining the presence of overlap speech.
So, if peaks in LP residual are at uniform interval it means only single speaker is present, and if there is non-uniformity in LP residual peaks it means the speech is overlapped.
Sign up to join this community. The best answers are voted up and rise to the top. Stack Overflow for Teams — Collaborate and share knowledge with a private group. Create a free Team What is Teams? Learn more. Speech Overlap Detection Ask Question. Asked 7 years, 11 months ago. Active 5 years, 9 months ago. Viewed times. Improve this question. Think of the different spectra you would observe in the word "ask.
Add a comment. Active Oldest Votes. Improve this answer. For example, if the upper part sings an E4, the lower part cannot sing an F4 in the following bar. This also helps maintain the independence of the lines. The interval between the cantus and counterpoint at any moment should not exceed a perfect twelfth octave plus fifth. When the voices are too far apart, tonal fusion is diminished.
Further, it can diminish performability , which though not an essential principle of human cognition is an important consideration for composers, and it has a direct effect on the smoothness, melodic integrity, and tonal fusion of what listeners hear during a performance. In general, all harmonic consonances are allowed. However, unisons should only be used for first and last intervals. Unisons are very stable, and serve best as goals rather than mid points. They also diminish the independence of the lines.
Imperfect consonances are preferable to perfect consonances for all intervals other than the first and last dyads, in order to heighten the sense of arrival at the end, and to promote a sense of motion towards that arrival. In all cases, aim for a variety of harmonic intervals over the course of the exercise. Never, ever, ever use two perfect consonances of the same size in a row: P5—P5 or P8—P8. This includes both simple and compound intervals.
For example, P5—P12 is considered the same as P5—P5. Two different perfect consonances in a row, such as P8—P5 , is allowed, however, but try to follow every perfect consonance with an imperfect consonance if possible. Thus, they are far from ideal, and to be avoided in species counterpoint.
Vary the types of motion between successive intervals parallel, similar, contrary, oblique. Try to use all types of motion except, perhaps, oblique motion , but prefer contrary motion where possible. It is best for preserving the independence of the lines, in addition to variety. Because similar and parallel motion diminish variety and melodic independence, their use should be mediated by other factors:.
In the following video, I illustrate the process of composing a first-species counterpoint. This video provides new information about the compositional process, as well as concrete examples of the above rules and principles. Before composing a first-species exercise from scratch, try the following practice exercises. Each has one or two errors. Try to find the error s , and recompose the exercise to create a well formed exercise.
Note: the alto-clef part is the cantus firmus.
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