AU2006202223B2 - A Music Teaching and Computation Device - Google Patents

Description

1 A MUSIC TEACHING AND COMPUTATION DEVICE Field of the Invention. The present invention relates to a music teaching device and particularly to a device which allows quick and easy identification of notes in different 5 musical scales and modes. Background Art. Devices to assist in musical composition and for teaching the principles of musical construction are available. An excellent disclosure of the prior art in the field appears in United States Patent No. 4069735 and is repeated below verbatim. 10 "In the teaching of music, and at least at the elementary level, it is normal to instruct the pupil to learn the notes of a key-board by letter and to locate the representation of the respective notes as musical notations on the familiar pair of five lined staffs. By this means, the pupil learns to play the key-board, normally of a piano, by reading the music written down in conventional manner and transposing 15 written notes to the correct notes of the keyboard. Conventional written musical notations include symbols denoting key, key signatures, sharps, flats, note durations etc. In such teaching, little attention is paid to the inherent structure of music, the various modes of music or the relationship of the notes making up a mode of music to each other. The pupil therefore tends to learn to play music as written, but not to play 20 "by ear", i.e. by location of the notes of melodies and harmonies on an instrument by recognition of sounds and patterns, without use of written notations of the music. BA CKGROUND OF THE INVENTION There are a number of different modes of music, each of which comprises a series of diatonic scales. Each diatonic scale comprises a series of seven 25 steps, rising from one tone to its octave. The steps between the degrees (notes) of a scale are either a semitone or a tone in magnitude. Each of the different modes of music has its own characteristic sequence of tone and semitone steps or intervals between successive degrees of its scales. All of the diatonic scales of a given mode of music have the tone-semitone sequence characteristic of that mode. 30 The most familiar modes of music in Western culture are the major scale (also known as the Ionian Mode), and the Aeolian or minor mode (from which Western minor scales are derived). The major mode has the following sequence of steps: tone-tone-semitone-tone-tone-tone-semitone-tonic-tonic 2 Thus in a major scale which starts and finishes on the note C (i.e. in which C is the tonic or keynote), known as the scale (key) of C major, the degrees which must comprise the scale are dictated by the above interval sequence, and are as follows: 5 tone tone sen tone tone tone tons semitone C- D- E- F- G- A- D- C tonic tonic If D is chosen as the tonic note, the resulting scale of D major uses F sharp as the third note or degree instead ofF natural and C sharp as the seventh note or degree instead of C natural, thereby maintaining the characteristic tone-semitone 10 interval sequence of the major mode. Other modes of music have different sequences of tone-semitone intervals between adjacent degrees of their diatonic scales. A thorough familiarity with the sequences characteristic of various modes of music facilitates playing by ear. In the past, musical compositions in the Western culture have generally 15 been written and played in accordance with one mode of music, at least for long passages of the composition. Any change from one mode, e.g. major, to another mode, e.g. Aeolian has normally represented a distinct transition point in the music, between separate passages thereof except for occasional use of chords from another mode. It is seldom that more than two different modes of music are incorporated into the same 20 composition. There is currently, however, more and more attention being paid by composers and musicians alike to other modes of music, in addition to the familiar major and Aeolian minor modes, in particular the Phrygian mode, the Mixolydian mode and the Dorian mode. Numerous other modes of music are known, but the other 25 modes do not fit the accepted harmonic patterns of music found in the Western culture. Up until fairly recently, the aforementioned modes have been regarded as archaic musical forms, and have not had a significant role in Western Culture. However, as composers and musicians continually strive for new and varied effects in their music, these previously disregarded modes are being used to a greater extent. 30 There is also a tendency, in modern music, to "mix" the various modes of music in a single composition, and to make frequent and abrupt changes from one mode to another in the composition. One way of achieving this is to introduce into a musical passage written in a given mode, one or more chords which are derived from another 3 mode. These chords thereby provide transition points for changing from one mode of music to another. Accordingly, for the student of music, as well as for the composer, there is an increasing need to study and understand at least the five different modes of 5 music referred to above, namely major (Ionian), Aeolian, Mixolydian, Dorian and Phrygian, and their relationship with one another. It is also helpful to know the various chords and characteristics thereof which can be used in different modes of music. It will be clearly understood that, if a prior art publication is referred to 10 herein, this reference does not constitute an admission that the publication forms part of the common general knowledge in the art in Australia or in any other country. Summary of the Invention. The present invention is directed to a music teaching and computation device, which may at least partially overcome at least one of the abovementioned 15 disadvantages or provide the consumer with a useful or commercial choice. In one form the invention resides in a music teaching and computation device comprising: (a) a first relatively movable display part divided into at least four sectors, each sector representing a given, different mode of music, each sector 20 bearing a first indicia representing a mode of music; (b) the first relatively movable display part being further divided concentrically into at least two ring portions, each ring portion representing a given, different scale of music, (c) the first display part having a series of display portions, each display 25 portion located in an overlap zone of a sector and a ring portion; (d) a second relatively movable display part bearing a second series of indicia representing in sequence the notes of a musical scale; (e) the first and second relatively movable display parts being angularly movable with respect to one another about a common pivot to allow the 30 display portions in the first relatively movable display part and the second series of indicia to be moved into registry with one another to denote the progression of musical notes in the chosen scale and mode.

4 In music, a scale is a set of musical notes that provides material for part or all of a musical work. Scales are typically ordered in pitch, with their ordering providing a measure of musical distance. Scales differ from modes in that scales do not have a primary or "tonic" pitch. Thus a single scale can have many different 5 modes, depending on which of its notes is chosen as primary. The musical modes are many and can be difficult to understand, particularly for users without intimate knowledge of the derivation of the scales and modes. For example, most students of jazz music, the various modes are the subject of much confusion even though there are numerous books and articles explaining the 10 principles behind the modes. For example, a scale syllabus will show how to construct a scale and/or mode by showing a sequence of tones and semitones sometimes called whole steps and half steps. This will be shown in one key and the student asked to transpose into other keys. Displaying all of the scales and modes in all of the keys requires several 15 pages of a book. In addition, interpreting the information represented in such a format is generally confusing and time consuming. The device of the invention is preferably formed of at least two components. Each of the components may be of any shape but will preferably be substantially circular. The preferred circular shape allows the components of the 20 device to be easily rotatable relative to one another. The components will typically be mounted relative to one another to rotate about a central pivot. The components may be of any size but will preferably be approximately 190mm in diameter. In construction of the device, the two components will preferably be laid with the first relatively moveable display part on top of the second relatively 25 moveable display part with the indicia on both parts uppermost. The parts will normally abut with the lower side of the upper part resting in the upper part of the lower part. During rotation of the parts, the parts will be touching so it is preferred that the parts are provided with a coating or similar to reduce friction between the parts. 30 The parts may be manufactured of any suitable material. For example paper, plastic and cardboard are particularly preferred, but any printable or engraveable material may be used. It is preferred that the components are manufactured of a material which is at least semi-rigid.

5 The first relatively moveable display part will typically be referred to herein as the superior part and the second relatively moveable display part referred to as the inferior part due to their relative positions in use. The inferior component of the device is typically disc-shaped. There 5 are typically a number of concentrically located circular rings marked on the inferior component, each ring preferably related to a specific scale (identified on the superior component). There will typically be a blank circular portion located at and about the centre of the inferior component to space the innermost circular ring from the centre of the inferior component. 10 The inferior component has indicia representing musical notes. The indicia will typically be notation which allows a user to identify the musical note. The musical notes are also preferably arranged into sectorial displays or in lines radiating from the centre of the component. Preferably all of the note indicia in a single sector or line are the same, regardless of which circular ring they are located in. The note 15 indicia in adjacent lines or sectors are different and preferably in order, over two octaves. There are various forms of notation or indicia which are capable of performing this function as follows: Letter notation The notes of the 12-tone scale can be written by their letter names A-G, 20 possibly with a trailing sharp or flat symbol, such as A# or B b. This is the most common way of specifying a note in speech or in written text. Letter notation is the most common way of indicating chords for accompaniment, such as guitar chords, for example B b 7. The bass note may be specified after a /, for example C/G is a C major chord with a G bass. 25 Where a capot is indicated, there is little standardisation. For example, after capot 3, most music sheets will write A to indicate a C chord, that is, they give the chord shape rather than its pitch, but some specify it as C, others give two lines, either the C on top and the A on the bottom or vice versa. A few even use the /, writing C/A or A/C, but this notation is more commonly used for specifying a bass 30 note and can confuse beginners. Note names can also be used for indicating keys and even writing out tunes. In all of these uses notes must be named for their diatonic functionality. For 6 example, in the key of D major, it is not generally correct to specify G b as a melodic note, although its pitch may be the same as F #. Note names are also used for specifying the natural scale of a transposing instrument such as a clarinet, trumpet or saxophone. The note names used 5 are conventional, for example a clarinet is said to be in B b or A b (the two most common registers), never in A # and G #, while an alto flute is in G. Note names can also be qualified to indicate the octave in which they are sounded. There are several schemes for this, the most common being scientific pitch notation. Scientific pitch notation is often used to specify the range of an 10 instrument. Again, the names used are arbitrary or conventional. Tonic Sol-fa is a type of notation using the initial letters of solfege. Solfege Solfege is a way of assigning syllables to names of the musical scale. In order, they are today: Do, Re, Mi, Fa, Sol, La, Ti, and Do (for the octave). Another 15 common variation is: Do, Re, Mi, Fa, Sol, La, Si, Do. These functional names of the musical notes were introduced by Guido of Arezzo (c.991 - after 1033) using the beginning syllables of the six lines of the Latin hymn Ut queant laxis. The original sequence was Ut, Re, Mi, Fa, Sol, La. "Ut" became later "Do". Numbered notation 20 The numbered musical notation system, better known as jianpu, meaning "simplified notation" in Chinese, is widely used among the Chinese people and probably some other Asian communities. Numbers 1 to 7 represent the seven notes of the diatonic major scale, and number 0 represents the musical rest. Dots above a note indicate octaves higher, and dots below indicate octaves lower. 25 Underlines of a note or a rest shorten it, while dots and dashes after lengthen it. The system also makes use of many symbols from the standard notation, such as bar lines, time signatures, accidentals, tie and slur, and the expression markings. Cipher notation In many cultures, including Chinese (jianpu or gongche), Indonesian 30 (kepatihan), and Indian (sargam), the "sheet music" consists primarily of the numbers, letters or native characters representing notes in order. Those different systems are 7 collectively know as cipher notations. The numbered notation is an example, so are letter notation and solfege if written in musical sequence. Braille music Braille music is a complete, well developed, and internationally 5 accepted musical notation system that has symbols and notational conventions quite independent of print music notation. It is linear in nature, similar to a printed language and different from the two-dimensional nature of standard printed music notation. To a degree Braille music resembles musical markup languages such as XML for Music or NIFF. 10 Integer notation In integer notation, or the integer model of pitch, all pitch classes and intervals between pitch classes are designated using the numbers 0 through 11. It is not used to notate music for performance, but is a common analytical and compositional tool when working with chromatic music, including twelve tone, serial, 15 or otherwise atonal music. Pitch classes can be notated in this way by assigning the number 0 to some note - C natural by convention - and assigning consecutive integers to consecutive semitones; so if 0 is C natural, 1 is C sharp, 2 is D natural and so on up to 11 which is B natural. The C above this is not 12, but 0 again (12-12=0). Thus arithmetic modulo 12 is used to represent octave equivalence. One advantage of this 20 system is that it ignores the "spelling" of notes (B sharp, C natural and D double-flat are all 0) according to their diatonic functionality. There are a few drawbacks with integer notation. First, theorists have traditionally used the same integers to indicate elements of different tuning systems. Thus, the numbers 0, 1, 2, ... 5, are used to notate pitch classes in 6-tone equal 25 temperament. This means that the meaning of a given integer changes with the underlying tuning system: "1" can refer to C $# in 12-tone equal temperament, but D in 6-tone equal temperament. Second, integer notation does not seem to allow for the notation of microtones, or notes not belonging to the underlying equal division of the octave. For these reasons, some theorists have recently advocated using rational 30 numbers to represent pitches and pitch classes, in a way that is not dependent on any underlying division of the octave. See the articles on pitch and pitch class for more information.

8 Another drawback with integer notation is that the same numbers are used to represent both pitches and intervals. For example, the number 4 serves both as a label for the pitch class E (if C=0) and as a label for the distance between the pitch classes D and F #. (In much the same way, the term "10 degrees" can function as a 5 label both for a temperature, and for the distance between two temperature.) Only one of these labelings is sensitive to the (arbitrary) choice of pitch class 0. For example, if one makes a different choice about which pitch class is labeled 0, then the pitch class E will no longer be labelled "4." However, the distance between D and F # will still be assigned the number 4. The late music theorist David Lewin was particularly 10 sensitive to the confusions that this can cause. Tablature Tablature was first used in the Renaissance for lute music. A staff is used, but instead of pitch values, the fret or frets to be fingered are written instead. Rhythm is written separately and durations are relative and indicated by horizontal 15 space between notes. In later periods, lute and guitar music was written with standard notation. Tablature caught interest again in the late 20th century for popular guitar music and other fretted instruments, being easy to transcribe and share over the internet in ASCII format. Websites like OLGA.net have archives of text-based popular music tablature. 20 In China, the tablature of the guqin is unique and complex; the older form composed of written words describing how to play a melody step-by-step using the plain language of the time; the newer form composed of bits of Chinese characters put together to indicate the method of play. Rhythm is not indicated. Tablatures for the qin are collected in what is called qinpu. 25 Klavar notation Klavar notation (or "klavarskribo") is a chromatic system of notation geared mainly towards keyboard instruments, which inverts the usual "graph" of music. The pitches are indicated horizontally, with "staff' lines in twos and threes like the keyboard and the time goes from top to bottom. A considerable body of repertoire 30 has been transcribed into Klavar notation. Any of the above forms of indicia or notation (or other forms) can be used. The musical notes are generally indicated in ABC format and are generally 9 ordered in sequence over two octaves. The musical notes will also typically be arranged within each concentric circular ring, so that each circular ring has indicia representing two octaves of notes. Further, the indicia located within each concentric circular ring will preferably be colour-coded when applied with separate and distinct 5 colours being used for the indicia in each ring. For example, the notations in one ring may be printed with blue ink, and the next outer ring may be printed in red, and the next outer ring printed in green. The notes may be indicated as natural note, or with trailing notations indicating sharps or flats. A single note indicating indicia may be given as optional 10 such as C4/D . The indicia will preferably be printed onto the component, but may be otherwise marked for example using depressions or dimples or other raised portions. Each of the notes may preferably be marked on the inferior component in a line radiating from the centre or pivot point of the inferior component. The 15 notation in a single radially extending line will typically all identify the same note. The superior component of the device is also typically disc-shaped. There are typically a number of concentrically located circular rings marked on the superior component, each ring preferably related to a specific scale and the size and location of the concentric rings will preferably match the size and location of the rings 20 on the inferior component. There will typically be a blank circular portion located at and about the centre of the superior component to space the innermost circular ring from the centre of the superior component. One or more of the circular rings marked on the superior component may also have a series of markers associated therewith. The location of the markers is 25 preferably scale dependant and the markers are located to indicate the display portions through which the notes are to be read and included in the scale. If a circular ring indicating a scale has markers, then the notes displayed in the display portions having the markers are included in the scale. If a circular ring indicating a scale does not have markers, then the notes displayed in all 30 of the display portions of that circular ring are included in the scale. In some scales, there may be display portions interspersed between the markers, and in these cases, it is preferred that the notes displayed in the display 10 portions having the markers are included in the scale and also the notes displayed in the interspersed display portions are included in the order that the notes are read from the device in a clockwise direction. The superior component will also preferably include divisions for at 5 least four sectors, but preferably approximately seven sectors. Each of the sectors will preferably be identified as relating to a different given musical mode. Some sectors may have more than one musical mode identified, but associated with a different concentric ring. The divisions dividing the superior component into sectors will preferably be accomplished due to the spacing of the indicia rather than by printing 10 lines on the superior component. For example, a preferred form of the invention may provide sectors for the following modes: Ionian, Dorian, Phrygian, Lydian, Myxolydian, Aolian, and Locrian. Other modes may be used such as 13b9sus4, Lydian #5, Lydian Dominant, Myxolidian b6, Locrian #2 and Altered. The above two lists may be deemed to be the 15 main modes and secondary modes. Main modes will typically be identified in the outermost concentric circular ring portion and the secondary modes will typically be identified in a different (usually, the second outermost) concentric circular ring portion. Modes 20 The Greek modes were: . Ionian . Aeolian and Locrian . Dorian and Hypodorian * Phrygian and Hypophrygian 25 0 Lydian, Hypolydian and Mixolydian The modem conception of modal scales describes a system where each mode is the usual diatonic scale, but with a different root. The modes can be arranged in the following sequence, where each next mode has one more shortened interval in its scale. Intervals in the modal scales mode prime second third fourth fifth sixth seventh 11 Lydian perfect major major augmented perfect major major Ionian perfect major major perfect perfect major major Mixolydian perfect major major perfect perfect major minor Dorian perfect major minor perfect perfect major minor Aeolian perfect major minor perfect perfect minor minor Phrygian perfect minor minor perfect perfect minor minor Locrian perfect minor minor perfect diminished minor minor The relationship between the seven modem modes is discussed in more detail in the article on properties of musical modes. Three of the modes are termed major, while four of them are minor. The Locrian is considered theoretical rather than practical. A mode is said to be minor 5 if the 3rd scale degree is flattened; that is, if the third scale degree is three semitones above the root, instead of the four semitones in a major mode. In modem music theory, scales other than the major scale sometimes have the term "modes" applied to the scales which begin with their degrees. This is seen, for example, in "Melodic Minor" scale harmony, which is based on the seven 10 modes of the melodic minor scale, yielding some interesting scales as shown below. The "Chord" row lists chords that can be built from the given mode. Mode I II III IV V VI VII half Mixolydian diminished altered (or) minor- Dorian Lydian Lydian Name b 6 or (or) diminished major b 2 augmented dominant "Hindu" Locrian whole-tone #2 C- Ao (or) A Chord Dsus b 9 E b maj#5 F7# I1 G b 6 b 7 B7alt maj7 7b5 Most of these chords and modes are commonly used in jazz; the min/maj chord, 7#11 and alt were in common use in the Bebop era (indeed, the Lydian dominant scale and 7# I 11 chord practically defined the bebop sound), while 12 Coltrane-era and later jazz made extensive use of sus b 9 chords. Maj * 5 is less common. The b 6 b 7 is rarely seen as such. Though the term "mode" is still used in this case (and is useful in recognizing that these scales all have a common root, that is the melodic minor scale); 5 it is more common for musicians to understand the term "mode" to refer to Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, or Locrian scales. In the art, this is the most common understanding. The superior component may identify any of the above described modes. 10 The display portions of the superior component will preferably be openings through the superior component but may alternatively take other forms such as transparent areas in the superior component. It is preferred that the display portions are located in the sectors identifying the modes and most preferred is that the display portions are located in a series of lines radiating from the center or pivot point of the 15 superior component. As stated above, the superior component is also provided with concentric circular ring portions. Each of the concentric ring portions will typically be provided with indicia identifying a musical scale. There are a large number of musical scales and some examples of the scales identified on the present device 20 include: pentatonic minor, Blues minor, Harmonic minor, Melodic minor ascending, pentatonic major and major. Preferably, the order above corresponds to the order in which the concentric ring portions are identified from centremost to outermost in the preferred embodiment of the present invention. The device of the present invention will typically be approximately 25 190mm in diameter and the openings in the superior component will be approximately 10mm in diameter. Typically, a portion of the superior component surrounding each of the openings will also be coloured and may be a darker shade of the colour of the concentric ring portion in which the opening is located. This may increase the contrast when using the device. 30 Preferably the indicia representing the different modes may be located towards the outside edge of the ring portion in which there are located. There is typically a display portion located adjacent the mode identifying indicia, and this may 13 be termed, the mode indicator. Further, all of the sectors are preferably located in a single half of the superior component, leaving the indicia representing the scales in the remaining half of the superior component. In use, the device is used to identify the notes in a particular mode of a 5 particular scale as follows: The user locates the desired mode indicia and rotates the superior component until the mode indicator (the display portion adjacent the desired mode indicia) is aligned over the chosen musical note indicating the desired key, such that the musical note indicia is readable through the display portion. The notes of the 10 desire mode are then read from the display portions of the concentric ring portion of the mode indicator, starting with the mode indicator display portion and reading in a clockwise direction about the device. For example: Phrygian major in the key of C: Place the phrygian indicator in line with the C note indicia on the inferior component 15 and viewable through the display portion of the corresponding major scale concentric ring portion of the superior component. Then the notes in this modal scale can be read in a clockwise direction starting with C as follows: C D E 'F G A B' C. The method above can also be used for the melodic or harmonic scales, by choosing the appropriate display portion in the appropriate concentirc ring portion, 20 as the mode indicator. As another example: Mode III or Lydian #5 in the key of C: Turning the superior component anti-clockwise, place the Lydian #5 or mode III indicator in line with the C note indicia on the inferior component and viewable through the display portion of the corresponding scale concentric ring portion of the 25 superior component. Then the notes in this modal scale can be read in a clockwise direction starting with C as follows: C D E F# G# A B C. Altogether, the devcie of the present invention is operable to identify a total of 264 scales and modes using the preferred embodiment in the Figures. Brief Description of the Drawings. 30 Various embodiments of the invention will be described with reference to the following drawings, in which: Figure 1 is an elevation view of the first relatively movable display part 14 according to a preferred embodiment of the present invention. Figure 2 is an elevation view of the second relatively movable display part according to a preferred embodiment of the present invention. Detailed Description of the Preferred Embodiment. 5 According to the illustrated preferred embodiment, a music teaching and computation device is provided. The music teaching and computation device includes a superior component as illustrated in Figure 2 which is divided into sectors, each sector representing a given, different mode of music, each sector bearing a first series of 10 indicia 10 representing a mode of music and further divided concentrically into ring portions 11, each ring portion 11 representing a given, different scale of music. The superior component also has a series of openings 12, each opening 12 located in an overlap zone of a sector 10 and a ring portion 11. The device also includes an inferior component illustrated Figure 1, so 15 called because of its location in use, under the superior component. The inferior component has a second series of indicia representing, in sequence, the notes of a musical scale. The superior and the inferior components are angularly movable with respect to one another about a common pivot 13 to allow the openings 12 in the 20 superior component and the note indicia to be moved into registry with one another to denote the progression of musical notes in the chosen scale and mode. Each of the components is substantially circular allowing the components of the device to be easily rotatable relative to one another. The components are mounted relative to one another to rotate about a central pivot 13. 25 In construction of the device, the two components of semi-rigid cardboard are laid with the superior component on top of the inferior component with the indicia on both parts uppermost. The components normally abut with the lower side of the superior component resting in the upper side of the inferior component. During rotation of the parts, the components will be touching so the components are 30 provided with a coating or similar to reduce friction between the parts. The inferior component as illustrated in Figure 1, is marked with a number of concentrically located circular rings 14, each ring related to a specific scale (identified on the superior component). There is a blank circular portion 15 located at 15 and about the centre of the inferior component to space the innermost circular ring from the pivot 13 of the inferior component. The inferior component has indicia representing musical notes. According to the preferred embodiment illustrated in the Figures, the indicia is 5 notation in the ABC format which allows a user to identify the musical note. The musical notes are arranged within each concentric circular ring, so that each circular ring has indicia representing two octaves of notes, in sequence. Further, the indicia located within each concentric circular ring are colour-coded when applied, with separate and distinct colours being used for the indicia in each ring. For 10 example, the notations in one ring may be printed with blue ink, and the next outer ring may be printed in red, and the next outer ring printed in green. Some notes are indicated as a natural note, and some with trailing notations indicating sharps or flats. A single note indicating indicia may be given as optional such as C*/D . 15 The superior component of the device as illustrated in Figure 2, also has a number of concentrically located circular rings 11 marked thereon, each ring related to a specific scale and the size and location of the concentric rings match the size and location of the rings on the inferior component. The superior component as illustrated includes approximately seven 20 sectors. Each of the sectors is identified as relating to a different given musical mode. Some sectors may have more than one musical mode identified, but associated with a different concentric ring. For example, the illustrated preferred form of the invention provides sectors for the following modes around the outermost ring portion: Ionian, Dorian, 25 Phrygian, Lydian, Myxolydian, Aolian, and Locrian. Other modes are used such as 13b9sus4, Lydian #5, Lydian Dominant, Myxolidian b6, Locrian #2 and Altered. The above two lists are deemed to be the main modes and secondary modes, with main modes identified in the outermost concentric circular ring portion and the secondary modes identified in the second outermost concentric circular ring portion. 30 As stated above, the superior component is also provided with concentric circular ring portions. Each of the concentric ring portions is provided with indicia identifying a musical scale 16. Examples of the scales identified on the 16 present device include: pentatonic minor, Blues minor, Harmonic minor, Melodic minor ascending, pentatonic major and major. The order above corresponds to the order in which the concentric ring portions are identified from centremost to outermost in the preferred embodiment of the present invention. 5 There is an opening located adjacent the mode identifying indicia, termed the mode indicator 17. All of the sectors are located in a single half of the superior component, leaving the indicia representing the scales in the remaining half of the superior component. Modes are particularly useful in the art of jazz improvisation. The 10 preferred embodiment of the device gives access to: - the scales: the major, melodic minor ascending, harmonic minor, pentatonic major, pentatonic minor, blues minor, in 12 keys. - the major modes; Ionian, dorian, Phrygian, Lydian, myxolydian, aolian, locrian modes, in 12 keys. 15 - the modes derived from the melodic minor ascending scale: 13b9, Lydian #5, Lydian dominant, myxolydian b6, locrian #2, altered, in 12 keys. They are also called mode I, II, III, IV, V, Vi, VII. - the modes derived from the harmonic minor scale in 12 keys: the modes, II, V, VI they are also referred to by different names, but on the device these are 20 indicated by the roman numeral symbols. How to find a scale? The lines, apertures, and indicators are colour coded: Red: major Orange: Pentatonic major 25 Light blue: Melodic minor ascending Green: Harmonic minor Dark blue: blues minor Pink: pentatonic minor Note that when reading notes in a scale from the device in a clockwise 30 direction, a portion of the superior component surrounding each of the openings of the notes to be disregarded is also coloured and is a darker shade of the colour of the concentric ring portion in which the opening is located to increase the contrast when reading the device.

17 One or more of the circular ring portions 11 marked on the superior component also have a series of markers 20 associated therewith. The location of the markers 20 is scale dependant and the markers 20 are located to indicate the openings 12 through which the notes are to be read and included in the scale. 5 If a circular ring portion 11 indicating a scale has markings 20 such as the Pentatonic Major Scale, then the notes displayed in the openings 12 having the markers 20 are included in the scale. If a circular ring portion 11 indicating a scale does not have markers 20 such as the Melodic Minor Ascending Scale, then the notes displayed in all of the openings 12 of that circular ring portion 11 are included in the 10 scale. In some scales such as the Blues Minor Scale, there are openings 12 interspersed between the markers 20, and in these cases, the notes displayed in the openings 12 having the markers 20 are included in the scale and also the notes displayed in the interspersed openings 12 are included in the order that the notes are 15 read from the device in a clockwise direction. Example: To fine the scale of C major Hold the device so that the apertures in the superior component are in the upper semi circle. In this position, the names of the scales are readable in the lower half. 20 Turn the wheel so that the letter C appears in the first aperture (encircled by a red coloured ring). Now read the notes appearing in the apertures in a clockwise direction. CDEFGABC Use the Same Procedure To Find A Melodic Minor Ascending Scale 25 Example: F melodic minor scale Turn the wheel so that the letter F appears in the first aperture (blue coloured ring) Now read the notes appearing in the apertures in a clockwise direction. 30 FGA'BL CDEF Same procedure to find a harmonic minor scale, 18 Try the harmonic minor scale of A (green coloured ring) ABCDEFG# A For the pentatonic major use the orange line marked pentatonic major. The indicators point to the notes to be read. 5 For example: C pentatonic major scale Place the first orange indicator on C and read clockwise each note indicated by the orange indicators you will get: CDEGAC 10 For the pentatonic minor scale, use the pink line marked pentatonic minor. The indicators point to the notes to be read. For example: F pentatonic minor scale 15 Place the first pink indicator in line with F, and read the notes in line with the indicators you will get: FA'B'CE'F For the blues minor scale use the dark blue line marked blues minor, this line contains indicators pointing to notes and two apertures in which notes are 20 revealed: C blues minor scale: Place the first dark blue indicator on C and read the notes indicated by the pointers and appearing in the apertures along the line. You should get: C E F" G Bb' C 25 THE MODES: To find any mode in any key: 1. hold the device so that the apertures are in the upper semi-circle; 2. turn the wheel so that the desired key appears in the first aperture (coloured circle), using either the violet, blue or green section, as appropriate; 30 3. turn the wheel anti-clockwise until the desired mode is positioned above the desired key (they will be adjacent for the modes II, V and VI of the harmonic minor scale); 19 4. read clockwise starting from the desired key; and 5. after the last aperture, follow the arrow, you will notice a repeat of the previous note, disregard this note and continue reading. 5 Example: F Lydian Step 3. turn the wheel anti-clockwise until the word Lydian is positioned above the F Step 4. Read clockwise from the F.. .G A B C, follow the red arrow, notice a repeat of the C, disregard it and continue reading D E F so F Lydian reads: F G A B C D E F 10 For the modes derived from the melodic minor ascending scale follow exactly the same procedure, using the light blue section and line, you will notice that roman numeral are used as well as the names of the modes. For the harmonic minor modes use the green section, only roman numeral have been used, follow the same method. 15 The whole tone scale is situated in the yellow part of the device, and identified by the small pointers. Note - for simplicity ' and " have not been included the diminished scale starting with a whole tone is not represented. In the present specification and claims (if any), the word "comprising" 20 and its derivatives including "comprises" and "comprise" include each of the stated integers but does not exclude the inclusion of one or more further integers. Reference throughout this specification to "one embodiment" or "an embodiment" means that a particular feature, structure, or characteristic described in connection with the embodiment is included in at least one embodiment of the present 25 invention. Thus, the appearance of the phrases "in one embodiment" or "in an embodiment" in various places throughout this specification are not necessarily all referring to the same embodiment. Furthermore, the particular features, structures, or characteristics may be combined in any suitable manner in one or more combinations. In compliance with the statute, the invention has been described in 30 language more or less specific to structural or methodical features. It is to be understood that the invention is not limited to specific features shown or described since the means herein described comprises preferred forms of putting the invention 20 into effect. The invention is, therefore, claimed in any of its forms or modifications within the proper scope of the appended claims (if any) appropriately interpreted by those skilled in the art.

Claims (15)

1. A music teaching and computation device comprising: (a) a first relatively movable display part divided into at least four sectors, each sector representing a given, different mode of music, each sector 5 bearing a first indicia representing a mode of music; (b) the first relatively movable display part being further divided concentrically into at least two ring portions, each ring portion representing a given, different scale of music, (c) the first display part having a series of display portions, each display 10 portion located in an overlap zone of a sector and a ring portion; (d) a second relatively movable display part bearing a second series of indicia representing in sequence the notes of a musical scale; (e) the first and second relatively movable display parts being angularly movable with respect to one another about a common pivot to allow the 15 display portions in the first relatively movable display part and the second series of indicia to be moved into registry with one another to denote the progression of musical notes in the chosen scale and mode.

2. A music teaching and computation device according to claim 1 wherein each of the parts are substantially circular and mounted relative to one another to rotate 20 about a central pivot.

3. A music teaching and computation device according to either claim 1 or claim 2 wherein the parts are provided with a coating or similar to reduce friction between the parts as they slide over each other in use.

4. A music teaching and computation device according to any one of the 25 preceding claims wherein the parts are manufactured of a material which is at least semi-rigid.

5. A music teaching and computation device according to any one of the preceding claims wherein the second display part has a number of concentrically located circular rings marked thereon, each ring related to a specific scale identified 30 on the first display part.

6. A music teaching and computation device according to any one of the preceding claims wherein the indicia of the second part are in ABC format and are ordered in sequence, over at least one octave. 22

7. A music teaching and computation device according to any one of the preceding claims wherein a single note indicating indicia is given as optional, such as C*/D'.

8. A music teaching and computation device according to any one of the 5 preceding claims wherein the indicia are printed onto the respective components.

9. A music teaching and computation device according to any one of the preceding claims wherein the indicia are otherwise marked using depressions, dimples or other raised portions.

10. A music teaching and computation device according to any one of the 10 preceding claims wherein the concentrically located circular rings marked on the first display part related to a specific scale match the size and location of the concentric rings on the second display part.

11. A music teaching and computation device according to any one of the preceding claims wherein a sector on the first display part includes indicia for more 15 than one musical mode, indicia for each of the multiple musical modea associated with a different concentric ring.

12. A music teaching and computation device according to any one of the preceding claims wherein the musical modes are divided into main modes and secondary modes, the main modes identified in the outermost concentric circular ring 20 portion and the secondary modes identified in a different concentric circular ring portion of the first display part.

13. A music teaching and computation device according to any one of the preceding claims wherein the display portions of the superior component are openings through the superior component. 25

14. A music teaching and computation device according to any one of the preceding claims wherein all of the sectors are located in a single half of first display part, with indicia representing the scales in the remaining half of the first display part.

15. A music teaching and computation device substantially as described herein with reference to the accompanying drawings. 30 DATED this 2 5 *h day of May 2006 Helene M. Salmona By her Patent Attorneys Cullen & Co.