DE19952717B4 - Electronic musical instrument and method for producing tones with an electronic musical instrument - Google Patents

Abstract

Method for generating tones with an electronic musical instrument, which has a keyboard and an intonation device, the intonation device according to the specification of an intonation scale which can be selected by the player and which contains a predetermined frequency ratio in relation to a base tone for the individual tones of the intonation scale, and after Specification of the base tone chosen by the player, which is assigned to a key of the game keyboard, creates frequency data for the individual keys of the game keyboard, and optionally a predetermined absolute frequency is assigned to the key for the base tone or another key for a tone of the game keyboard that differs from the base tone which corresponds to the absolute frequency of a tone of the same-tempered intonation scale, with either the chamber tone A being set to 440 Hz or a frequency deviating from 440 Hz.

Description

The invention relates to a method for generating tones with an electronic musical instrument as well as an electronic one Musical instrument.

Music has been around for ages the problem known that On the one hand, intervals sound particularly good when the frequencies the associated Tones in a rational relationship stand together, but that on the other hand, with the help of such intervals only scales (Scales) constructed using a keyboard instrument a naturally limited one Number of keys not easily played in transposed form can be. Each scale has a base note, for example C major a C. A scale transposed to it has another base note, for example G major and G. On one Keyboard instrument whose tones are tuned according to a series of partial tones so that the intervals in, for example, C major in rational frequency relationships (that is, for the individual Tones of Scale a fixed, rational frequency ratio in each case with respect to the base tone C) has one on a different base tone constructive scale, for example G major, a different sound character, there the conditions the frequencies of the 2nd, 3rd, etc. tone of the scale to the frequency of the Basistons are slightly different than before. These differences are true not very large, but audible.

Towards the end of the Baroque period, this problem was solved by introducing the equal-tempered intonation scale, in which two adjacent tones (semitones) are on a keyboard instrument in a fixed frequency ratio, namely 2 ^1/12 . As a result, the frequency ratios of the intervals in a scale no longer depend on the choice of the base tone. Scales can therefore be transposed as desired and retain their sound character. The equal-tempered scale became established shortly after its introduction and has dominated musical life since then.

A disadvantage of the same temperature However, scale is that some intervals, such as the pure fifth, fairly pure sound, but other intervals, such as the major third, are problematic. Therefore, opportunities were further tried for one Find improved intonation of musical instruments.

WO 95/22140 A1 describes what is referred to as "just" intonation Process described in which over a fixed pitch (usually the pitch A) according to a predefined scale so-called "just" intervals being constructed. These are arbitrary rational frequency relationships. The fixed frequency of the voice tone becomes playback of the individual pitches either with these rational frequency ratios tabulated in the scale or if necessary with the products of two of these rational frequency relationships multiplied.

None of these multiplications, which in turn always result in frequencies in rational proportions, can never lead to a tone of the same-tempered intonation scale, if one disregards the exception of the voice tone fixed in the frequency. Because intervals of the equal tempered intonation scale (12-tone tempered intervals) are based on irrational frequency relationships of the form 2 ^{n / 12} . This fact makes an instrument according to WO 95/22140 A1 unsuitable for interaction in a freely selectable key with instruments tuned according to the intonation scale at the same temperature.

The US 5,404,788 A shows an electronic musical instrument, in which a voice tone A is also provided with a fixed frequency. There is also a base note on which a "just" intonation can be selected. The tone A here is the only tone whose frequency remains unchanged under all circumstances. The musical instrument is therefore not suitable for interplay in a freely selectable key with instruments tuned in the same tempered intonation scale.

In the US 5,306,865 A discloses an electronic musical instrument in which 24 intervals, which simultaneously correspond to playable tones, are distributed over the total interval of a frequency doubling. These notes are placed on two adjacent octaves of a conventional keyboard. The term "interval" is understood here as the difference between two frequencies and not, as is usually the case, as the ratio of two frequencies. Therefore, the tones of this instrument are not compatible with musical instruments tuned according to the intonation scale.

In the DE 41 30 043 A1 describes the gaming table of a keyboard instrument, the special key arrangement of which is adapted to the size of intervals of the partial tone row. A basic frequency can be set continuously; however, this is not intended in the course of the game. Thus, there is no possibility of modulation by several keys and no possibility of dynamic intonation at the time, for example by changing scales. In particular, it is not possible to tune any partial tones for frequency equality with tones of a tempered intonation scale during the game. Therefore, compatibility for the interplay in all keys with instruments tuned in the same tempered intonation scale cannot be achieved.

Also in the AT 72 312 describes a game table of a keyboard instrument for reproducing tones tuned according to the intervals of the partial tone series. This instrument only allows playing in a single mood. A modulation by several keys while maintaining the original functional interval sizes is just as impossible here as an adaptation to the intonation scale at the same temperature during the game.

It is an object of the invention possibility to improve the tonal character of keyboard instruments and expand without losing a relationship with familiar forms give up, being possible is supposed to be a compatibility every single sound with the same tempered intonation scale manufacture.

This task is solved by a method of generating tones with an electronic musical instrument with the features of the claim 1 as well as an electronic musical instrument with the features of claim 13. Advantageous refinements of the invention result itself from the dependent claims.

The electronic musical instrument has a keyboard and an intonation device. With the help of the intonation device, frequency data are created for the individual keys of the keyboard. The starting point is an intonation scale with fixed frequency ratios for the individual tones of the intonation scale in relation to a base tone. The intonation scale is selectable by the player; Thus, at least two different intonation scales are provided, one of which is preferably the classic equal tempered intonation scale, in which the frequency ratios of the tones assigned to the keys of the playing keyboard in relation to the base tone in the range of an octave are 2 ^1/12 , 2 ^2/12 , 2 ^3/12 , 2 ^4/12 , 2 ^5/12 , 2 ^6/12 , 2 ^7/12 , 2 ^8/12 , 2 ^9/12 , 2 ^10/12 , 2 ^11/12 and 2 ^12/12 = 2 are. The base note can also be selected by the player. In the case of the intonation scale with the same temperature, the selection of the base note has no influence on the absolute frequencies of the notes assigned to the keys of the keyboard, but on the intonation scale which contains rational frequency relationships. In the method and the electronic musical instrument according to the invention, there is the possibility of specifying intonation scales with fixed, rational frequency ratios and of adjusting the base tone to adjust the absolute frequencies for the tones such that the scales can be transposed without problems.

The base tone or one of the base tone deviating key of the game keyboard becomes a predetermined absolute Frequency assigned. This predetermined absolute frequency is correct with the absolute frequency of a tone of the equal tempered intonation scale. The chamber tone can be according to the usual Convention to be tuned to a frequency of 440 Hz, but also deviating settings that a fixed shift of the entire Increase or decrease the frequency scale are conceivable. A player on the electronic according to the invention So musical instrument has many Possibilities, to influence the sound character. In particular, it is conceivable while a different intonation scale or a different base note select or specify another absolute frequency for a key. It is that in a preferred embodiment provided intonation keyboard a help.

If one of the intonation scales the equal temperament intonation scale exists during the game never the risk of getting lost in unusual sound effects, because the player can easily return to the familiar sound experience can. preferred from the tempered intonation scale preferred Intonation scales are the intonation scales labeled "Zipped", "Altered" and "Aliquot", the all rational frequency relationships for the individual tones included with respect to the base tone. The tones of one of these intonation scales can so as certain overtones of a fundamental tone which is usually far below the base tone.

Leave additional sound effects achieve with the help of "morphing", whereby the frequencies of the tones continuously be shifted between two intonation scales.

Below are the individual Aspects of the invention in detail explains among other things with the help of figures, so that the invention to the expert opens.

list of characters

1 : Example of a gaming table (Fig. Sheet 1/6)

2 : Partial tones, intervals and selected spectral harmonies using the basic tone C as an example (Fig. Sheet 2/6)

3 : Intonation scales and key assignment using the example of the base tone C (Fig. Sheet 3/6)

4 : Morphing targets and key assignment using the example of the base tone C (Fig. Sheet 4/6)

5 : Keyboard with playing aids, intonation device and tone generator (Fig. Sheet 5/6)

6 : Example I for playing a spectral harmony with intonation scale aliquot (Fig. Sheet 6/6)

7 : Example II for playing a spectral harmony with intonation scale aliquot (Fig. Sheet 6/6)

application areas

The invention combines a novel Intonation procedure with an expanded keyboard for one Keyboard instrument, which is used when performing musical works the usual sound of 12-tone tempered Intervals also sound other, preferably the partial tone series taken intervals enabled. By layering two or more in the partial tone row on top of each other lying intervals, harmonies can be constructed Sound (dependent the entire bandwidth from the choice of the intervals involved from highly consonant to mild or sharp dissonant sounding covers.

Conventional keyboard instruments is the playback of any music using intervals the partial tone series currently fails because (similar to the transposition musical works) in the case of modulation by multiple keys Cases occur in which a tone depends must be intoned differently from the harmonic context if the original selected Intervals of the partial tone series should be preserved. Separate Tones of different Complex harmonies also leave possibilities open from case to case for alternative intonation desirable appear.

The complementary introduction of new, by musical considerations ensure developed intonation scales and an adapted operating concept under all circumstances greatest possible compatibility of intonation with the usual 12-tone, floating temperature (also: equal tempered scale, English: twelve tone equal temperament, abbreviated 12TET): Any selected, single tone can sound 12TET intoned.

This allows the invention to be used as a band or orchestral instrument, because that's where the interaction is with 12 notes equal tempering instruments in the foreground. Especially the clearly perceptible edge tones sounding harmonies by means of a convergence comparison with the 12-note equal tempered intonation scale perfectly in the overall sound to get integrated.

The group of possible users also includes the music industry with their live and studio applications in the field rock and popular music also the modern jazz scene. For contemporary art music interesting musical applications are also conceivable. For the reproduction of classic works there are intonation and Not a historical role model.

Any static mood (i.e. one Tuning that assigns a key of a fixed frequency to each key of the keyboard) can only be in one key and only with some selected harmonies sound very consonant and free of beats. Trying on a static musical instrument tuned at intervals of the partial tone series Work in an alternative (even distant circles of fifths) Playing the key leads to a rough one, felt by the majority of the audience as out of sorts Sound impression.

The way out remains, every pitch at play adapting to the current harmonic context, a process which is called dynamic intonation.

The invention makes the intervals the partial tone series through dynamic intonation in all keys of the live performance accessible by keyboard instruments. Thus the intonation on this type of instrument becomes a new one Part of the artistic Lecture, which has an extensive and independent creative potential offers. this leads to to new harmonic possibilities and to sounds with special attention value; previously unheard sound impressions and Effects are possible.

In addition to the mentioned extended harmonic possibilities offers the present invention with the device of a keyboard extension by 12 to 24 keys per octave new possibilities of melody. So will for example a triplet design of a whole-tone step by two transition tones (instead of only a semitone step enclosed by the whole tone) is possible. The Keyboard expansion added the familiar 12-note Keyboard, leave this however, remain unchanged as part of the keyboard. So the artist has to Use of the new possibilities expand his playing technique, but not completely new learn.

The invention can also musical training and ear training are used. Other uses are accompanied by alternating intoning vocal ensembles and in interaction with wind and string instruments, the one constantly changing Allow intonation.

explanation various aspects of the invention

An essential part of the invention is based on the discovery that layered intervals, which lie directly one above the other in the partial tone series, produce harmonies when they sound together, which are characterized by a local minimum of audible beats (minimization of dissonance). Individual tones such an interval stack can remain silent to create a desired harmony.

The extraordinary clarity so created Harmonies, even with four and polyphonic movements and even in high ones Layers, is made musically usable by the present invention. In addition, the 12-tone Equally tempered scale to preserve the possibility of interaction with 12 notes instruments tuned to the right temperature.

The since the 16th century for a so-called pure tuning of a fifth of a fifth system partials, whose atomic numbers are derived exclusively from the prime factors 2.3 and 5 are deliberately abandoned in the present invention. In their place comes the development of new harmonic structures through the gapless Inclusion of all intervals of the partial tone series. Their rational frequency ratios include other prime factors such as 7, 11, 13, 17, 19, 23, 29, 31, 37, 41, 43 .... The application of this episode involving everyone Intervals of the partial tone series are only by the number of available Keys limited per octave.

The intervals of the partial tone series form the natural part of the interval database of the instrument. Harmonies are typically constructed from adjacent or close to each other intervals of the partial tone series, while maintaining their ascending order ( 2 ).

The musical usability of the In this way, harmonies that can be constructed will be in addition to the aspect the low beating (which corresponds to the musical concept of consonance corresponds) also through the intonation of the participating sounding Tones determined. Are the frequency relationships already determined by the partial tone series, so with regard to the Intonation of the degree of freedom of a common higher or lower mood of all sounding tones while maintaining their frequency relationships be used. From this degree of freedom, the invention turns into Achieving the best possible compatibility with 12 notes use tempering instruments intensively.

The invention is also based on the Realization that everyone any harmony used musically (from the pure major triad up to the polyphonic, altered jazz chord) an equivalent on one or more levels in the partial tone series.

If you let all frequency ratios of the partial tone series from the first partial tone slip past any given harmony (e.g., a diminished seventh chord C ^dimbb7 = C, Eb, Gb, A), this harmonic structure snaps, ( that would consist of three equal thirds of equal size in 12-tone intonation with the same temperament,) in certain combinations of partial tones, provided that a musically sensible tolerance for the intonation of the individual tones is allowed:
Starting from the 1st partial tone, the sample ^harmony C ^{dimbb7 will} first ^rest at the 9th partial tone with frequency ratios of 9: 11: 13: 15, provided a large intonation tolerance of +/- 50 cents is permitted. If the example harmony is reproduced in this way, it has the lowest possible dissonance.

You start the same process at a lower intonation tolerance of e.g. +/- 35 cents, so the first takes place Rest with frequency relationships from 10: 12: 14: 17. The highest Sound is used for that to the 12-note used tempered scale listeners unusually high at +19 cents compared to the tempered interval intones.

The next rest is the sample ^harmony C ^dimbb7 at the 12th partial tone with frequency ratios of 12: 14: 17: 20. This has a slightly higher dissonance than the previous rest points. However, its highest note is intoned a bit closer to the usual tempered interval of 900 cents at –16 cents.

• – der 15. Partialton mit Frequenzverhältnissen von 15:18:21:25 (welche bei den drei tiefsten Tönen mit den Frequenzverhältnissen über dem 10. Partialton übereinstimmen) und
• – der 16. Partialton mit Frequenzverhältnissen von 16:19:23:27, ein Klang, welcher der 12-tönig temperierten Wiedergabe der Beispielharmonie nahe kommt.

Further ^rest points for the example ^harmony C ^dimbb7 are ...

• - the 15th partial tone with frequency ratios of 15: 18: 21: 25 (which correspond to the frequency ratios above the 10th partial tone in the three lowest tones) and
• - the 16th partial tone with frequency ratios of 16: 19: 23: 27, a sound that comes close to the 12-tone tempered reproduction of the sample harmony.

Different examples were used here Considered instances of musical harmony. This development let yourself analogously with other harmonies also towards higher order partial tones practice arbitrarily.

In all the example cases presented, the frequency of the fundamental tone C of the sample harmony does not change. The However, the root note has from example to example at constant frequency its partial tone meaning changed. This occurred in the first example C in the role of the 9th partial tone and took over the course of the others Examples are the partial tone meanings 10, 12, 15 and 16.

The frequency of the fundamental tone is physical freely selectable. In the musical application it is preferably suitable for Intonation of this tone on the (usually tempered in 12 notes intoning) accompanying instruments. This setting takes place continuously as part of the musical performance by the play of the lecturer on the intonation keyboard, so that the above Principle of dynamic intonation presented in the sense of the invention is not limited to the basic tone C used as an example, but practiced at every chromatic level by the performing artist can be.

• – ob eine Harmonie möglichst nahe an der vertrauten 12-tönig gleichtemperierten Intervallbildung bei mäßiger Konsonanz erklingen soll oder
• – ob eine größere, gegebenenfalls optimale Konsonanz bei ungewohnter Intonation erzielt werden soll.

This means: In the sense of the invention, every 12-tone tempered intoned tone can appear in any partial tone meaning and thus serve, for example, as the fundamental tone for different spectral-harmonic forms of a predetermined, musically designated harmony. This gives the artist the freedom to weigh ...

• - whether a harmony should sound as close as possible to the familiar 12-tone interval formation with moderate consonance or
• - whether a larger, possibly optimal consonance should be achieved with unusual intonation.

As an alternative to the basic tone of a sounding Harmony can optionally be any other physical tone free, but preferably compatible in musical application for the 12-note equal tempered scale can be voiced. Also choosing this Tones is the responsibility of the player making this intonation decision Instrument transmitted using the intonation keyboard. This possibility is used as a convergence comparison of the selected tone with the 12-note equal tempered Called scale.

By introducing the concept at any time selectable Intonation scales, the player can use different intonation Sounds at the same time Taxes. An intonation scale corresponds to the mapping from intervals of the partial tone series to the intervals of the mechanical executed Keyboard. Intonation scales are classified according to musical and physical Criteria develop and form an essential component of the instrument design.

One of several selectable Intonation scales is the familiar 12-tone equal tempered intonation scale (12TET) which complete tonal compatibility guaranteed when interacting with conventionally tuned instruments.

Adapted keyboard for the Melody and harmony play in the denser sound space

The offer of an increased number of keys per octave compared to the usual keyboard makes numerous intervals immediately and easily accessible for the lecturer. The number of physically mounted keys per octave is increased to 24 keys per octave by means of a keyboard extension ( 13 ), which, in an ergonomically favorable arrangement, the usual 12-tone normal keyboard ( 12 ) to the keyboard ( 11 ) added.

transposition and modulation ability

To control the dynamic intonation of the instrument, a silent intonation keyboard ( 14 ) is provided, with the help of which all harmonic conditions specified by the artist can be reproduced chromatically in every 12-tone tempered position.

Morphing - the stepless change the intonation

The method according to the invention enables a targeted, continuous and simultaneous transfer of the intonation even of several sounding tones from the currently selected intonation scale to a different intonation scale, which is referred to as their morphing target. This process is called morphing. Using the method presented, the musician can use a playing aid to intonate single tones or harmonies between an intonation scale ( 3 ) and its associated morphing target ( 4 ) blend smoothly. In addition, he can intonate single tones or harmonies according to an interpolated intonation scale.

Melismatic - the targeted intonation change of the sounding tone

• – beim Wechsel der Intonationsskala,
• – beim Wechsel des Basistones,
• – beim Wechsel des Tones mit 12TET-Konvergenz oder
• – im Verlauf des Morphing-Vorgangs.

The intonation of tones is changed in a melismatic manner, ie immediately and audibly even while the tone is sounding, provided the tone generator used supports this process ...

• - when changing the intonation scale,
• - when changing the base tone,
• - when changing the tone with 12TET convergence or
• - in the course of the morphing process.

Use dedicated game help

• – die Intonationsklaviatur mit einem separaten Haltepedal (52) ausgestattet, welches dem Spieler bei Bedarf beide Hände für harmonisches Spiel freihält,
• – eine am Spieltisch elektronischer Musikinstrumente häufig vorhandene MIDI-channel-pressure-Funktionalität (auch aftertouch-Funktion) oder beliebige andere MIDI-Steuersignalgeber (auch MIDI-Controller), wie z.B. ein Schwellerpedal (53), zur Steuerung des Morphing vorgesehen,
• – wahlweise eine am Spieltisch vorhandene MIDI-key-pressure-Funktionalität zur Intonationssteuerung einzelner Töne verwendet.

In addition to the usual playing aids for electronic keyboard instruments such as a holding pedal ( 54 ) and pitch-bend control signal transmitters, which in the present invention preferably act together on the normal keyboard and expansion keyboard, is specifically designed to support the new possibilities of the present invention ...

• - the intonation keyboard with a separate holding pedal ( 52 ) which keeps the player's hands free for harmonious play,
• - A MIDI channel pressure functionality (also aftertouch function) that is often present at the electronic musical instruments table or any other MIDI control signal transmitter (also a MIDI controller), such as a rocker pedal ( 53 ) intended to control morphing,
• - Optionally, a MIDI key pressure functionality available on the gaming table can be used to control the intonation of individual tones.

targeted Use of differential tones for harmonic purposes

The method according to the invention optionally includes the possibility a combination of dynamic intonation according to the intonation scales with the Grinding a non-linear transmission link into the audio signal chain. The audible becoming differential tones are when using intervals of the partial tone series to form harmony in numerous cases interesting harmonic additions with suitable intonation.

Easy to learn of the new instrument type

The ability to learn to play the new type of instrument is made easier by integrating the familiar keyboard into the playing keyboard. This normal keyboard ( 12 ) remains an integral part of the user interface. Additional inputs at the time of the game using external controls (such as a computer keyboard) are not required at the time of play.

By including the intervals of the 12-tone The lecturer remains at the temperature in the intonation scales of uncertainties in spectral intonation always a slight achievable retreat position: If the intonation keyboard and the associated holding pedal remain unplayed, so are the tones the normal keyboard has 12 notes reproduced at the same temperature.

Automation option for studio applications

One is preferred for studio applications possibility created for automation, which is the sequencer-based recording and playback of one operated according to the submitted method Instrumentes.

For this purpose a MIDI interface (MIDI, musical instrument digital interface) provided, with the help of musical works, when recording the process according to the invention is used, using commercially available sequencer programs can be recorded and played back. The peculiarities of Intonation controls become part of the recording and can be used for playback can be used for intonation control.

functionality

Definition: intonation

In the context of the present invention, the intonation of a tone is considered to be a relative quantity with the dimension of a frequency ratio. Intonation in the sense of the invention does not depend on the absolute frequency of a reference tone (such as, for example, the chamber tone A with f _A = 440 Hz), the frequency of which fixes the absolute position of a tone system. Rather, the intonation of a tone is always determined relative to the reference tone.

The frequency of the reference tone is determined jointly for all instruments of a musical ensemble and usually remains unchanged at the time of the game. As a rule, tone A is used as a reference tone with f _A = 440 Hz. Agreed deviations from this standard are possible on a case-by-case basis. The present invention adheres to this method: in order to determine the reference tone, an arbitrarily defined key is tuned to a freely selectable, absolute frequency f _A. This tuning process determines the 12-tone tempered intonation of the reference tone and thus also the 12-tone tempered intonation of all other tones.

The amount of 12-note tempered tones created in this way is, as usual from conventional keyboard instruments, increasing from the key associated with the reference tone to the semitone intervals of the normal chromatic keyboard ( 12 ) assigned.

With this assignment, each key of the keyboard is understood as a container (pitch class) within the meaning of the invention, which can contain several different pitches. In this context, the familiar tone identifiers C, Des, D, Es ... become identifiers for pitch classes and remain at the same time Identifier for the keys of the normal keyboard. However, due to ambiguity, they lose their property as suitable identifiers for tones (pitches).

As far as described, each pitch class so far with only one pitch, namely that of the 12-tone equal tempered Associated intonation scale pitch occupied. The pitches previously set come when you select the Intonation scale with the designation 12TET for use.

• – durch Angabe der gespielten pitch-class (C, Des, D, Es ...) und
• – durch Angabe eines reellen Zahlenwertes dcent (delta Cent in der logarithmischen Einheit cent), der die Abweichung vom 12-tönig temperiert intonierten pitch der gespielten pitch-class beziffert.

The 12-note, tempered interval sequence depicted on the chromatic normal keyboard is used as a reference for the value of the intonation of a pitch. The intonation of a pitch or a sounding tone is described ...

• - by specifying the pitch class played (C, Des, D, Es ...) and
• - by specifying a real numerical value dcent (delta cent in the logarithmic unit cent), which quantifies the deviation from the pitch pitched intonation of the pitch class being played.

Here are a few examples:

Example 1:

The statement "the tone now sounding is a D with an intonation of +4 cents " from that the audible Tone higher by dcent = 4 cents sounds like his 12-note tempered intonation Pendant with the same absolute reference tone.

Since the tone actually sounds, it's his Frequency of a measurement accessible. This measurement leaves the specified dcent the conclusion on the absolute location of all 12-tone tempered tones to, at least one of which plays the role of the reference tone.

Example 2:

The indication "of now in absolutely the same frequency As in Example 1, the tone sounding is an Eb with intonation from -96 cents "says from that the audible Tone sounds 96 cents lower (almost a tempered semitone), than the 12-note tempered pitched pitch class with the name Es at the same absolute reference tone. In this case, this sounds exemplary very deeply intoned pitch-class Eb, its associated key on the keyboard also depressed becomes.

Example 3:

The statement "the tone now sounding in absolutely the same frequency as in Example 1 is a D with an intonation of -2 cents" means that the audible tone sounds 2 cents lower than the pitched class D, which is tempered at 12 tones This allows the conclusion of a reference tone tuned 6 cent higher than in Example 1 (f _A > 440 Hz).

Example 4:

The statement "the pitch class D is intoned with +4 cents" leaves the absolute Frequency of the reference tone open. The instrument can be freely attached to the Reference tone of the instruments of other members of the ensemble can be adjusted.

The frequency of all tones is proportional to each frequency change Δf _{A of} the reference tone. Their intonation remains by definition unchanged, since their determination is always relative to the reference tone.

Interval data base

• – der Partialtonreihe entnommen sind oder
• – nach geeigneten mathematischen Funktionen bestimmt werden (z. B. für Temperatur).

The method according to the invention includes a static interval database which does not contain absolute frequencies but only frequency ratios. The intonation of all playable pitches is derived from their numerical values. The interval database of the instrument preferably contains numerical values of frequency ratios, which

• - are taken from the partial tone series or
• - be determined according to suitable mathematical functions (e.g. for temperature).

Basically every frequency ratio is it is rational or irrational, as an entry in the interval database permissible the inventive method makes no difference when processing the numerical values. each any interval can become part of an intonation scale. Technically e.g. the intervals of every tempered mood in the same way as the intervals of the partial tone series or one handled any other scale.

The specified in the interval database frequency ratios are always based on a base tone with the normalized frequency 1.

The intervals of the interval database become (for the procedural application in the instrument) structured into several overlapping ones Groups summarized. Each group corresponds to an intonation scale, their exclusive selection using the intonation keyboard at play time. Any intonation scale contains exactly the number of entries of frequency ratios, which corresponds to the number of keys per octave of the keyboard.

In the interval database, in addition to the frequency ratios of the 12-tone, floating temperature, the intervals of the three intonation scales with the names Zipped ( 31 ), Altered ( 32 ) and aliquot ( 33 ) managed.

• – bei der Intonationsskala Zipped finden sich über dem Basiston auf den verschiedenen chromatischen Stufen Intervalle, welche den Basiston in mehreren, unterschiedliche Partialtonbedeutungen erscheinen lassen. Diese Intervalle (z.B. 5/5, 6/5, 7/5, 8/5 und 3/3, 4/3, 5/3) sind entlang der Klaviatur ähnlich den Zähnen eines Reißverschlusses (engl. zipper) miteinander verzahnt,
• – die Intonationsskala Altered trägt ihre Bezeichnung wegen ihrer Eignung zur spektralharmonischen Wiedergabe zahlreicher alterierter Akkorde,
• – die Intonationsskala Aliquot trägt ihren Namen nach den nicht temperiert gestimmten Aliquotpfeifen im Aliquotregister einer Pfeifenorgel.

Note on the names Zipped, Altered and Aliquot: The names of the intonation scales are based on different associations:

• - With the intonation scale Zipped there are intervals above the base tone on the various chromatic levels, which make the base note appear in several different partial tone meanings. These intervals (e.g. 5/5, 6/5, 7/5, 8/5 and 3/3, 4/3, 5/3) are interlocked along the keyboard, similar to the teeth of a zipper,
• - the intonation scale Altered bears its name because of its suitability for the spectral harmonic reproduction of numerous altered chords,
• - The intonation scale aliquot takes its name from the non-tempered aliquot pipes in the aliquot register of a pipe organ.

intonation process

The mapping of the frequency relationships the partial tone series towards the keyboard and grouping Intonation scales are essential parts of the instrument design. The assignment of the intervals to the mechanically available intervals of the manual and the development of the intonation scales follows both harmonic as well as according to physical criteria.

After assigning the intervals to the manual keys, the intonation (according to the definition given above) is determined for each combination of key and intonation scale and the intonation process according to the invention ( 56 ) as an intonation database, which the intonation process accesses according to the method at the time of the game.

The intonation database contains intonation values for all Keys in the range of an octave. According to the method, these intonation values come for each other corresponding tones to be used in all octave positions, so that the octave purity of two tones of the same name, independently of the intonation, is always preserved.

• – die vom Spieler angeforderte Intonationsskala,
• – den vom Spieler gewünschten Basiston,
• – den vom Spieler gewünschten Ton mit 12TET-Konvergenz.

The intonation process, a component of the intonation device, reads inputs for intonation control from the intonation keyboard ( 14 ) and decodes from these inputs ...

• - the intonation scale requested by the player,
• - the base note desired by the player,
• - the tone desired by the player with 12TET convergence.

When choosing one of the 12-tone equal tempered Scale (12TET) deviating intonation scale is first the (taken from the intonation database) intonation value of 0 cent the one desired by the player Assigned base tone.

Technically, this is done by cyclical Exchange (rotation) of all entries in the intonation database within an octave. In this process, the entries for the normal keyboard and the entries for the Keyboard expansion of a separate cyclic swap by an equal number of steps until the entry 0 cents at required base tone comes to rest. The process of cyclical Exchange is made separately for the entries all intonation scales completed.

This process results in 12-tone equal tempering jumps in the case of changes in harmony, provided that the played harmony and on the intonation keyboard played the same key note at the same time large (keyboard) interval changed become. The sounding frequency relationships taken from the partial tone series remain unaffected by this change in harmony.

Compatibility with the equal tempered intonation scale

Of particular importance for the commercial Usability is the possibility to the interaction of a dynamic according to the method presented intoning instrument with other musical instruments. Provided it is 12-note the inferred instruments offers equal tempered instruments full tonal compatibility with the 12TET intonation scale.

The attractiveness of spectrally intoned harmonies can also be used in the ensemble or in the band: The procedural intonation process supports this Interaction by using any one of the normal keyboards assigned tone of a dynamically intoned harmony through its additionally superimposed, linear detuning to the closest 12TET-intoned tone can be adjusted (see section Intonation keyboard)

game keyboard

As a keyboard ( 11 ) that part of the keys on the gaming table, the actuation of which produces sounding tones. (The silent intonation keyboard is not included here.)

• – einer Tastengruppe mit 12 Tasten pro Oktav, deren Anordnung einer üblichen Klaviatur gleicht. Dieser Teil der Spielklaviatur wird als konventioneller Teil der Spielklaviatur oder kurz als Normalklaviatur (12) bezeichnet.
• – einer zusätzlichen Menge Tasten, die im folgenden gemeinsam als Klaviaturerweiterung (13) bezeichnet werden

The keyboard consists of ...

• - A key group with 12 keys per octave, the arrangement of which resembles a conventional keyboard. This part of the keyboard is called the conventional part of the keyboard or, in short, the normal keyboard ( 12 ) designated.
• - an additional set of keys, which are referred to below as a keyboard extension ( 13 )

• – die wiedergegebenen Frequenzen entlang des konventionellen Teils der Spielklaviatur (wie von anderen Tasteninstrumenten gewohnt) von links nach rechts monoton steigen,
• – die mittels einer auf der Normalklaviatur gedrückten Taste wiedergegebene Frequenz nicht wesentlich mehr als +/–50 cent (1 cent = 1/100 des 12TET-Halbtonschrittes) vom gewöhn lich dieser Taste zugewiesenen 12-tönig gleichtemperierten Ton abweicht.

Each intonation scale is preferably constructed in such a way that ...

• - the reproduced frequencies along the conventional part of the keyboard (as usual from other keyboard instruments) increase monotonically from left to right,
• - The frequency reproduced by means of a key pressed on the normal keyboard does not deviate significantly more than +/- 50 cents (1 cent = 1/100 of the 12TET semitone step) from the 12-note equal tempered tone assigned to this key.

For the expansion of the keyboard, the recommendation of monotonically increasing frequencies from left to right applies accordingly. The additional 12 pitch classes per octave, which are added by the keyboard expansion, require their own identifiers: A key is identified by the name suffix ^U (for blue) as the key of the keyboard expansion. For example, E ^bU is the name of the pitch class that is assigned to the key between the Es and the D.

Choosing exactly one to sound upcoming member of each pitch class played is continually by the musician using the intonation keyboard. In this way intonation becomes part of the artistic lecture.

The immediate accessibility of additional Tones enables that Players use the keyboard extension for both harmonic for as well melodic game.

intonation keyboard

• – Auswahl des Basistones Dieser Vorgang weist zunächst (wie im Abschnitt Intonationsprozeß beschrieben) dem gewählten Basiston den Eintrag der Intonationsdatenbasis mit der Intonation 0 Cent zu. Er bewirkt einen Wechsel der den einzelnen Tasten zugewiesenen Frequenzen.
• – Auswahl des Tones, der frequenzgleich mit dem gleichnamigen 12-tönig gleichtemperiert intonierten Ton erklingen soll (12TET-Konvergenz). Dieser Vorgang bewirkt eine zusätzlich angebrachte, lineare Verstimmung aller den Tasten zugewiesenen Töne. Dadurch wird die Intonation (Abweichung zur 12-tönig gleichtemperierten Intonationsskala) eines beliebig ausgewählten Tones anstelle des Basistones zu null gemacht. Die bereits durch die Anwahl des Basistons ausgewählten Intervalle bleiben dabei unverändert.
• – Auswahl der Intonationsskala des Instrumentes, welche jeweils mit einer Gruppe von Intervallen der Intervalldatenbasis assoziiert ist. Die vom Spieler gewünschte Intonationsskala wird über die Anzahl der zeitgleich auf der Intonationsklaviatur gedrückten Tasten angewählt (vergl. auch Beispiel 6):

The intonation keyboard ( 14 ) allows the player to influence the instantaneous intonation of sounding tones. The intonation values of all pitches stored in the intonation database are used. The lecturer controls the following parameters using the intonation keyboard:

• - Selection of the base tone This process first assigns the entry of the intonation database with the intonation 0 cent (as described in the section Intonation Process) to the selected base tone. It changes the frequencies assigned to the individual buttons.
• - Selection of the tone that is to be heard at the same frequency as the tone of the same name with the same temperature (12TET convergence). This process causes an additional linear detuning of all the tones assigned to the keys. As a result, the intonation (deviation from the 12-tone equal tempering scale) of an arbitrarily selected tone is made zero instead of the basic tone. The intervals already selected by selecting the base tone remain unchanged.
• - Selection of the intonation scale of the instrument, which is associated with a group of intervals in the interval database. The intonation scale desired by the player is selected via the number of keys pressed simultaneously on the intonation keyboard (see also example 6 ):

morphing

In addition to the choice of the intonation scales, the method according to the invention enables 12TET ( 30 ), Zipped ( 31 ), Altered ( 32 ) and aliquot ( 33 ) a continuous crossfade between each named intonation scale and any alternative intonation scale assigned to it ( 40 ), ( 41 ), ( 42 ), ( 43 ). For the purposes of the invention, the continuous cross-fading between two intonation scales is referred to as morphing, the respective alternative intonation scale is called the morphing target. Morphing allows the artist to use intonation scales that lie between one of the four intonation scales 12TET, Zipped, Altered and Aliquot and the morphing target assigned to them. Each morphing target is an independent intonation scale that, if necessary, can resemble an existing intonation scale.

Intonation scales and morphing targets are preferably assigned to one another as follows:

Morphing is carried out by the lecturer using a play aid such as a rocker pedal ( 53 ), which is assigned to the morphing function or controlled by a suitable control signal generator and is melismatic when the keys of the keyboard are pressed.

The technical implementation of morphing is done by interpolation between the intonation values of those involved Intonation scale and the intonation values of their assigned morphing target according to the current Position of the game aid assigned to the morphing.

melismatics

The method according to the invention makes use of from the audible Fine tuning of the sounding tone, which here with that of vocal music extracted term is called melismatics. Technically, melismatics by inserting the procedural intonation commands sent to the tone generator between reached the on and off command of each tone.

The intonation desired by the artist at the time pressing a key can optionally also be done before Send switch-on commands for a sound or for several tones by transferring Intonation commands to the tone generator can be set.

The implementation of melismatics is supported on appropriate skills of the tone generator used. Does a tone generator support the intonation change of the sounding tone is not, so it is for the full implementation of the method according to the invention not suitable in the field of melismatics.

Damper for intonation keyboard

• – Das Loslassen von Tasten der Intonationsklaviatur bleibt bei niedergedrücktem Haltepedal ohne Wirkung auf die aktuelle Intonation,
• – beim Übergang vom nicht niedergedrückten in den niedergedrückten Zustand des Haltepedals bleibt die augenblicklich gewählte Intonationsskala unverändert bestehen,
• – jede zusätzlich gedrückte Taste der Intonationsklaviatur führt bei niedergedrücktem Haltepedal unmittelbar zur Anwahl der Intonationsskala gemäß der nach dem Drücken der zusätzlichen Taste gedrückten Tastenkombination. Dieses Verhalten entspricht einer sofortigen Auffrischung der Intonationsskala beim Drücken zusätzlicher Tasten und weicht insoweit von der funktionalen Analogie zum Haltepedal des Klaviers ab.
• – Das Loslassen des Haltepedals führt zu einer sofortigen Auffrischung der Intonation gemäß der im Moment des Loslassens auf der Intonationsklaviatur gedrückten Tastenkombination;
• – ist dort zum Zeitpunkt des Loslassens des Haltepedals keine Taste gedrückt, erfolgt implizit die Anwahl der Intonationsskala 12TET.

Analogous to the depressed pedal of a piano, which allows the sound of strings that have already been struck to continue to sound after the keys are released, the depressed pedal of the intonation keyboard ensures that the currently selected intonation scale continues even after the keys of the intonation keyboard are released. The lecturer thus gains freedom of movement, preferably for the left hand, which is available, for example, for harmonious play when the holding pedal is depressed. The holding pedal of the intonation keyboard has the following functionality:

• - Releasing keys of the intonation keyboard has no effect on the current intonation when the holding pedal is depressed,
• When changing from the non-depressed to the depressed state of the holding pedal, the currently selected intonation scale remains unchanged,
• - Each additionally pressed key of the intonation keyboard leads directly to the selection of the intonation scale according to the key combination pressed after pressing the additional key when the holding pedal is depressed. This behavior corresponds to an immediate refreshing of the intonation scale when pressing additional keys and deviates in this respect from the functional analogy to the sustain pedal of the piano from.
• - Releasing the holding pedal immediately refreshes the intonation according to the key combination pressed on the intonation keyboard at the moment of release;
• - If no key is pressed there when the holding pedal is released, the intonation scale 12TET is selected implicitly.

MIDI control signal generator to control morphing

The morphing, the targeted, continuous and simultaneous transfer of intonation to several sounding tones from the currently selected Intonation scale into a different intonation scale requires one operated by the musician, continuous input medium. According to the invention, this functionality can be achieved by an electronic keyboard instrument often found at the gaming table MIDI channelpressure functionality (also aftertouch function) or perceived by any other MIDI control signal generator whose typical range of values from 0 - 127 for a quasi-continuous Implementation of the Morphing process is sufficient.

harmonic Use of differential tones

Will be in an audio transmission chain before the power amplifier a transmission link with non-linear transmission characteristic looped in, among other things there are audible difference tones, their Frequency is the difference between the frequencies of two (or more) mixed input signals results.

This behavior makes the present one Invention can be used musically. The connection of the described Intonation process with timbres that have their own, purely harmonious Have partial tone spectrum and looped into the signal path In many cases, distortion (or overdrive) produces differential tones whose Intonation harmoniously matches the played harmony. It arises an unusual harmonic sounding distortion of played harmonies in the range who can find rock and popular music.

Real-time capability

The instrument, consisting of a keyboard with play aids, intonation device and sound generator, is considered designed a system that described the functionality with deterministic Time behavior (real-time capability) provides. The system's response time to keyboard inputs lies in all cases below the time, which the lecturer considers to be a disturbing delay in Game would be perceived. This way, live lecture and improvisation will be on the instrument allows.

User interface

Act in the present invention it is a keyboard instrument, either as a harmony carrier or can be used as an instrument for melodic voice guidance. Usually the musician sets his right hand for playing sounding tones on the keyboard while at the same time the left hand using the silent intonation keyboard the current intonation of the tones the keyboard controls.

• – eine zunehmende Abstraktion des tonalen Geschehens gegenüber dem vertrauten Spiel mit gleichtemperierter Intonation,
• – zunehmende Möglichkeiten harmonischer Komplexität,
• – abnehmende Anschaulichkeit dessen, was auf der Klaviatur zum Erreichen eines gewünschten harmonischen Ziels geschieht.

Normal keyboard and intonation keyboard are performed with keys of normal size and arrangement. If the intonation keyboard remains unplayed, the instrument intones in 12 tones at the same temperature. This procedure allows the artist to switch to the familiar temperature at any time if there is uncertainty about the desired intonation. The intonation scales Zipped, Altered and Aliquot offer in this order ...

• - an increasing abstraction of the tonal happening compared to the familiar game with equal tempered intonation,
• - increasing possibilities of harmonious complexity,
• - decreasing clarity of what happens on the keyboard to achieve a desired harmonic goal.

• – Die Intonationsskala Zipped gestattet in weiten Bereichen das schwebungsfreie Spiel diatonischer Zwei- und Dreiklänge. Dabei kann auf der Intonationsklaviatur in der Regel als Basiston der Grundton der auf der Normalklaviatur umspielten Harmonie gehalten werden.
• – Die Intonationsskala Altered beläßt die Intonation der diatonischen Leiter mit einer Ausnahme wie die Intonationsskala Zipped: Altered intoniert den Leitton etwas höher (17/9) und ermöglicht damit unter anderem einen interessanten, spektralharmonischen großen Septakkord (9/9 : 11/9 : 13/9 17/9), welcher unter Nutzung der Klaviaturerweiterung spielbar wird. Die Intonation der chromatischen Töne weicht von deren Intonation in der Intonationsskala Zipped ab: Die kleine Terz der Normalklaviatur wird als Blues-Terz (7/6) intoniert, die kleine Septime wird auf der Normalklaviatur zur Blues-Septime (7/4) und eignet sich damit für schwebungsfreie Wiedergabe von Dur-dom7-Akkorden. Der Tritonus und die kleine Sext werden zur Bildung alterierter Akkorde als höhere Partialtöne aufgefaßt. Auch bei Anwendung der Intonationsskala Altered kann auf der Intonationsklaviatur in der Regel als Basiston der Grundton der auf der Normalklaviatur gespielten Harmonie gespielt werden.
• – Die Intonationsskala Aliquot ist eine vollständige Nachbildung der Intervalle der Partialtonreihe und deren Abbildung auf eine Klaviatur.

The musician is supported in intonation control by an intuitive way of playing, based on harmonious connections:

• - The Zipped intonation scale allows the beating-free play of diatonic two and three-tone sounds in a wide range. As a rule, the basic tone of the harmony played around on the normal keyboard can be held as the basic key on the intonation keyboard.
• - The intonation scale Altered leaves the intonation of the diatonic conductors with one exception like the intonation scale Zipped: Altered intones the leading tone somewhat higher (17/9) and thus enables among other things an interesting, spectrally harmonic major seventh chord (9/9: 11/9: 13/9 17/9), which can be played using the keyboard extension. The intonation of the chromatic tones differs from their intonation on the intonation scale Zipped: the minor third of the normal keyboard is intoned as a blues third (7/6), the minor seventh on the normal keyboard becomes the blues seventh (7/4) and is suitable thus for beat-free reproduction of major dom7 chords. The tritone and the small sext are interpreted as higher partial tones to form altered chords. Even when using the Altered intonation scale, the keynote of the harmony played on the normal keyboard can usually be played as the basic key on the intonation keyboard.
• - The intonation scale aliquot is a complete replication of the intervals of the partial tone series and their mapping on a keyboard.

• – bis zum 22. Partialton als Basiston, der mit 12TET-Konvergenz intoniert werden kann und
• – bis zum 44. Partialton als an klingenden Harmonien beteiligtes Intervall.

The musician is unfamiliar with the use of the intonation scale aliquot. It requires the greatest learning effort, but on the other hand enables unlimited use of all natural intervals of the partial tone series ...

• - up to the 22nd partial tone as the base tone, which can be intoned with 12TET convergence and
• - up to the 44th partial tone as an interval involved in sounding harmonies.

When using the intonation scale aliquot, depending on the harmony played, the basic tone of this harmony and the basic tone played on the intonation keyboard often differ (cf. 21 ) and 7 ).

Recording and reproduction

• – Normalklaviatur,
• – Klaviaturerweiterung und
• – Intonationsklaviatur mit spezialisierten Spielhilfen

vorzugsweise auf drei getrennten MIDI-Kanälen an das Sequencer-Programm übertragen und von diesem aufgezeichnet. Die synchronisierte Wiedergabe der so aufgezeichneten, zusammengehörigen MIDI-Informationen ergibt eine exakte, nach dem erfindungsgemäßen Verfahren intonierte Reproduktion des eingespielten musikalischen Werkes, wenn das Sequencer-Programm bei der Wiedergabe sinngemäß die Funktion des Spieltisches mit Spielhilfen übernimmt.Recording and playback of a musical instrument that functions according to the method according to the invention should be possible using standard MIDI sequencer programs. For this purpose, the game information from

• - normal keyboard,
• - keyboard expansion and
• - Intonation keyboard with specialized playing aids

preferably transmitted to and recorded by the sequencer program on three separate MIDI channels. The synchronized reproduction of the related MIDI information recorded in this way results in an exact reproduction of the recorded musical work, intoned according to the method according to the invention, when the sequencer program takes over the function of the gaming table with playing aids during the reproduction.

Preferred embodiment of the procedure

• – Tonerzeuger mit eingebauten Oszillatoren (57) als auch
• – Tonerzeuger, welche die Frequenz eines von einer externen Audiosignalquelle (58) eingespeisten Signals auf elektronischem Wege kontrolliert verändern.

The method according to the invention is preferably used in conjunction with an electronic sound generator ( 57 ) used, which has sufficient resolution and reproducibility with regard to the playback frequency. The accuracy and reproducibility of pitches should be at least 1 cent. The term tone generator is deliberately used broadly within the meaning of the invention: Both ...

• - tone generator with built-in oscillators ( 57 ) as well as
• - Sound generator, which determines the frequency of an external audio signal source ( 58 ) Modify the fed-in signal electronically in a controlled manner.

• – Spieltisch mit Spielklaviatur und Intonationsklaviatur sowie Spielhilfen,
• – Intonationseinrichtung und
• – Tonerzeuger

legt deren Verbindung mittels MIDI-Schnittstellen nahe. Die Intonationseinrichtung kann in diesem Fall als Programm (Intonationsprozeß) auf einem handelsüblichen Personal Computer ablaufen.The functional separation of the musical instrument into the main assemblies

• - gaming table with keyboard and intonation keyboard as well as playing aids,
• - intonation device and
• - sound generator

suggests their connection via MIDI interfaces. In this case, the intonation device can run as a program (intonation process) on a commercially available personal computer.

A summary of the above Assemblies to form an instrument in a common housing Use of other, also faster coupling methods is also possible possible and for the stage use preferable. In the case of automation of the procedure presented operated instrument by sequencer-supported recording and playback is, if commercially available Sequencer programs are to be used, also here a MIDI interface required.

• – frei sein von eigenen Schwebungen,
• – frei sein von Vibrato und Tremolo,
• – frei von Phaser-Effekten, Chorus und sonstigen frequenzbeeinflussenden Effekten sein und ein eigenes, rein harmonisches Partialtonspektrum aufweisen.

When using a commercially available tone generator, its ability to fine-tune is more resonant Tones (melismatics) an important selection criterion. The timbres used should preferably be used

• - be free of your own beats,
• - be free from vibrato and tremolo,
• - be free from phaser effects, chorus and other frequency-influencing effects and have their own, purely harmonic partial tone spectrum.

contraption

The main components of the Implementation device of the method are illustrated in the following figures:

• – Spielklaviatur (11), diese bestehend aus Normalklaviatur (12) und Klaviaturerweiterung (13);
• – Intonationsklaviatur (14)

1 , Example of game table consisting of

• - keyboard ( 11 ), consisting of normal keyboard ( 12 ) and keyboard expansion ( 13 );
• - intonation keyboard ( 14 )

• – Haltepedal für Intonationsklaviatur (52)
• – Anordnung Schwellerpedal für Morphing (53)
• – Haltepedal für Spielklaviatur (54), vorzugsweise gemeinsam auf Normalklaviatur und Klaviaturerweiterung wirkend
• – Intonationseinrichtung (55) mit Intonationsprozeß (56)
• – Tonerzeuger (57) mit optionaler Möglichkeit zur Einspeisung einer externen Audio-Signalquelle (58)

5 , Keyboard with playing aids, intonation device and sound generator

• - Holding pedal for intonation keyboard ( 52 )
• - arrangement of rocker pedal for morphing ( 53 )
• - Holding pedal for playing keyboard ( 54 ), preferably acting together on normal keyboard and keyboard expansion
• - intonation device ( 55 ) with intonation process ( 56 )
• - sound generator ( 57 ) with optional possibility to feed in an external audio signal source ( 58 )

benefits

The musical instrument according to the invention makes it possible Keyboard instrumentalists who control the intonation in their artistic Integrate performance. With polyphonic, harmonic playing, you can also play without beating Variants of familiar harmonies additionally completely new, independent harmonies sound beyond diatonic and its chromatic extensions represent non-dissonant, independent multi-sounds.

This is done using the Partial tone series as a natural interval database that the waiver on extensive chord or frequency tables. Cadenzas and functional harmony changes can be achieved through integration the 12-note, same-tempered scale reproduced as 12-tone jumps become; this creates an interplay with conventional instruments supported. Optional can at selected functional harmony changes the jump of the fundamental tone even in intervals the partial tone series.

Through musical modulation one and the same tone one after the other different tonal Gain importance (Enharmonics). The use of rational Intervals are sometimes disturbing emerging intonation change (English comma-slip) is based on the 12TET convergence concept intercepted that as the distracting perceived sound during the modulation temporarily to its 12-tone equal tempered if necessary Intonation captivates.

• – eines nach dem erfindungsgemäßen Verfahren intonierenden Instrumentes mit
• – künstlich angebrachter, nichtlinearer Verzerrung (engl.: Overdrive, Distortion) des Audio-Ausgangssignals

bietet vorzugsweise für die Popularmusik, die Rockmusik und den Jazz Möglichkeiten zu ungewöhnlich harmonisch klingenden, übersteuerten Klängen, insbesondere auch bei ausgewählten Drei- und Mehrklängen. Es entstehen dabei vielfach harmonisch passende, deutlich wahrnehmbare Differenztöne.The combination

• - An instrument intoning according to the method according to the invention
• - Artificially applied, non-linear distortion (English: Overdrive, Distortion) of the audio output signal

offers options for popular music, rock music and jazz for unusually harmonically sounding, overdriven sounds, especially with selected three and multiple sounds. This creates harmoniously fitting, clearly perceptible difference tones.

The technical implementation of the method according to the invention suggests the use of electronic sound generators, however in the sense of the invention also the use of mechanical and other non-electronic sound generator in connection with the method promising.

The additional possible use of intervals, which (like the intervals of the familiar 12-tone constant temperature) are based on irrational frequency ratios, such as the 19-tone equal temperature scale, which has a frequency ratio r = (for two consecutive third tones) is preferably provided for experimental purposes. ¹⁹ √ 2 ) having.

Other embodiments

• – Ausführung ohne Klaviaturerweiterung bei ausschließlicher Verwendung von Normal- und Intonationsklaviatur. Damit wird die unmittelbare Erreichbarkeit zahlreicher Intervalle beschränkt, jedoch bleiben alle rationalen Intervalle bis zum 22. Partialton durch häufigeren Wechsel der Intonationsskala spielbar.
• – Klaviaturerweiterung auch für die Intonationsklaviatur, so daß auch Frequenzverhältnisse, die der Erweiterungsklaviatur zugewiesen sind, mit Konvergenz zur 12-tönig gleichtemperierten Skala wiedergegeben werden können.
• – Einsatz eines chromatischen Fußpedals (Orgelpedal) zur Unterstützung des Musikers bei der Intonationssteuerung
• – Weitere, zunächst unbelegte Intonationsskalen können dem Anwender für eigene Definitionen von Frequenzverhältnissen zur Verfügung gestellt werden (z.B. für die Wiedergabe mitteltöniger Stimmungen in allen Tonarten).

The method according to the invention can also be successfully used elsewhere:

• - Version without keyboard expansion when exclusively using normal and intonation class Viatur. This limits the immediate accessibility of numerous intervals, but all rational intervals up to the 22nd partial tone remain playable by changing the intonation scale more frequently.
• - Keyboard expansion also for the intonation keyboard, so that frequency ratios that are assigned to the expansion keyboard can also be reproduced with convergence to the 12-note equal tempered scale.
• - Use of a chromatic foot pedal (organ pedal) to support the musician in intonation control
• - Additional, initially unoccupied intonation scales can be made available to the user for his own definition of frequency relationships (eg for the reproduction of mid-range moods in all keys).

Claims (31)

Process for generating tones with an electronic Musical instrument, a keyboard and an intonation device has, the intonation device according to the specification of a Player selectable Intonation scale for the individual notes the intonation scale each have a fixed frequency ratio in Contains reference to a base note and according to the basic tone chosen by the player, the one Key assigned to the keyboard, frequency data for each Keys of the game keyboard created, and optionally the key for the Base tone or another key for a different tone than the base tone Assigned a predetermined absolute frequency to the sound of the keyboard is that with the absolute frequency of a tone of equal tempered Intonation scale matches, optionally the chamber tone A at 440 Hz or one of 440 Hz deviating frequency is set. A method according to claim 1, characterized in that the Frequency data representing the keys of the game keyboard pressed by the player correspond to a sound generator. A method according to claim 1 or 2, characterized in that that as Keyboard is a keyboard that uses the keys of the keyboard Classical normal keyboard. A method according to claim 3, characterized in that as Game keyboard a keyboard that is used in a keyboard extension additional Buttons. A method according to claim 3 or 4, characterized in that - in addition to the intonation scale at the same temperature, in which the frequency relationships of the tones assigned to the keys of the normal keyboard with respect to the base tone 2 ^1/12 , 2 ^2/12 , 2 ^3/12 , 2 ^{4 / 12} , 2 ^5/12 , 2 ^6/12 , 2 ^7/12 , 2 ^8/12 , 2 ^9/12 , 2 ^10/12 , 2 ^11/12 and 2 ^12/12 are, at least one of those with zipped, Altered and aliquot designated intonation scales can be selected, - the frequency ratios of the tones assigned to the keys of the normal keyboard in relation to the base tone in the zipped intonation scale 16/15, 9/8, 6/5, 10/8, 4/3, 7 / 5, 12/8, 8/5, 5/3, 9/5, 15/8 and 16/8, - the frequency ratios of the tones assigned to the keys of the normal keyboard with respect to the base tone in the altered intonation scale 16 / 15, 27/24, 14/12, 15/12, 16/12, 17/12, 18/12, 19/12, 20/12, 21/12, 17/9 and 24/12 and - where the frequency ratios of the tones assigned to the keys of the normal keyboard in Reference to the base tone for the 17/16, 18/16, 19/16, 20/16, 21/16, 22/16, 24/16, 26/16, 27/16, 28/16, 30 aliquot intonation scale / 16 and 32/16 are. A method according to claim 4 and according to claim 5, characterized in that - a keyboard extension is used which has twelve additional keys in the range of at least one octave of the normal keyboard, and - that in addition to an extended equal-tempered intonation scale, at least one of those with extended zipped, expanded altered and extended aliquot designated intonation scales is selectable, - wherein the assignment of the tones to the keys of the normal keyboard takes place as specified in claim 5, - wherein the frequency ratios of the tones assigned to the keys of the keyboard expansion with respect to the base note in the extended equal tempered intonation scale 2 ^1/24 , 2 ^3/24 , 2 ^5/24 , 2 ^7/24 , 2 ^9/24 , 2 ^11/24 , 2 ^13/24 , 2 ^15/24 , 2 ^17/24 , 2 ^19/24 , 2 ^21/29 and 2 are ^23/24 - the frequency ratios of the tones assigned to the keys of the keyboard expansion in relation to the base tone in the extended zipped intonation scale 28/27, 10 / 9, 7/6, 11/9, 9/7, 11/8, 13/9, 11/7, 13/8, 14/8, 13/7 and 27/14, - with the frequency ratios of the Keys assigned to the keyboard extension in relation to the basic tone in the extended altered intonation scale 28/27, 10/9, 7/6, 11/9, 13/10, 11/8, 13/9, 14/9, 13 / 8th, 16/9, 11/6 and 27/14 are and - the frequency ratios of the tones assigned to the keys of the keyboard expansion in relation to the base tone in the extended aliquot intonation scale 33/32, 35/32, 37/32, 39/32 , 41/32, 43/32, 23/16, 25/16, 27/16, 28/16, 29/16 and 31/16. Method according to one of claims 1 to 6, characterized in that that the Intonation device according to a player selectable Morphing setting Frequency data for the individual keys of the game keyboard created whose frequencies between the frequencies that of the Player chosen Correspond to the intonation scale, and the frequencies are one designated as the morphing target, which deviate from the preselected intonation scale Correspond to intonation scale, the morphing setting for a continuous or quasi-continuous frequency transition can be changed continuously or in several stages. A method according to claim 7, characterized in that this Morphing target selectable by the player is. A method according to claim 7 in conjunction with claim 5, characterized, - that the morphing target of the Player chosen Intonation scale is firmly assigned, - The target being the morphing equal tempered intonation scale the same tempered intonation scale, - as morphing target the zipped intonation scale is the tempered intonation scale, - as a morphing target the altered intonation scale is an intonation scale where the frequency ratios of the tones assigned to the keys of the normal keyboard on the base tone 16/15, 9/8, 12/10, 15/12, 16/12, 14/10, 15/10, 16/10, 17/10, 18/10, 19/10 and 20/10 are - and as a morphing target the Aliquot intonation scale the equal tempered intonation scale are provided. Method according to claim 7 in conjunction with claim 6, characterized in that - the morphing target is permanently assigned to the intonation scale chosen by the player, - in the morphing target the assignment of the tones to the keys of the normal keyboard as specified in claim 9 in connection with claim 5 - with the morphing target of the extended equal-tempered intonation scale, the frequency ratios of the tones assigned to the keys of the keyboard expansion in relation to the base tone 2 ^1/12 , 2 ^2/12 , 2 ^3/12 , 2 ^4/12 , 2 ^5/12 , 2 ^6/12 , 2 ^7/12 , 2 ^8/12 , 2 ^9/12 , 2 ^10/12 , 2 ^11/12 and 2 ^12/12 - - with the morphing target of the extended zipped intonation scale the frequency ratios of the Keys assigned to the keyboard expansion in relation to the base tone 2 ^1/12 , 2 ^2/12 , 2 ^3/12 , 2 ^3/12 , 2 ^4/12 , 2 ^5/12 , 2 ^6/12 , 2 ^8/12 , 2 ^8/12 , 2 ^10/12 , 2 ^11/12 and 2 ^12/12 are - with the morphing target of the extended altered intonation scale the frequency ratios of the tones assigned to the keys of the keyboard expansion in relation to the base tone 28/27, 11/10, 7/6, 11/9, 13/10, 11/8, 13/9, 14/9, 13/8 , 16/9, 11/6 and 27/14 and - with the morphing target of the extended aliquot intonation scale, the frequency ratios of the tones assigned to the keys of the keyboard extension in relation to the basic ston 2 ^1/12 , 2 ^2/12 , 2 ^3/12 , 2 ^4/12 , 2 ^5/12 , 2 ^6/12 , 2 ^7/12 , 2 ^8/12 , 2 ^9/12 , 2 ^10/12 , 2 ^11/12 and 2 ^12/12 . Method according to one of claims 1 to 10, characterized in that that the Intonation scale and / or the base note and / or the key of the keyboard, which is assigned a predetermined absolute frequency by means of an intonation keyboard is selected. Method according to one of claims 1 to 11, characterized in that that the Frequency data representing the keys of the game keyboard pressed by the player correspond to a tone generator, which is a transmission element with non-linear transmission characteristic has, and about this transmission link in audible Sounds implemented become. Electronic musical instrument, - with a keyboard and - an intonation device, which is set up according to the specification of an intonation scale that can be selected by the player, which contains a fixed frequency ratio with respect to a base note for the individual tones of the intonation scale, and according to the specification of the player selected base tone, which is assigned to a key of the in-game keyboard, to generate frequency data for the individual keys of the in-game keyboard, and wherein the intonation device is set up to select a key for the base tone or another key for a tone of the in-game keyboard that differs from the base tone assign an absolute frequency that corresponds to the absolute frequency of a tone on the equal-tempered intonation scale, with either the chamber tone A entering 440 Hz or a frequency deviating from 440 Hz is adjustable. Electronic musical instrument according to claim 13, characterized by a tone generator, to which the frequency data that the pressed by the player Keys correspond to the keyboard, can be fed. Electronic musical instrument according to claim 13 or 14, characterized in that the keyboard plays the keys the classical normal keyboard. Electronic musical instrument according to claim 15, characterized in that the Game keyboard in a keyboard extension has additional keys that are arranged above the keys of the normal keyboard. Electronic musical instrument according to claim 15 or 16, characterized in that - in addition to the intonation scale at the same temperature, in which the frequency relationships of the tones assigned to the keys of the normal keyboard with respect to the base tone 2 ^1/12 , 2 ^2/12 , 2 ^3/12 , 2 ^4/12 , 2 ^5/12 , 2 ^6/12 , 2 ^7/12 , 2 ^8/12 , 2 ^9/12 , 2 ^10/12 , 2 ^11/12 and 2 ^12/12 are, at least one of those with Zipped , Altered and Aliquot designated intonation scales can be selected, - the frequency ratios of the tones assigned to the keys of the normal keyboard in relation to the base tone in the zipped intonation scale 16/15, 9/8, 6/5, 10/8, 4/3, 7/5, 12/8, 8/5, 5/3, 9/5, 15/8 and 16/8, - the frequency ratios of the tones assigned to the keys of the normal keyboard in relation to the base tone in the altered intonation scale 16/15, 27/24, 14/12, 15/12, 16/12, 17/12, 18/12, 19/12, 20/12, 21/12, 17/9 and 24/12 are and - where the frequency ratios of the keys of the normal keyboard assigned tones in relation to the base tone in the aliquot intonation scale 17/16, 18/16, 19/16, 20/16, 21/16, 22/16, 24/16, 26/16, 27/16, 28 / 16, 30/16 and 32/16 are. Electronic musical instrument according to claim 16 and according to claim 17, characterized in that - the keyboard expansion in the range of at least one octave of the normal keyboard has twelve additional keys each, and - that in addition to an expanded equal-tempered intonation scale, at least one of those with expanded zipped, expanded altered and expanded aliquot designated intonation scales is selectable, - the tones being assigned to the keys of the normal keyboard as specified in claim 17, - the frequency ratios of the tones assigned to the keys of the keyboard expansion relative to the base tone in the extended equal-temperature intonation scale 2 ^1/24 , 2 ^{3 / 24} , 2 ^5/24 , 2 ^7/24 , 2 ^9/24 , 2 ^11/24 , 2 ^13/24 , 2 ^15/24 , 2 ^17/24 , 2 ^19/24 , 2 ^21/29 and 2 ^{23 / 24} are - the frequency ratios of the tones assigned to the keys of the keyboard expansion in relation to the base tone in the extended zipped intonation scale 28/27, 10 / 9, 7/6, 11/9, 9/7, 11/8, 13/9, 11/7, 13/8, 14/8, 13/7 and 27/14, - with the frequency ratios of the Keys assigned to the keyboard extension in relation to the basic tone in the extended altered intonation scale 28/27, 10/9, 7/6, 11/9, 13/10, 11/8, 13/9, 14/9, 13 / 8, 16/9, 11/6 and 27/14 are and - the frequency ratios of the tones assigned to the keys of the keyboard expansion with respect to the base tone in the extended aliquot intonation scale 33/32, 35/32, 37/32, 39 / 32, 41/32, 43/32, 23/16, 25/16, 27/16, 28/16, 29/16 and 31/16. Electronic musical instrument according to one of claims 13 to 18, characterized in that the Intonation device is set up according to a selectable by the player Morphing setting Frequency data for the individual buttons on the To create the keyboard, the frequencies between the frequencies, the one chosen by the player Correspond to the intonation scale, and the frequencies are one designated as the morphing target, which deviate from the preselected intonation scale Correspond to intonation scale, the morphing setting for a continuous or quasi-continuous frequency transition can be changed continuously or in several stages. Electronic musical instrument according to claim 19, characterized in that the Morphing target selectable by the player is. Electronic musical instrument according to claim 19 or 20 in connection with claim 17, characterized in that - the morphing target can be permanently assigned to the intonation scale chosen by the player, - the same-tempered intonation scale as the morphing target, - as the morphing target of the zipped intonation scale, the tempered intonation scale, - as the morphing target of the altered intonation scale, an intonation scale in which the frequency ratios of the tones assigned to the keys of the normal keyboard in relation to the basic tone 16/15, 9/8, 12/10, 15 / 12, 16/12, 14/10, 15/10, 16/10, 17/10, 18/10, 19/10 and 20/10 are - and the same-tempered intonation scale is provided as the morphing target of the aliquot intonation scale. Electronic musical instrument according to claim 19 or 20 in connection with claim 18, characterized in that - the morphing target can be assigned to the intonation scale chosen by the player, - in the morphing target the tones to the keys of the normal keyboard as in claim 21 in connection with claim 17 are assigned, - in the case of the morphing target of the extended equal-temperature intonation scale, the frequency ratios of the tones assigned to the keys of the keyboard expansion in relation to the base tone 2 ^1/12 , 2 ^2/12 , 2 ^3/12 , 2 ^4/12 , 2 ^{5 / 12} , 2 ^6/12 , 2 ^7/12 , 2 ^8/12 , 2 ^9/12 , 2 ^10/12 , 2 ^11/12 and 2 ^12/12 - - with the morphing target of the extended zipped intonation scale the Frequency ratios of the tones assigned to the keys of the keyboard expansion with respect to the base tone 2 ^1/12 , 2 ^2/12 , 2 ^3/12 , 2 ^3/12 , 2 ^4/12 , 2 ^5/12 , 2 ^6/12 , 2 ^{8 / 12} , 2 ^8/12 , 2 ^10/12 , 2 ^11/12 and 2 ^11/12 , - with the morphing die l of the extended altered intonation scale, the frequency ratios of the tones assigned to the keys of the keyboard expansion in relation to the base tone 28/27, 11/10, 7/6, 11/9, 13/10, 11/8, 13/9, 14 / 9, 13/8, 16/9, 11/6 and 27/14 are - and - in the case of the morphing target of the extended aliquot intonation scale, the frequency ratios of the tones assigned to the keys of the keyboard extension in relation to the base tone 2 ^1/12 , 2 ^{2 / 12} , 2 ^3/12 , 2 ^4/12 , 2 ^5/12 , 2 ^6/12 , 2 ^7/12 , 2 ^8/12 , 2 ^9/12 , 2 ^10/12 , 2 ^11/12 and 2 ^{12 / 12} are. Electronic musical instrument according to one of claims 19 to 22, characterized by a pedal for selecting the morphing setting. Electronic musical instrument according to one of claims 13 to 23, characterized by an intonation keyboard for selecting the Intonation scale and / or the base note and / or the key of the keyboard, which is assigned a predetermined absolute frequency. Electronic musical instrument according to claim 24, characterized in that the Intonation keyboard at least one octave of the keys of a classical Has normal keyboard. Electronic musical instrument according to claim 24 or 25, characterized in that the intonation keyboard and the intonation device are set up to - the same tempered Use the intonation scale when there is no key on the intonation scale depressed is and - one specified, deviating from the tempered intonation scale Intonation scale to use when a key of the intonation scale depressed , with this key the base tone is assigned. Electronic musical instrument according to claim 26, characterized in that the Intonation keyboard and the intonation device set up for this are a predetermined one, from the equally tempered intonation scale different intonation scale to use when two keys of the Intonation scale are pressed, where the lower key is assigned the keynote and through the higher of these keys is the absolute frequency for the keys of the keyboard is set, with the absolute frequency corresponding to that of the higher of these keys Key of the game keyboard the absolute frequency of the assigned Tones of the same temperature intonation scale is used. Electronic musical instrument according to claim 27, characterized in that the Intonation keyboard and the intonation device set up for this are, by pressing at least any other key between the pressed higher and the pressed lower key of the intonation keyboard another, from the same tempered Intonation scale to select different intonation scale. Electronic musical instrument according to one of claims 24 to 28, characterized by an intonation holding pedal, the intonation keyboard and the intonation device are set up to depress the pedal while the intonation holder is pressed the settings selected by the intonation keyboard Release the keys of the intonation keyboard. Electronic musical instrument according to one of claims 13 to 29, characterized by a Personal computer that has the intonation device. Electronic musical instrument according to one of claims 13 to 30, characterized by a tone generator to which the frequency data, the one pressed by the player Keys of the game keyboard correspond, can be fed, the sound generator a transmission link with a non-linear transmission characteristic, that in the transmission path can be switched on.