DE8902959U1 - Device for illustrating intervals, major and minor keys, their scales, key signatures and mutual relationships, for determining chords and for transposing major and minor keys - Google Patents

Description

Klaus G. Herrmann, Student Councillor; Hi Idastrasse 57; 7600 Offenburg/Baden; 28.2.1989 Description

Device for illustrating intervals, major and minor keys, their scales, key signatures and mutual relationships, for determining chords and for transposing major and minor keys.

The invention relates to a music-technical teaching and working device for music lessons and music practice for illustrating (music-theoretical terms and relationships relating to the tones major and minor.

The idea of a tool for determining chords or for transposing

Having the ability to position keys etc. is nothing new. Since the imperial era, devices have been invented and protected by patents or registered designs to take on the tasks mentioned: There are 'chord sliders' and 'chord tables ^{' 1} , 'transposition discs' and 'transposition rods ¹ , a 'tonal counting machine ¹ , etc. (cf. German classes under class 51e (teaching and aids for music) and International Patent Classification under section GlOG (transposition; transfer)). However, this large number of inventions is offset by only a tiny number of corresponding commercial uses.

According to my research, the 'circle of fifths', a device for illustrating chords for guitar accompaniment in an adjustable key, is the only tool - and a very special one at that - that has been commercially available for several years. However, there is no real teaching and working tool in the sense described at the beginning on the market.

To my knowledge, the reasons for this discrepancy are that the patented inventions or other protected devices
- only address a very specific target group or

- are subject to outdated representations or

- are difficult to manufacture or

- too expensive to produce or

- too complicated to handle

- are otherwise inappropriate or inadequate for methodological or didactic reasons.

From a pedagogical point of view, there is a particular need for an easy-to-use tool that gives beginners and advanced students (cf. the federal states' music curricula) a tangible visual representation of the abstract tonal space, illustrates the major and ^minor scales (natural, harmonic and melodic minor!) with their large number of keys with sharp and flat key signatures and the corresponding scales, lets students recognize relationships and regularities through simple rotary movements (e.g. parallel key - variant key, transposing keys), shows aspects of interval and harmony theory (chord formation, cadencing, etc.), etc. Such a device would also be of excellent use in music making, since transferring a piece of music into another key, transposing, is a recurring, laborious necessity. Transposition is often appropriate for vocal music when it allows a piece to be moved to a pitch range that is more suitable for the individual voice or choir. Transposition is absolutely necessary for the transposing instruments in the orchestral score, which are not notated in the sound. These instruments even require simultaneous transposition in different directions (higher or lower at different intervals); this applies , for example, to the horns, the trumpet, the tuba and the clarinet.

The invention is based on the task of eliminating/avoiding the disadvantages outlined above in a device of the type mentioned at the beginning and of creating a music technology teaching and working device that methodically and didactically meets the stated needs of potential users and is easy to handle and manufacture and inexpensive.

The problem is solved by a device of the type mentioned at the beginning in conjunction with the application of the technical features specified in the claims.

In the following, the force in its mode of operation and design is further explained using the drawings.

F.s shows

lig.l the 'major side' of the case in üraufsu-;l

with a setting example

Fig. 2 the 'minor side' of the housing in plan view with an example setting

with default setting 'Natural minor'

I ig.3 the 'major side' of the 'middle disk' in plan view Fig.4 the ¹ MoIl side' of the 'middle disk' in plan view Fig. ^r > the 'major disk' in plan view f'io.6 the ¹ MoI 1 disk' in plan view

The housing of the device is provided with scales on the left and right edges of the 'major side' (Fig. 1) and the 'minor side' (Fig. 2), which are progressively divided in semitone steps (minor second) and show the basic series of the major scale and the minor scale.

ZQ On the one hand, these scales serve for rapid orientation in the tonal space, whereby the scales - 'major side' and ¹ minor side' - fit together seamlessly (if they run through in the same sense of orientation) and thus demonstrate the cyclical structure of the tones and their designations.

On the other hand, these scales can be used to identify the different

Intervals - the distances between two tones - illustrate: prime, second, third, fourth, ..., octave, ... in their different forms (pure, major, minor, augmented, diminished, ...) can be identified by simply counting the semitone steps on the scales.

The term 'chromatic scale ^' can also be explained, which is created by dividing the octave into 12 (tempered) semitones of equal size; the seven main steps of this scale correspond to the scale's own tones of the major or minor scale - see subsection

division or labeling of the scales on the housing. Finally, the scales help with setting the keys to be transposed, as the arrows on the tabs point to the key names, which then also become visible in a separate window during the transposition process.

In addition to this separate window, there are further recesses on the 'major' and 'minor' sides of the case, each of a different design reflecting the characteristic sequence of whole and half notes in the respective key.

After the desired key or key signature has been set in the separate window (preferably the tab on the left-hand side should be moved to the desired position), the corresponding scale can be read in the other windows, always following the 'circular arc' that leads to the key signature (and not the key signature). This process is reversible provided that the above condition is also followed in reverse. Since the note names on the scales of the discs (Fig. 3 - 6) are notated sector-wise in enharmonic confusion, the key names also appear in the separate window in an inharmonic reinterpretation, so that the theorem of music theory "The sum of the accidentals of enharmonically reinterpreted keys of the same genus always results in 12"&igr; can be understood immediately (see Fig. 1, setting example: E major/4 sharps, F flat major/8 sharps; 4+8=12; etc.). Other music theory theorems that apply to the same scale can be made immediately clear: "If the fundamental note of a key is raised/lowered by 7 semitones (a perfect fifth), the result is a key that has 1 sharp more/1 flat more than the corresponding key signature of the original key." As is well known, all major and minor keys (see circle of fifths) are constructed in this way starting from C major or A minor. To understand this theorem, the tab on the left side of the 'major ^1' or 'minor side' is preferably moved up or down by the relevant number of semitones, whereby the transition from the upper to the lower 'attack' or vice versa corresponds to a semitone step =

The dual sentence belonging to the above sentence "If the fundamental note of a key is raised/lowered by 1 semitone (a minor second), the result is the fundamental note of a key that has 7 sharps mod 12 more / 7 flats mod ]? more than the corresponding key signature of the original key" can also be directly illustrated by appropriate movement of the disks.

Since the parallel keys are transmitted via the 'middle disc' (Fig.3 and 4)

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same key signature): After setting the desired key in the separate window on the 'major side' of the case, the parallel key appears in the separate window on the 'minor side ^' and vice versa - achieved by simply turning the device over (see setting example in Fig. 1 and 2). A coupling of the 'major disc' and the 'minor disc' in the sense described above is achieved by 'parallel guiding' the tabs on the ^right side of the device.

^! SCHUeB ¹ I can make the statement about variant keys (same-named keys

types), which only differ from each other in the 3rd level, are illustrated with the device! "Variant major and minor keys differ

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on the left side, set the relevant key in a separate window and then on the 'minor side', using the tab on the right side of the device, make the key with the same name visible in a separate window by rotating it accordingly.

On the 'minor side' of the case (Fig.2) there are two additional components that can be pivoted around the center in order to realize the different types of minor (natural or aeolian, harmonic or melodic minor). Fig.2 shows the 'minor side' of the case in the 'basic position' - natural minor is set. By pivoting the upper movable part by a semitone (corresponding to 10°) clockwise, the 7th step of the minor scale is raised (artificial creation of a leading tone for the cadence), and it

harmonic minor is created; if you swing both moving parts from the 'basic position' by a semitone clockwise, the 6th and 7th steps are raised and we have melodic minor (the 2nd tetrachord now has a major character). Going down, the melodic minor scale is usually sung and played without any transposition, corresponding to the major minor scale - this can be done on the instrument by putting the relevant parts back into the 'basic position'. For a few minor keys - these are mostly unusual, but theoretically interesting keys - there are special features when reading the corresponding scales:

If an arrow (I or i'i) appears in the window of the raised 6th or 7th degree on the circular arc that shows the scale of the selected key/key signature, follow it and read the key designation in the corresponding field - if a superscript number appears, the key designation that belongs to this number applies (additional printing on the 'minor side' of the case required). In detail: 'I' for harmonic ci3 minor/4 sharps (his instead of c), 'i' for harmonic d minor/1 be (eis instead of des) or.. twice ¹ I" for melodic d minor/1 be 'up' h instead of ces and eis instead of des), '[' for harmonic des minor/8 be_s (c instead of des:); ¹ T for harmonic his minor1/9 sharps and for melodic eis: minor 1/11 sharps 'up' (A sharp: instead of B), '2' with harmonic C sharp:-Mol 1/11 sharps (His sharp: instead of E sharp), '3' with harmonic G sharp:-Mol 1/12 sharps (F sharp:: instead of G sharp) or with harmonic G sharp:-Mol 1/12 sharps 'upwards' (E sharp: instead of F sharp and Id F sharp:: instead of G sharp).

For all other minor keys, whether in natural, harmonic or melodic form, the corresponding scales can be read in the recesses on one and the same circular arc without exceptions.

Roman numerals and function designations are provided on the windows on the 'major ^' and 'minor' sides of the case (Fig. 1 and 2).

The numbers indicate the steps of the respective scale, the other designations assign the respective name from functional theory to the chord (triad) built above the relevant step. If, for example, you want to determine the triad above the 1st step of the E major scale, you write down - always skipping one step - the

Note designations of the 1st, 3rd and 5th degrees, and you get the tonic (T) of E major: e-g sharp-b. To determine the triads above the other degrees, you proceed in a similar way.

If you want to determine the four-note chord above the 5th degree (V) of D flat major, then you read from the 5th, 7th, 2nd and 4th degrees and thus have the dominant seventh chord D of D flat major: A flat-C-E flat-G flat, thirds on top of each other.

In this way, the desired chords can be determined effortlessly and harmonic investigations can be carried out conveniently.

Due to the coupling of the parallel keys via the 'Middle Disc ^1' described above, functional designations such as 'Subdominant Parallel ¹ (Sp or sP)' can be easily explained: The triad above the 2nd step (II) on the 'major side' of the case (Fig.l) is identical to the triad above the 4th step (IV) on the 'minor side' (Fig.2),

IS here referred to as 'subdominant' (s); e.g.: Sp of E major = s of e flat minor = f sharp-a-cis; etc.

Then we should also note the special features on the 'minor side' with regard to the function and degree designations: When setting 'harmonic minor ^1', D applies instead of d (V), dP is hidden - instead -B- is made visible (VII); the ^degree designations for the 6th and 7th degrees (VI and VlI) are provided twice on the 'minor side' of the case (covered once each by the additional parts in Fig.2) in order to implement the degree designations for the various minor forms - in addition, this makes it possible to identify impermissible settings of the relevant parts.

Finally, the device described is a transposition tool that allows a piece of music to be melodically and harmonically transposed from one key to another. The user can choose between 2 major and 25 minor keys, of which 15 are common keys (keys with up to 7 accidentals). As far as the 'common' keys are concerned, there are more than 100 transposition options in the major and minor keys; if the remaining keys with more than 7 accidentals were included in the calculation, there would be 300 in each key.

The setting examples in Fig.l and Fig.2 make it clear how to transpose with the device: Using the tabs, you turn the discs to the desired position so that the keys to be transposed or their prefixes are visible in the separate window on the 'major' or 'minor side'; then you read the 'transpositions' in the other recesses. Fig.l illustrates the transposition process 'E major/4 sharps - D flat major/5 B flat': If you follow the circular arcs that lead to the respective key names _f , e becomes D flat, F sharp to E flat, G sharp to F, A to G flat, B to A flat, E flat to B flat, D flat to C and E to D flat - and vice versa. Fig.2 explains a transposition process in the minor key.

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Claims (5)

« 4 Protection claims Device for illustrating intervals, major and minor keys, their scales, key signatures and mutual relationships, for determining chords and for transposing keys in major and minor
marked by the combination of the following technical features: 1. The device consists of a housing and three circular disks that can rotate around a common center (Fig. 1 - 6). 2. The case has a 'major side' (Fig.l) and a ' ^minor side' (Fig.2), each with a different design. The 'major ^' and 'minor' sides of the case are connected to each other at the top and bottom, whereby the space required to accommodate the circular disks is created by inserting spacers; otherwise the case is open at the edge. There are recesses, so-called 'windows', on the 'major side ^' and 'minor side': there is a separate window and a certain number of further recesses - 6 on the 'major side', 4 on the 'minor side' - each in a different arrangement. All windows are sector-shaped and arranged in a ring. The smallest window size is based on a central angle of 10° - for all other windows, an integer multiple of 10° applies. On the 'minor side' of the housing (Fig.2) there are two additional sector-like Components attached. The 'major ^' and 'minor' sides are provided with scales on the left and right of the open sides of the case. The case is preferably made of 0.5 mm thick cardboard; the additional components on the 'minor side' (Fig. 2) are made of non-transparent PVC material of the same or lesser thickness. •Si H. 3. The three circular disks (Fig. 3 - 6) are completely identical in their dimensions. Each disk has a tab with which the rotary movements can be carried out. All circular discs are provided with four scales arranged in a ring on one or both sides. There is a 'middle disc ^1' (Fig.3 and 4), a 'major disc' (Fig.5) and a 'minor disc' (Fig.6). 4. The 'Middle Disc ^1' has a 'major side' (Fig.3) and a 'minor side' (Fig.4) and is provided with scales on both sides. The 'middle screen' is preferably made of non-transparent PVC material; the thickness of this screen is approximately 1/3 mm. 5. The 'major disc' (Fig.5) and the ¹ minor disc' (Fig.6) are each equipped with scales on one side only. The scales on the 'major' and 'minor side' are offset from those on the 'middle disc' in such a way that they are perfectly readable in accordance with the design of the windows on the case (Fig. 1 and 2). The 'major disc' and 'minor disc' are made of transparent PVC material; the thickness of each of these discs is approximately 1/3 mm.