EP0379491B1 - Tonhöhensteuerung - Google Patents

Tonhöhensteuerung Download PDF

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Publication number
EP0379491B1
EP0379491B1 EP88907064A EP88907064A EP0379491B1 EP 0379491 B1 EP0379491 B1 EP 0379491B1 EP 88907064 A EP88907064 A EP 88907064A EP 88907064 A EP88907064 A EP 88907064A EP 0379491 B1 EP0379491 B1 EP 0379491B1
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EP
European Patent Office
Prior art keywords
chord
pattern
patterns
input signal
note
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EP88907064A
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German (de)
English (en)
French (fr)
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EP0379491A1 (de
Inventor
Herwig Mohrlok
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MOHRLOK Werner
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MOHRLOK Werner
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Priority to AT88907064T priority Critical patent/ATE86041T1/de
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    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/36—Accompaniment arrangements
    • G10H1/38—Chord
    • G10H1/383—Chord detection and/or recognition, e.g. for correction, or automatic bass generation
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/325—Musical pitch modification
    • G10H2210/331—Note pitch correction, i.e. modifying a note pitch or replacing it by the closest one in a given scale
    • G10H2210/335—Chord correction, i.e. modifying one or several notes within a chord, e.g. to correct wrong fingering or to improve harmony
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/571—Chords; Chord sequences
    • G10H2210/586—Natural chords, i.e. adjustment of individual note pitches in order to generate just intonation chords
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/571—Chords; Chord sequences
    • G10H2210/616—Chord seventh, major or minor

Definitions

  • transitional notes away from the key such as those that occur with decorations or chromatic passages, cause such an instrument to temporarily initiate the tonally determined harmonic attunement and to harmonize with the old or a new tonality only after a waiting period, if necessary.
  • such an instrument does not tune to a key or continuously changes when polyphonic music sounds that cannot be fixed to a major or minor key.
  • WO-A-80/00110 also shows a circuit arrangement for chord recognition with the possibility of sounding the entire chord by pressing the key assigned to a chord root.
  • the object of the invention is to disclose a method of the type mentioned at the outset with which a further improvement in sound can be achieved.
  • This object is achieved by additionally correcting the signal of the input signal pattern assigned to the fundamental tone with respect to the predetermined fixed tuning, and correcting the signals of the input signal pattern assigned to the other tones of the chord pattern, starting from the corrected fundamental tone, in accordance with the variable tuning, whereby this is the fundamental tone a signal associated with a chord is corrected such that the correspondingly corrected tone emitted by the tone generating device is higher or lower than the basic tone in the predetermined fixed tuning, depending on whether the chord tones corrected in accordance with the input signal pattern are on average lower or higher than the uncorrected Chord tones in the solid mood.
  • This measure according to the invention results in a kind of alignment of successive chords with the result that the frequency differences of the same tones are reduced. Successive chords sound noticeably better.
  • the signal assigned to the fundamental tone of a chord is particularly preferably corrected in such a way that the shift in an average frequency of the chord tones due to the correction of the chord tones is at least approximately compensated for by the signal pattern.
  • correction signals indicating relative frequency changes It is proposed that the signal associated with the fundamental tone of a chord be corrected with an additional correction signal indicating a relative frequency change, which corresponds to the mean value of the correction signals for the input signals which also indicate relative frequency change, but with the opposite sign.
  • notes of the same name in chords that can be represented as steps in a single key are only retuned to such an extent that this retuning is below the audible limit.
  • An example would be the tone E in D major, as a third of level I, C-E-G, as a root of level III, E-G-H or as a fifth of level VI, A-C-E. So there is a key-independent but key-friendly change of heart.
  • the frequency ratio offers a useful value, as occurs in the dominant seventh chord within a harmonically tuned major scale.
  • the root note is formed by the fifth of the key concerned, while the minor seventh is formed by the fourth of the octave above.
  • this tone in the small major seventh chord has a correction of preferably +1 cent to the frequency of the tempered mood, which sounds good.
  • the tone with the function of the minor seventh in the chord has the usual value of 6: 5 to the fifth, which corresponds to a persistence of 1018 cents to the root.
  • the input signal pattern be projected onto a predetermined octave (definition octave) and compared with the chord patterns of the predetermined amount of chord patterns, which are also limited to one octave .
  • this comparison can be made by shifting the input signal pattern within the definition octave as a whole in semitones and counting the shift steps until a signal is at a predetermined end of the definition octave, and by including the signal pattern shifted in this way compares the chord patterns to the predetermined amount of chord patterns, with each chord pattern also having a chord note at the predetermined end of the octave.
  • chord patterns of the specified number of chord patterns within the octave are shifted cyclically in semitones and the shifting steps are counted and the chord patterns shifted in this way each time with the undisplaced one Compares input signal pattern.
  • the first alternative has the advantage that one can manage with a small number of shifting steps.
  • the second alternative has the advantage that only a single chord pattern per chord type has to be compared, albeit with a longer computing time, whereas in the first alternative, for example with a major triad, a total of three chord patterns associated with this triad are added to the input signal pattern are comparing.
  • chord patterns of the predetermined amount of chord patterns are assigned signal patterns which can either already correspond to the corrected input signals (for example by specifying the respective tone frequency or, preferably, correction signals for form the input signals.
  • the signal patterns assigned to the chord patterns can also be limited to an octave, it is proposed, for simple consideration of the initial shift of the input signal pattern or the chord patterns, that if the input signal pattern within the definition octave matches a chord pattern of the specified number of chord patterns loads the respective chord pattern associated signal pattern, limited to one octave, into an output memory and, depending on the number of shift steps, cyclically shifts the signal pattern in the output memory in semitones in the opposite direction, if necessary.
  • the direction of shift is therefore opposite to the initial shift of the input signal pattern or the chord pattern.
  • the correction signals are then in the corresponding position of the octave, so that now only the input signals, regardless of which of the possible octaves they are, need to be corrected.
  • the correction signals preferably relate to relative frequency changes, in particular given in cents, in order to achieve independence from the octaves.
  • a particularly preferred development of the method according to the invention is characterized in that, after ascertaining an input signal pattern corresponding to a chord pattern, it is determined in the subsequent input signal patterns whether the corresponding tone or the corresponding tones of the input signal pattern are completely contained in the chord pattern and, if applicable, this tone or these tones corrected according to the chord pattern.
  • This measure has the advantage that immediately after playing a chord from the set of patterns and sounding in a harmonious mood, its individual tones or combinations of single tones of this chord can be played without changing the mood of these tones. This is very advantageous if, for example, a chord is played a chord for intonation and then the individual notes of this chord are to be played.
  • additional chord tones be assigned to the pattern chords, and that if an input signal pattern corresponding to a chord pattern is determined in the subsequent input signal patterns, it is determined whether the corresponding tone or the corresponding tones of the input signal pattern correspond to additional chord tones of the established chord pattern and, if applicable, this tone or this Tones corrected according to the additional chord tones.
  • These additional chord tones are tones that follow the pattern chord downwards or upwards. Large or small thirds are preferably provided, with a large third of the pattern chord being followed by a small third for the additional chord tone and vice versa. In the case of a major triad, there is an additional chord note at the bottom of a minor third and an additional chord note at the top of a major third.
  • the associated input signal pattern be compared separately with the chord patterns of the predetermined amount of chord patterns in each manual. Since accompaniment chords are generally played on one of the manuals, these can be identified even if notes other than chords, for example so-called continuity tones, are played on another manual.
  • chord-identical tones of all manuals are corrected, while the tones not belonging to the determined chord pattern maintain the frequencies of the tempered mood.
  • two successive input signal patterns each corresponding to two different chord patterns, correspond to the specified number of chord patterns. determines whether the same tone occurs in both chord patterns and, if applicable, makes such an additional correction to the second input signal pattern that the matching tones in both chords have essentially the same level or at least have a frequency difference that does not exceed a predetermined value of preferably less than 8 cents. If this additional correction only affects the matching tone, there is a slight deviation of this tone from the variable tuning in the second chord.
  • the invention also provides in claim 16 a pitch control for a musical instrument for performing the method described above.
  • the desired chord in the variable tuning can be matched directly, e.g. signals indicating their frequency are stored.
  • coordinate signal patterns are stored in the chord pattern memory circuit as signal patterns for correcting the note input signals according to the variable mood, and that a correction circuit is provided to which the note input signals and the correction signals of the correction signal patterns can be applied, and which as output signals that the note input signals, which have been corrected in accordance with the correction signals, are sent to the sound generating device.
  • This embodiment of the invention leads to a simplified structure of the control, in particular because it allows the memory requirement of the chord pattern memory circuit to be reduced (12 memory locations per correction signal pattern).
  • a Definition octave memory is provided with 12 memory locations which are assigned to the 12 different tones of a given octave, whereby when checking an input signal pattern corresponding to a chord, a memory location is occupied if the tone corresponding to this memory location occurs in the chord in any octave. Due to this projection of the input signal pattern onto the definition octave, only a correspondingly reduced amount of information has to be worked with.
  • a working memory be provided with 12 storage locations, into which the memory content of the definition octave memory can be transferred, and a shift counter, which, starting from the counter value "O", is increased by "1" when the memory content of the working memory is increased by a memory location is moved in a predetermined direction.
  • a chord pattern memory can be provided, each with a memory line assigned to one of the chord patterns of the predetermined number of chord patterns, in particular each with 12 memory locations. Due to the above-mentioned projection of the input signal pattern onto the definition octave, the chord patterns to be compared herewith can also be limited to one octave (12 memory locations). If the main memory is designed as a shift register memory, the respective memory content can be shifted in the predetermined direction until a occupied memory space corresponding to a chord tone has reached the corresponding end of the main memory. The “edge-adjusted” chord pattern from the chord-pattern memory is then compared in turn with the “edge-adjusted” input signal chord in this way.
  • a chord memory can be provided with 12 memory locations assigned to each tone of an octave for storing the last recognized chord. This makes it possible to refrain from comparing the chord pattern if the same chord is played several times in succession.
  • this comparison of the tones played with the chord memory has the advantage that the frequency of the tones does not change if, after a recognized and frequency-corrected chord, chords are subsequently played from a subset of the tones of the previous chord or individual tones of this chord.
  • a correction memory can be provided with memory lines, in particular with 12 memory locations assigned to each of the 12 different semitones of an octave, each of which is assigned to a chord pattern of the predetermined number of chord patterns.
  • an output memory be provided, in particular with 12 memory locations assigned to each of the 12 different semitones of an octave, in which the content of the memory line of the correction factor memory assigned to a recognized chord can be transferred, and the memory content of which can preferably be shifted in a predetermined direction is.
  • the edge adjustment carried out to facilitate the comparison of the chord pattern when the correction factors are output can be taken into account in a simple manner by a corresponding shift back in the output memory.
  • Table I gives the designation of the function of the tones of a number of selected chords in the representation chosen here.
  • Table II shows the frequency relationships of the tones of a chord to each other, both in the harmonic mood and in the tempered mood.
  • Table III shows a list of the chords to be corrected with the assigned correction values.
  • Table III A shows a list according to Table III with modified correction values.
  • Table IV shows the associated chord patterns stored in the chord recognition memory for each of the selected chords.
  • Table V assigns the chord pattern numbers according to Table IV to the note examples according to FIG. III.
  • Table VI shows the effect of a halftone chord shift.
  • Fig. 2 shows a greatly simplified circuit diagram.
  • Fig. 3 shows a series of note examples labeled a - n.
  • 3a shows further note examples ⁇ and ⁇ .
  • a fixed tuning is assumed, which corresponds to the tempered tuning with division of an octave into 12 identical semitones, that is to say with a frequency ratio of 12 2nd corresponding to 100 cents.
  • other fixed initial moods are also conceivable, such as the moods specified in DE-PS 25 58 716.
  • it is necessary to provide such a fixed tuning for instruments which, in contrast to, for example, string instruments and wind instruments / cannot be re-tuned by the player during the game the keyboard instruments piano and organ (with pipes or electronic).
  • a frequency correction of the tones should now be carried out automatically for instruments which allow polyphonic playing and thus the playing of chords in such a way that the chords are harmonically pure.
  • the instrument must have a tone generating device which permits the generation of frequency-corrected tones. This is a prerequisite for "electronic organs” or “synthesizers” right from the start.
  • a pipe organ in which several pipes of different pitch (eg length) are assigned to each individual tone, with optional activation of the desired pipe.
  • a pipe organ can also be used, in which pipes with variable pitch (eg variable length) are used in order to enable the desired tuning of the pipe during the game.
  • Table V indicates those chords that are suggested for the harmonically pure tuning, depending on the application, less important chords can be omitted or additional chords can be added. Also, chords with more than four different notes are used in the embodiment not considered. All chords are recognized and corrected not only in their basic position according to Table I (root note G as the lowest note), but also in all reversals, positions and doubles. This is achieved in that all tones from all octaves are projected onto an octave designated as a "definition octave", for example consisting of the 12 consecutive semitones from c 'to h'.
  • the tone C is the lowest tone when projected onto the definition octave from c 'to h'
  • the tone E in the C major chord denoted by a1 is the next higher and the tone G the highest on this definition octave, so that this chord appears on the definition octave exactly as shown and can be identified by chord pattern No. 1 according to Table IV.
  • the chord a2 is an A flat major triad, in which its tones, projected onto the above-mentioned definition octave, would be read from bottom to top in the order C, Eb and A flat, which corresponds to the chord pattern No. 2 according to Table IV.
  • the F major triad is read as example a3 from bottom to top in the order C, F and A and corresponds to chord pattern No. 3 from Table IV.
  • chords played appear when they are projected onto the definition octave in their basic position or in one of their inversions, regardless of the position, doubling or inversion in which they are played.
  • the position of the chord in the definition octave does not have to correspond to the position in which the chord is played, but depends on the beginning ° and end tone of the selected definition octave and on which concrete tones the chord played consists of.
  • the representation of the tones on the definition octave and the specific grid of each chord enable the function of the individual tones of the chord (here as letters G, M, T, Q, R and S according to Table I) can be determined and so each tone with a certain function in the chord can be assigned a very specific correction value from tempered to harmonic tuning.
  • Table III A shows alternative additional corrections for a number of chords which are characterized by improved fifths purity.
  • FIG. 2 shows a purely schematic circuit diagram to explain the method.
  • An input device 10 for inputting note input signals in the fixed mood is symbolized as a series of piano keys 12 for actuating switches 14 assigned to each key 12.
  • the lines 16 emanating from the switches 14 are combined to form a collecting line 18.
  • a sound generating device 20 has a sound signal output circuit 22, which is generally provided with sound frequency generators and which drives one or more loudspeakers 26 via a line 24.
  • a recording device such as a tape, can also be provided for "music buffering".
  • the line 18 opens into a chord pattern recognition circuit 28, from which in turn a line 30 extends for connecting the circuits 28 and 22.
  • the input device 10 and the tone generating device 22 correspond in structure and function to the corresponding components of conventional electronic keyboard instruments.
  • chord pattern recognition circuit 28 is connected via a line 31 to a control circuit 32, which in turn is connected via a line 33 to a signal pattern storage circuit 34.
  • the control circuit 32 is additionally connected via a line 35 to the audio signal output circuit 22.
  • the general function of the circuit arrangement according to FIG. 2 is the following:
  • the note input signals are fed via line 18 to chord recognition circuit 28.
  • the chord recognition circuit checks whether an input signal pattern corresponding to a chord from several different tones corresponds to a chord pattern from a predetermined number of chord patterns. If this is the case, this is reported to the control circuit 32, which retrieves the correction signals assigned to this chord from the signal pattern memory circuit and forwards them via line 35 to the audio signal output circuit 22, which accordingly correspondingly transmits the note input signals to it via line 30 corrected and as corrected output signals to the speaker 26.
  • FIGS. 4 and 5 A corresponding program sequence is again shown purely schematically in FIGS. 4 and 5.
  • the memories addressed in the program flow diagram are explained in more detail in FIG. 4.
  • a working memory 46 also has twelve storage locations; however, the working memory 46 is designed as a shift register memory, so that the memory locations are numbered from 1 to 12 and no tone of the scale is assigned.
  • a shift counter 48 is assigned to the working memory 46 and counts the shifting steps carried out in each case by one storage space, corresponding to a semitone of the scale.
  • a chord recognition memory 50 each has a memory line 52 assigned to the chord pattern according to Table IV, each with twelve memory locations 54.
  • Table IV reveals chord patterns No. 1-4, the memory location allocation in chord recognition corresponds Memory 50 the chord patterns. Thirty-nine lines 52 are provided for the chords proposed for correction here.
  • a correction factor memory 56 is also organized in thirty-nine lines 58, each with twelve memory locations 60. While either a "1" (ie chord tone) or a "0" (ie no chord tone) appears in the chord recognition memory corresponding to the respective chord pattern, in the correction factor memory 56 there are those memory locations which have the "in chord recognition memory 50 with" 1 "provided corresponding storage locations correspond to the correction signals assigned to the respective tone in accordance with Table III. These correction signals correspond to the total correction in cents from the second column from the right of Table III. For example, if you look at the third line in the correction factor memory 56, which is assigned to the chord pattern No.
  • an output memory 62 is also provided, again with twelve memory locations, which are numbered to indicate that this memory is also designed as a shift register memory.
  • the memories 40, 44, 46 and 50 can be assigned to the circuit 28, the memory 56 to the circuit 34 and the memory 62 to the circuit 32.
  • the process sequence or program sequence can be seen from FIGS. 5 and 6.
  • the next decision block 72 checks whether the input signals emitted by the tone generator 10 are unchanged, i.e. whether the current switching status remains, for example one or more keys are pressed unchanged. If this is the case, the program jumps to block 74, which will be explained later, and then to "return block” 76. The result is the unchanged output of the input signals corrected as before to the tone generating device 20, so that the tones just played are unchanged Mood continues to ring.
  • the input signal pattern is loaded into the definition octave memory 40 according to a block 84, in such a way that, for example, the memory cell 42 assigned to the tone c is assigned "1" if one or several keys assigned to the tone c in any octave are pressed. Otherwise, the memory locations get the Memory content "0". As a result, tones of the same name of any octave are linked by the logical function "or", so that the desired projection of the entered chord on the definition octave is obtained.
  • chord now struck consists exclusively of chord tones of the chord struck last and recognized as a chord pattern. If this check in decision block 88 reveals that there is a pure repetition, the procedure is shortened to block 74, with the result that the new chord sounds with the frequency corrections corresponding to the last played chord, the new "chord" also being off can only consist of a single chord tone of the previously played chord recognized as a chord pattern.
  • the program proceeds to a decision block 89, in which it is checked whether the input signal pattern corresponds to only a single tone. If this is the case, the program proceeds to a block 80, in which the output memory 62 already mentioned is deleted, as does the chord memory 44 in a subsequent block 82, whereupon the program again proceeds to a block 74 for output of the single tone corresponding input signals to the sound generating device 20 without a correction, since the correction factors in the output memory are set to "0".
  • the single tone therefore sounds in a tempered mood.
  • the content of the definition octave memory 40 is loaded into the working memory 46 in accordance with a block 90.
  • the shift counter 48 is set to the number "0" in a subsequent block 92.
  • the next program loop serves to shift the memory content of the main memory until a "1" has reached the left edge of the shift register-like memory line forming the main memory 46, for example. This can also be called edge adjustment. In this way, the comparison with the chord patterns in the chord recognition memory is to be facilitated, since the content of the corresponding lines 52 of this memory 50 is also edge-adjusted, as can be seen in FIG. 4.
  • a decision block 94 following block 92, a check is carried out to determine whether there is a "1" in memory cell No. 1 of main memory 46. If this is not the case, the program proceeds to block 96 in order to shift the content of the working memory 46 to the left by one cell (corresponding to a semitone). At the same time, the storage value of the shift counter 48 is increased by "one" in block 98. The program then returns to decision block 94. The loop formed in this way is traversed until the edge adjustment is reached, i.e. a "1" is stored in the memory cell 1.
  • chord recognition memory 50 is actuated, namely its first line with the chord pattern No. 1.
  • the edge-adjusted content of the working memory 46 is compared in turn with all the chord patterns until either equality with a specific chord pattern has been determined or until all chord patterns have been mismatched.
  • the respective chord recognition pattern is compared with the content of the working memory.
  • a transition is made to a next decision block 106 within the loop, if the current chord recognition pattern does not match the content of the working memory.
  • decision block 106 it is checked whether all chord patterns have already been checked.
  • the program proceeds to a block 108, in which the next one is caused Line of the chord recognition memory 50 is driven. The program then returns to block 102 within this loop.
  • the program leaves said loop and proceeds from decision block 104 to a block 110, according to which the content of the chord memory 44 is updated by taking over the content of the definition octave memory 40.
  • a block 112 follows, according to which the memory line of the correction factor memory 56 is activated, the number of which corresponds to the currently activated line of the chord recognition memory 50, that is to say the number of the chord pattern which has been found to be identical to the currently played chord. This line is copied to the output memory 62 in a subsequent block 114.
  • the contents of the memory lines 58 are also edge-adjusted in the correction factor memory 56.
  • the edge adjustment of these correction factors in the output memory 62 is reversed. For this serves a program loop following block 114. Subsequent to block 114, as part of the loop, a decision block 116 is approached, in which it is checked whether an edge adjustment in the loop formed by blocks 94, 96 and 98 had to be carried out at all.
  • chord pattern 2 results, for example, from a cyclical shift of chord pattern No. 1 in Table IV to the left by four semitones. It is then necessary to shift the one chord pattern for each chord by a full cycle (12 steps) and to compare each time with the chord played, it being not necessary to adjust the edge of this chord. With this procedure, the output memory would then have to be organized cyclically with a shift in the opposite direction, corresponding to the number of shift steps required to match the chords.
  • Table VI shows that (in the case of a definition octave beginning with the tone c) a played E major triad requires four shifting steps in the working memory 46 to the left until the edge adjustment is reached. Accordingly, the memory content of the output memory 62 corresponding to line No. 4 of the correction factor memory 56 must then be shifted to the right by four steps, so that the correction factor "-6 cents" is then at the memory location assigned to the tone e.
  • a harmonically corrected chord is output by the tone generator 20 when it is determined that this chord corresponds to a predetermined chord pattern. If the chord cannot be recognized, the chord is generated in a tempered mood.
  • a second loop output is provided in the program loop comprising blocks 102, 104, 106, 108, namely in decision block 106. If it is determined in block 106 that on the one hand the chord played does not match the current chord pattern (block 104) and on the other hand that already highest chord pattern number (eg 39) is reached, the program proceeds from block 106 to a block 122, according to which all correction factors for the output memory 62 are set to zero cents.
  • chord memory 44 is deleted.
  • the program then goes back to block 74, that is to say to the output of the uncorrected input signals in this case to the sound generating device 20.
  • the program then returns to the start of the program (block 70) via the "return block” 76.
  • the entire program loop can be run through independently of a key actuation of the instrument with a fixed repetition frequency.
  • chord patterns are automatically identified and their individual tones are corrected immediately, so that the chord that is sounded harmoniously pure. Single notes or chords struck later that are part of the last identified chord pattern are also corrected. However, you can also go further and assign additional chord tones to the individual pattern chords that are tuned in relation to the actual chord tones. If one of the additional chord tones is struck after identifying this chord, it is also corrected accordingly.
  • FIG. 3A bears, for example, a pattern chord labeled ⁇ (C major triad), which is expanded upwards by an additional chord tone at grade h at a distance of a major third from the top pattern chord tone and downwards by an additional chord tone (tone a ) at a distance of a minor third.
  • C major triad a pattern chord labeled ⁇
  • additional chord tone tone a
  • FIG. 3A bears, for example, a pattern chord labeled ⁇ (C major triad), which is expanded upwards by an additional chord tone at grade h at a distance of a major third from the top pattern chord tone and downwards by an additional chord tone (tone a ) at a distance of a minor third.
  • These additional chord tones are symbolized in the chord ⁇ in FIG. 3A as marked notes.
  • the result is an alternating sequence of major and minor thirds.
  • chord pattern ⁇ is identified in the course of a game, both its tones are corrected immediately, so that this chord sounds harmoniously pure; moreover, if one or more of the tones of the chord ⁇ which also contains the additional chord tones are subsequently struck, they are each harmonically corrected. and so on.

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EP88907064A 1987-08-04 1988-08-03 Tonhöhensteuerung Expired - Lifetime EP0379491B1 (de)

Priority Applications (1)

Application Number Priority Date Filing Date Title
AT88907064T ATE86041T1 (de) 1987-08-04 1988-08-03 Tonhoehensteuerung.

Applications Claiming Priority (2)

Application Number Priority Date Filing Date Title
DE3725820A DE3725820C1 (es) 1987-08-04 1987-08-04
DE3725820 1987-08-04

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EP0379491A1 EP0379491A1 (de) 1990-08-01
EP0379491B1 true EP0379491B1 (de) 1993-02-24

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US (1) US5442129A (es)
EP (1) EP0379491B1 (es)
JP (1) JP2909085B2 (es)
AU (1) AU2125488A (es)
DE (2) DE3725820C1 (es)
WO (1) WO1989001219A1 (es)

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JPH02504432A (ja) 1990-12-13
JP2909085B2 (ja) 1999-06-23
AU2125488A (en) 1989-03-01
US5442129A (en) 1995-08-15
DE3725820C1 (es) 1988-05-26
DE3878695D1 (es) 1993-04-01
WO1989001219A1 (fr) 1989-02-09
EP0379491A1 (de) 1990-08-01

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