EP0464173A1 - Dispositif pour faire de la musique - Google Patents

Dispositif pour faire de la musique

Info

Publication number
EP0464173A1
EP0464173A1 EP19910902597 EP91902597A EP0464173A1 EP 0464173 A1 EP0464173 A1 EP 0464173A1 EP 19910902597 EP19910902597 EP 19910902597 EP 91902597 A EP91902597 A EP 91902597A EP 0464173 A1 EP0464173 A1 EP 0464173A1
Authority
EP
European Patent Office
Prior art keywords
played
display
program
music
notes
Prior art date
Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
Withdrawn
Application number
EP19910902597
Other languages
German (de)
English (en)
Inventor
Roman Koller
Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.)
Individual
Original Assignee
Individual
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Priority claimed from DE4041766A external-priority patent/DE4041766C2/de
Application filed by Individual filed Critical Individual
Publication of EP0464173A1 publication Critical patent/EP0464173A1/fr
Withdrawn legal-status Critical Current

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Classifications

    • 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
    • G10H1/0008—Associated control or indicating means
    • G10H1/0016—Means for indicating which keys, frets or strings are to be actuated, e.g. using lights or leds
    • G—PHYSICS
    • G09—EDUCATION; CRYPTOGRAPHY; DISPLAY; ADVERTISING; SEALS
    • G09B—EDUCATIONAL OR DEMONSTRATION APPLIANCES; APPLIANCES FOR TEACHING, OR COMMUNICATING WITH, THE BLIND, DEAF OR MUTE; MODELS; PLANETARIA; GLOBES; MAPS; DIAGRAMS
    • G09B15/00—Teaching music
    • G09B15/001—Boards or like means for providing an indication of chords
    • G09B15/002—Electrically operated systems
    • G09B15/003—Electrically operated systems with indication of the keys or strings to be played on instruments
    • 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
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/021—Indicator, i.e. non-screen output user interfacing, e.g. visual or tactile instrument status or guidance information using lights, LEDs, seven segments displays
    • G10H2220/026—Indicator, i.e. non-screen output user interfacing, e.g. visual or tactile instrument status or guidance information using lights, LEDs, seven segments displays associated with a key or other user input device, e.g. key indicator lights
    • G10H2220/061—LED, i.e. using a light-emitting diode as indicator
    • G10H2220/066—Colour, i.e. indications with two or more different colours
    • 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
    • G10H2230/00—General physical, ergonomic or hardware implementation of electrophonic musical tools or instruments, e.g. shape or architecture
    • G10H2230/045—Special instrument [spint], i.e. mimicking the ergonomy, shape, sound or other characteristic of a specific acoustic musical instrument category
    • G10H2230/251—Spint percussion, i.e. mimicking percussion instruments; Electrophonic musical instruments with percussion instrument features; Electrophonic aspects of acoustic percussion instruments, MIDI-like control therefor
    • G10H2230/255—Spint xylophone, i.e. mimicking any multi-toned percussion instrument with a multiplicity of tuned resonating bodies, regardless of their material or shape, e.g. xylophone, vibraphone, lithophone, metallophone, marimba, balafon, ranat, gamban, anklong

Definitions

  • the present invention relates to a music-making device as a learning aid for musical instruments of all kinds, a so-called game guide for instruments in which positions on the instrument have to be gripped or at least reached by the player with his hands or fingers (ie gripping or plucking strings, Striking tones and keys, pressing valves, striking sound bodies, such as block games, percussion instruments, xylophones, etc.) and these playing positions, or keys, if applicable, are indicated by the captain while playing, especially for training rhythm-appropriate playing and in an extended application even for learning foreign languages. *** 2. state of the art: reference is made to the following patent applications:
  • claim 1 describes the arrangement according to the invention in comprehensive features, whereby it should be expressly stated that the characteristic state for displaying game positions that are not to be played (track lights up or does not light up or certain ones) Color of the display) can be selected individually (similar to the inverse display of picture elements on a monitor), and further this display can be supplemented or replaced by the preferably designed options of a non-optical game guide display described below, as disclosed in further patent claims.
  • the claims subsequent to claim 1 are preferred developments of the invention or replace features from claim 1, wherein for such features that are found to be absolutely new according to the prior art, independent protection is still sought, in particular as the independent further use of this feature Features in this description is expressly stated.
  • a game guide sensitive to keys or playing positions to instruments for which such a game guide is still completely unknown according to the prior art and to their optional further possible uses are expressly stated in this description.
  • the display means provided for each game position indicate a game position in such a way that the game positions to be played simultaneously, whether single tones or chords, during the duration of the notes to be played immediately are displayed at the same time in such a way that they have different characteristic states for all game positions that are not to be played (e.g.
  • LED lights up or does not light up and that they are to be generated at the time at which the tones associated with the game positions are to be generated (e.g. by striking a key or reed or plucking a string), each have a characteristic state that corresponds to the playing positions not to be played, which indicates the rhythm of the notes to be played.
  • the respective rhythm duration of the notes is determined by a time cycle corresponding to this duration, which is either generated by a relevant rhythm timer or can be generated in real time in synchronism with a played second tune from a memory preserve.
  • This measure on the one hand provides the optimally timely display of the playing positions without the musician being hampered by further display of playing positions not yet to be played, and furthermore the musician is given a certain reaction time without the different duration of the notes to be played is influenced, that is exactly to an accompanying music can be played, ie the display of the tones to be played occurs in time for the selection of the game positions, but no longer exists when playing directly.
  • the musician can concentrate much better on the music, learns to grasp the playing positions blindly and is not irritated by the captain and, which is an important prerequisite for the perfect playing of an instrument, is encouraged to think ahead, where he has the opportunity to adjust the playing positions, but at the moment the notes are actually played, the instrument plays as if the captain was not available, which means that he learns to memorize a piece of music based on melody and rhythm, which is also the point, because the student should yes learn to master the instrument and not the captain.
  • the LEDs can also be designed as a single-digit number display to display the digits 1 to 5 for the purpose of displaying the fingering, this display also being switched over by an operating switch or program, optionally used as a mere illuminated display (area) can be and only important fingerings of corresponding game positions or keys are indicated by numbers.
  • the display elements can also be activated in two colors, the color then indicating which hand is to be played with. The same also applies to instruments with a simple LED display, e.g. described to the following embodiment of a carillon, the colors of the playing sticks (or clapper) for right and left hand preferably match the associated LED colors.
  • the colors of the display can also denote fingerings, in which case color matching matching finger rings can be used for better orientation, e.g. for learning string instruments such as guitars and violins.
  • Further important game instructions can be displayed by further color coding of the display, e.g. the pedal actuation on a piano, and of course also the different emphasis on the tones, e.g. by correspondingly different display intensities.
  • the music student can easily follow this information in rhythm, since apart from any necessary fingerings there is no symbolic representation when displaying the game positions, which means that the disadvantages mentioned in AT 388821 do not occur.
  • the preferred two-color display according to the invention is designed in this way that for a simple central numerical display (see Fig. 17a) for 5 digits for one hand (55b) and 5 digits for the other hand (55a), on the one hand the fingerings for the right hand and left hand separately on these displays to the notes to be played in each case, the assignment of this five-digit display according to its local arrangement (i.e.
  • the right display 55a and left display 55b not to the hands but to the game sides (i.e. right hand and left hand of the piano player) and the display color each because it is assigned to a specific hand with which the notes have to be gripped, which means that playing modes can also be displayed in which the hands must cross.
  • the light-emitting diodes for the game position display can also be shown correspondingly in two colors (2a), the monochrome display of this display being, however, also sufficient.
  • the two-color fingering display can also be designed in three colors, the third color then designating the fingers to be left on keys during the game until this additional color display goes out.
  • the individual adjustability of the reaction time of the musician is provided, that is the time that elapses from the point in time when the visual display of the captain changes back to the characteristic state of all playing positions that are not to be played in each case (i.e., e.g. For example, go out again, which means that the relevant tone or chord should be played) until the time at which the musician is able to play the tone in a rhythm that suits the exact beat, also for a large number of synchronously playing instruments, each of which is connected to a synchronous line, the response time for each instrument being adjustable if necessary, as is expressly described in an example below.
  • the process control which is responsible for the continuation of the note sequence program, carries out an event measurement for each note to be played in the following way: Within a predetermined number of notes to be played according to the relevant note sequence program according to a predetermined rhythm beat, the number of notes actually played is compared, whereby depending on this comparison, the following control measure is provided: for a result of the event measurement, in which it is determined that no note has been left out, the program is routed on with the sound of the note being played; for a result of the event measurement, in which it is determined that a note has been omitted, the program is switched on at the timing generated for the rhythm duration of a relevant note. Variants of this preferred event measurement are described in connection with FIGS.
  • non-optical display means which supplement or replace the visual display means of the game guide are provided, for which the same control method as described above can also be used and which serve the purpose that the musician follows these display means much more quickly can, in the manner according to the invention, these display means are implemented directly as program-controlled blocks at the playing positions, which hinder the sound triggering.
  • Such blocking agents are described below for three variants of instruments; for a keyboard instrument, for a reed instrument and for a string instrument, e.g. Guitar, etc.
  • the measure that the blocking of the sound generation is provided directly at the playing positions fulfills the purpose that the musician himself is given instruction in the handling of the playing positions in handling himself, which is why the visual display for such a trained captain Training a rhythmically correct game is not absolutely necessary.
  • the sound triggering at the playing positions is blocked from the point in time at which the notes to be played are otherwise indicated by the optical display means until the point in time at which they go out again, so the corresponding notes are to be played.
  • damping elements are provided directly on the reeds, which on the one hand dampen a sound that may be played too early, and on the other hand can play this sound again after the correct time (cf.
  • the sound generation can be influenced in such a way that impermissible rhythmic carry-over or in a mode that can be switched by operating switches Incorrect accentuations, signaled by different timbres, e.g.
  • the damping elements are preferably provided at the points where The strings have to be plucked when playing an instrument, e.g. with a guitar. directly above the hole of the sound box, with a violin where the bow is to be guided (see explanations to Fig. 13a and Fig. 13b), etc.
  • the sound is blocked by key blocking, which is controlled according to the program as described, with the musician simply following the yielding keys during his playing, so that the exact rhythmic interplay of the two hands and the musical expression can be optimally trained and can also be played by notes or by heart instead of the described visual display of the captain can.
  • the rhythm beat according to which the keys are blocked, can also be used by the game itself, e.g. according to the rhythm of the notes played as accompaniment, so that the musician can set the pace of his playing absolutely or in only an acceptable variation and the blocking of the keys is only used to promote the interaction of both hands.
  • a tact display by a metronome synchronized or controlled by the captain's tact generator which indicates tact inserts acoustically or optically, or also the measure that the first tone of the instrument can serve as the start signal of the learning program for the captain , or a scanned note sequence starts the program of the captain at a certain time, or can even call program parts, whereby these note sequences can then optionally switch the captain display on and off for certain music parts by means of additional commands, which are provided in the note down program, similar to that Calling of subroutines in computer programs with sequential instructions over several steps, which then correspond to the corresponding note sequences, and that the specified program according to controlled blocking of the sound triggering, or keys, m it can be made with continuously graduated force or alternating between impulses, depending on the rhythm and required playing of the notes to be played.
  • the captain who performs the tone blocking described on the game positions, is suitable not only for beginners, but also for virtuosos who want to reproduce not only the works of master copyists, but also their interpretations by master interpreters, i.e. for training at music academies, etc.
  • the optical game guide favored by the control method according to the invention, is already ideal for making music in groups of beginners, e.g.
  • the axis bracket is preferably designed to be insertable on the inside of the piano cover (73) or an adjustment device (FIG.
  • 1 relates to an exemplary embodiment of a block game in which the display means of the game guide (2a) can light up in two colors, in accordance with the different colors of the stop balls (58) of the two game rods (for example, red and green),
  • the microphone (1) built into the resonance body of the instrument is used to scan the point in time at which a note was struck, or, in a preferred development, also sound decoding which of the reeds (3) was struck (e.g. with Circuit according to Fig.7).
  • the following optional operating modes or device configurations are available via a cassette recorder (cable 6) or also a disk drive interface, or any other sound or memory preserve (5) , provided, whereby depending on the application and mode of operation, parts of the parameters or sound data stored for a note or tone can also be optional: a) Alternative 1: the note sequence program is converted into a RAH from the memory preserve (cf.
  • the data of the note sequence program then corresponding to the sound data of the tones to be generated, such as pitch to be generated, duration of the tone to be generated, associated attack intensity and, if necessary also manual play instructions (fingering, which hand, etc.), whereby in an optional extension for learning programming, the manual game instructions in connection with an editing program can be subsequently entered and recorded.
  • they can each form a rhythm, i.e. The time of the attack, the associated parameters of the notes (ind. Chords) are each combined into a data block identified by a header address at the beginning of the data block, the individual parameters then being marked either by their sequence or by control codes or bits.
  • Alternative 2 a synchronous signal is provided that the rhythm to be generated corresponds to the notes to be played;
  • Alternative 3 instead of or in addition to the coding of the respective tone duration of a note, or instead of the mentioned synchronous signal, the tone data are stored in real time according to the rhythm of the notes to be played as addresses on the sound preserve and are played while the instrument is played (so to speak ON-Line), in the control electronics of the display elements of the player, directly or via RAM, temporarily stored, read, or reproduced accordingly by the control electronics. Different playback speeds then result simply from the recording speed of the sound carrier or also from the read clock rate of an interposed semi-conductor FIFO memory, which is then reloaded in corresponding blocks from the sound preserve in the start-stop mode.
  • a semiconductor memory is then not required to save the note sequence program; a sequential decoding of the frequency-coded signals on tape is sufficient, with this decoding of the frequency-coded signals, e.g.
  • addressable latches are activated, which switch the LEDs on and off as described for FIG. 6b, the LEDs then proceeding with the addresses stored on the tape, their palpation but with the TON signal to ensure the sequence shown in Fig. 6b and not to irritate the musicians, d) alternative 4: the sound parameters are instead of the Abbeicharung in a RAM or in addition, in a non-volatile semiconductor memory e.g. .
  • EPROM received whereby two alternatives are provided for the continuation of the note progression program: either this progression takes place when appropriate tones are triggered (cf. in the following TON signal with a substitute signal provided by rhythm beat if the TON signal is absent), or the note sequence orogram is created by a fixed timing or rhythm signal and only the visual display of the Soielterrorism is controlled by the TON signal so as not to irritate the player.
  • a standard sound medium as a sound preserve (e.g. record, CD, tape cassette):
  • the audio data are recorded in sync with a certain background music, the audio data being recorded synchronously, for example in such a way that the audio music is recorded on a first track and the audio data is coded on a second track are or distrzcodiert in the second labeling channel of the accompanying music, the bandwidth z.
  • a standard sound medium as a sound preserve (e.g. record, CD, tape cassette):
  • the audio data are recorded in sync with a certain background music, the audio data being recorded synchronously, for example in such a way that the audio music is recorded on a first track and the audio data is coded on a second track are or distrzcodiert in the second labeling channel of the accompanying music, the bandwidth z.
  • the sound data contain the following parameters:
  • a decoding rule e.g.
  • Own address coding for the rhythm cycle enables above all the coding of different rhythm cycles for several players of different abilities with different reaction times; this preferred embodiment of the invention is described in more detail in FIG. 6b.
  • a preferred embodiment deliberately places the technical effort on the manufacturer's side of the sound carrier in order to obtain the cheapest possible arrangement for the learning instrument, all the signals necessary for playing a piece of music already being contained in the data carrier are.
  • the data words used can be abbreviated in such a way that a packet is first loaded into the RAM of the display control in a double load and then only reference addresses for this RAM content, partly incremental, partly as absolute start addresses, on the tape which are to be incremented are stored.
  • a further preferred measure is to provide an instrument-specific address coding in which only pairs of sound preserves or storage preserves that belong together in each case and musical instruments provided according to the invention can be used.
  • the selection of the preferred embodiment described with a cassette recorder takes place in such a way that, for example, only the tape has to be rewound to an arbitrary point and the captain display is immediately ready for operation from this point, since all the signals required for the captain's note sequence program are stored in the correct time for the accompanying music played by the sound preserve f) as a further example for the synchronization of a large number of music guides or instruments, the instrument-specific coding, for example by data words or frequencies of the rhythm signal to a sound carrier, which then take place, for example, in a so-called "party line” "Operation is supplied to all instruments, and decode them according to their device addressing the respective sync signals valid for the relaying of the note sequence program.
  • the actual note sequence program be downloaded in a download from a stored memory to the RAmS of the devices, for example also in party-line mode, of the devices connected to a bus to the stored memory, z.
  • the different coding of the rhythm signals mentioned for different devices can already be included in the search run of a tape, despite the higher playback frequency, the piece codes recognized (e.g. by pause ratio detection) and the track code can therefore be used to display the pieces on the LEDs of the player guide display can. e.g. 1 encoded from n, a different color being used for the piece display or this being switchable from the sound display by means of a key or a separate numerical piece display being provided; ditto for a piece display during playback (e.g.
  • a particularly preferred exemplary embodiment is the musician's note down program including rhythm, which in the end is yes for the continuation of the note down program is always responsible (whether synchronized directly or via TON signal or implicitly contained in the TON data), not to save a recorded audio record on the audio record itself, but in its own douwnload program, so that the captain program, e.g. can be stored on any data carrier (e.g. tape or semiconductor memory) and can be played on any commercially available CD.
  • a frequency coding circuit is preferably provided, for example in the simplest case. according to Fig7. or e.g.
  • Analyzer by signal processor which filters out different sequences of sound images as temporal code marks for the piece of music being played, in the simplest case note by note, in further training strings of note images, both according to their note values and according to their temporal sequence within a predetermined reproduction tolerance by the signal processor are decoded and compared according to predetermined code samples of the note sequence program.
  • the actual rhythm beat is then generated by a sequence of rhythm codes (see R-CODE), each of which loads a timer one after the other, the timings of which, for each instrument, for example, music guides operated in party-line, advance the rhythmic progression of the note sequence program , as is described in detail below for Fig. 2b to Fig. 6b.
  • Each device then has two rhythm timers, one that starts at the start time of a respective TON release and converts the R-CODE value loaded immediately before this point in time (until the relevant LEDs go out), and one that Monitoring the progression of the note sequence program (cf. (30) with (29) in FIG. 6b), this generation taking place in such a way that, for example, in a pulse generator formed by a signal processor, the code is stored moderately at successive times to be generated , whereby in addition to certain values of these code times, by playing a respective sound preserve (e.g.
  • CD Code sequences found in a learning process during the program creation of the note sequence program form the synchronization bases of this pulse generator; in such a way that these synchronization support points set the pulse generator on the synchronization corresponding time values by the synchronization support points taken from the Tonerverve (CD) either either the synchronization time, i.e. correspond directly to the set time values of the pulse generator or correspond to a rhythm cycle time to be generated in the program with a stored time difference.
  • a limitation of the maximum time deviation can also be made before the respective setting of the pulse generator by the synchronization support points, in order to avoid sampling errors when taking the marking samples from the sound preserve.
  • synchronization points As preferred code elements for the formation of these synchronization points, at the same time, occurring frequencies of the sound preserve being played back are analyzed by Fourier analysis, which is carried out, for example, with a signal processor, and queried for their presence within a predetermined amplitude tolerance.
  • the respective comparison parameters that is to say frequency values, amplitude values and, if appropriate, time window values, are then pre-coded or specified in the note sequence program which runs synchronously with this sound preserve.
  • the sound preserve then has a tap on the audio signal reproduction which is fed into the base point recognition of the signal processor.
  • the rhythm code of the described rhythm timer is then included in the note sequence program, e.g.
  • the incrementing signal is only generated at the time at which a tone or chord of the instrument is played (see signal: TON).
  • the generation of the INCR signal is problem-free and can be carried out by digital decoding.
  • the audio data or parameters already explained above are stored in successive words, with decoding of control words, e.g. are indicated by one or more marker bits (cf. STH in FIG. 3) of a word (as is also common in processors in the OPCODE design), each corresponding to the number of address steps of a data block for a note stroke Reading out the number of parameters (including chords) associated with a note is also stored at the beginning of such a data block, or at least can be calculated, including a recognition rule determined by compulsory sequence or addressing, which parameters are involved.
  • marker bits e.g. STH in FIG. 3
  • FIG. 2a illustrates the low-cost decoding of the attack time of the tongues preferred glockenspiel application for the detection of the amplitude increase in the attack phase (attack phase) of the struck tone in relation to a reference voltage (us) shown in the time diagram (35).
  • the amplified microphone voltage uv is fed via a envelope demodulator (10) to a resettable (reset) maximum value memory (11), the output of which is fed via a voltage divider to the input of an output comparator (13) for generating the TON signal with which the reset of the Maximum value memory is made when the output voltage of the envelope demodulator supplied directly to the second comparator input drops below the value tapped at the voltage divider (12), as a result of which the falling edge is decoded according to diagram (35) of the attack phase, but no longer absolutely to a reference voltage, but instead relative, the divider ratio of the voltage divider determines the trigger time for the TON signal generation.
  • the reset input of the maximum value memory is edge-differentiating, so that the maximum value memory is always already after the reset.Furthermore, a monostable function, e.g. with a retriggerable mono function to avoid the generation of false pulses when detecting chords, can also be built into this line.
  • the envelope demodulator can e.g. be designed as an integrator, which is dimensioned such that it still integrates the LF oscillation of the microphone voltage, but follows the envelope of the attack phase of the reed application.
  • FIG. 3 relates to a programmable logic circuit which can alternatively also be designed as a microprocessor for controlling the display elements of the game guide according to the invention;
  • a state machine design is preferred, with which the flow diagrams illustrated in FIGS. 4 to 6b are implemented, for example;
  • Particularly preferred and outstandingly illustrated features are a timer function for key debouncing (26); an adjustable (28) timer function for adjusting the reaction time (27); it also shows: a further adjustable (23) timer function (22) for generating the smallest time unit for the program-based generation of multiples of these time units, according to the note values to be played as rhythm beat (29) or (30) in FIG. 6b; an optional external clock feed (SYNC.
  • an entire bus can of course also be provided, which connects several instruments with one master device, which e.g. is connected to said sound preserve, is connected to one another, the data required for the soiel leaders of the other instruments being exchanged via a bus protocol.
  • the circuit has a large number of switches (17, 18, 19, 20, 21), which can optionally be replaced by decoded tone signals from the instrument (cf., Fig.
  • the input latch of the decoder is an optional RAM, in which all the LED addresses to be displayed at the same time (for chords) are written in consecutively addressed words and a constantly repeated dynamic addressing of all these words is multiplexed within, but for the eye as At the same time, there is a sensible display of the relevant LEDs, whereby this RAM can of course also be part of the stepping mechanism called RAM (FIG. 2a) or instead of the multiplexed display, the successive ablatching of LED signals to be displayed at the outputs takes place at the same time.
  • RAM random access memory
  • FIG. 17b serial addressing of the LEDs by means of shift registers, as shown in the example according to FIG. 17b.
  • the R-CODE belonging to a TONE CODE in one sequentially adjacent data value is also latched off, in the rhythm values corresponding to the respective time values running in the R-CODE , e.g. as feedback in a counter of the programmable logic circuit, which is fed to the Stats machines used for sequence control as an input variable.
  • the INTENSITIY-CODE which is also stored sequentially with the TONE CODE, effects a pulse duty factor modulation of the ENABLE / INTENSITIY signal (25d), which on the one hand predetermines the brightness measurement of the LEDs, and on the other hand also completely blanks them out according to the rhythm display method according to the invention.
  • the memory module which is connected to the programmable logic circuit or microprocessor as an external module, for the banknote program, can e.g. consist in part of a RAM area and the other part of an EPROM and has e.g. an expansion interface according to the invention to (EXPAN), furthermore the voltage supply of the EPROM can be clocked synchronously with the respectively read out data word in order to reduce the power consumption.
  • EXPAN expansion interface according to the invention to
  • STM control bits
  • CLK the operating cycle of the processor or state machine.
  • FIG. 4 illustrates the memory address forwarding of the note sequence program according to the invention: after the start of the operating program section concerned, the address of the RAM or EPROM in which the emergency sequence program is stored runs to the start position of the desired piece of music, for example. is entered via the sound generator or a certain address address code is read from a sound preserve, which immediately shows the sound to be played (e.g. as a subset of a piece designation code), which is why the start position of the note sequence program can be determined directly via the address signals reproduced by the sound preserve .
  • the described addressing of the note sequence program is initiated.
  • rhythm timing is not desired, then the note sequence program is switched on exclusively with the TON signal (see Fig. 2b), if the rhythm timer is switched on, then the note sequence program is switched on with the OR function already described: TON or INTern, with the representation of Fig. 4 as many address steps are combined to form an address step as tone signal parameters for the note (or notes, in the case of a chord) must be read out successively from the memory, that is to say they each have a common R-CODE.
  • the generation of the INTern signal is described in Fig. 6a, ** Fig. 5 illustrates the light-dark keying of the display means addressed by means of TONCODE, if it is agreed that game positions that are not to be played have expired.
  • rhythm timer R-CODE
  • the through. R-CODE defined point in time of the rhythm timer corresponds to a counter reading of the rhythm timer that has reached the actually ideal rhythm beat, whereby the rhythm beat can in principle be formed from the summation of the R-CODEs stored for the notes, taking into account the relevant advance to the ideal rhythm beat or or by one the note progression program correspondingly generated clock (see signal (30) in Fig. 6b).
  • 6a shows the event monitoring according to the invention, in order to maintain the synchronism of the note sequence program, in the event that the musician cannot follow the program in his playing and the TON signal for the timely advancement of the program fails to appear, that is to say the INTern signal this forwarding must alternatively plan.
  • a counter set to zero is decremented with the TON signal and a rhythm cycle corresponding to the game rhythm to be adhered to, which corresponds in time to the target game times of the emergency sequence program, is incremented and, on the one hand, when the counter status (overflow status OVS) is exceeded required INTern signal is generated, on the other hand the counter is reset.
  • OVS overflow status
  • the response value of the overflow status depends on the note sequence program, the rhythm duration of successively played notes controlled, ditto the address correction explained in adaptation to it.
  • DVM overflow status
  • the rhythm timer is reset or loaded with a new rhythm time practically at the time of the display change of the game positions (34) represented by LEDs, i.e.
  • IDEAL rhythm beat coinciding with the target playing time of the note sequence program; (30) .., called rhythm rhythm leading to the reaction time of the musician, leading rhythm rhythm, which relates to the times when the LEDs go out.
  • the named IDEAL rhythm cycle (29) can be generated by simply delaying the leading rhythm cycle (30), with a simple measure resulting in an individually adjustable response from the musician (see timer (27) in FIG. 3), but it can also be decoded out of a signal packet which contains different rhythm cycles with different reaction times for group music. As can be seen from the example in FIG.
  • the generation of the TON signal must be made dependent on the correct sequence of the notes expected in each case from the note program, in most cases by the circuit arrangement described in FIG. 7, or for more complex arrangements by string recognition of notes to be played in succession.
  • the simple version consisting of the aforementioned GATE signal use together with the circuit according to FIG. 7, there is already a good possibility of improvising the musician both in rhythmic and in melodic terms, since the note sequence program is due to the undetected or blanked out TON signal during improvisation is timely advanced by the INTern signal.
  • Another preferred alternative is for a large number of notes or tones present in the note sequence program, which are rhythmic for a piece of music.
  • rhythm cycle is calculated by adding up the R-CODE values, the rhythm timer relating to the R-CODE values then simply being multiplied by any value in order to determine the tempo, for example is indicated by a metronome, arbitrary.
  • the metronome beat is then generated from a multiple beat of the rhythm beat, the times associated with the respective beat strings being coded for the corresponding notes in the note sequence program and all the required clock signals being generated in accordance with the rhythm by a corresponding number of timers or even software that is moderately simulated multiple timers.
  • the duration of the last played note or chord is not displayed, which can be done, for example, by completing a piece of music all display elements briefly have the inverse characteristic state to the characteristic state of not played notes, in this example, the LEDs of all tones light up briefly, indicating the end of the game.
  • FIG. 7 relates to a tone converter circuit as it can be used for converting tones played in each case into an emergency sequence program generated by learning, which is written into the RAM (FIG.
  • the output of the VCO, or in the case of digital processing, the output of the A / D converter then is queried by a downstream comparator circuit to the frequency that corresponds to the note of the program to be played, and only if the comparator signal indicates the expected note for a generated TON signal, the TON signal is used in the manner described, otherwise it will Note program switched on with the INTern signal.
  • Another important function of this tone converter circuit is the decoding of tones, for switching operation modes, or for the selection of pieces, so that even small children can handle the instrument easily, e.g.
  • Fig. 8 relates to a version of the carillon in which the reeds (3) in in the middle each have a hole (40) into which the respective light-emitting diode (2) is embedded, furthermore a small lifting magnet is provided for each reed, which pushes the reeds with a felt covering from below, which creates the following variants of influencing the game: first, leg fluffing of the sound when swinging or preventing swinging when e.g.
  • a tone is struck too early, which tone can subsequently also be triggered in time by this lifting magnet magnet; second, playing a second part of the program; and thirdly, as a preferred expansion function of the invention, damping the note values played in each case, the time for this damping, depending on the desired operating mode, which can also be switched over by the note sequence program, being determined either tonally by the note program, for example tones should be stopped over the duration of further tones, or after striking a respective tone, the previously targeted tone is damped, the actuation of the solenoids e.g. with intelligent decoder (25b), e.g.
  • the tone address of each tone played is converted into addressing signals for controlling the solenoids, to dampen previously played tones, i.e. the duration of the tone is determined or co-determined not only by the note sequence program, but by the game itself;
  • the control circuit of the solenoids has a keyboard interface, e.g. a MIDI interface via which the solenoids can be operated, e.g. by means of a keyboard, the key actuation of which is supported by the game guide in the manner described.
  • FIG. 9 relates to the side view of the light-emitting diode display of the example shown in FIG. 1, the light-emitting diode row projecting over the sound tongue with a strip (43).
  • Fig.10a u. 10b relates to an exemplary embodiment in which the light-emitting diode display (2) of the example shown in FIG. 1 is accommodated in a separate wooden housing, which, by milling out a cavity (89) on the underside along the bar, has space for a printed circuit board on which the light-emitting diode rows are arranged (LDH, LDG) are fitted directly and pushed through the holes in the bar.
  • LDH printed circuit board
  • FIG. 10 b shows the side view.
  • the rows of LEDs of the whole tones (LDG) are offset from those of the semitones (LDH) according to their playing positions.
  • FIG. 11 shows the application of the invention on a guitar: the LED displays
  • FIG. 12 shows a variant of the version according to FIG. 8, but with the following further properties that are particularly suitable for the use according to the invention: The reed
  • the reed can be made magnetizable and can be deflected directly by a coil underneath or at higher frequencies or when not used magnetizable reeds, e.g. made of aluminum, a core (41b) or an anchor made of material with low spine loss can be glued on the reed (52) and electromagnetically vibrated by the coil (42b), whereby the reed frequency of the reed can be damped in the same or opposite way, especially in the Frequency range from harmonics to this frequency.
  • Hold circuits which temporarily store analog voltage fed in by a common analog input, a multiplexer query is therefore provided for the signal decoupling of combined multiplexer units (MUX1, MUX2, MUX n).
  • the circuit shown in FIG. 12 is very inexpensive because a large number of such electromagnetic circuits can be combined to form multiplexer units.
  • the principle used is not only suitable to support the captain according to the invention, but above all also for sound enhancement, in which case, for example.
  • Disturbing harmonic frequencies of the reed are antiphase and insufficient harmonic frequencies are coupled in in phase with the natural frequency of the reed, whereby this coupling is preferably controlled by a signal processor in such a way that it scans the momentary vibration of the reed and the electromagnetic influence on the vibration in the desired manner, e.g. . for the purpose of sound embellishment or marking.
  • the described signal decoupling is of course also particularly suitable for the described digital decoding of the tone generation signal, or for the described query as to whether a tone played in each case corresponds to the tone sequence of the note sequence program, the TON signal generation to advance the note sequence program depending on the result of this query.
  • FIG. 13 shows a string blocking or tonau release with a magnetizable core or anchor surface (47b) pushed onto the instrument string which is attracted or repelled by the end face of the shell core pulse (42b), whereby (42b) can also be arranged such that the string does not is only moving in height, but also strings. Between the two anchor surfaces (47b) the same core arrangements (42b, only 1 core drawn) is the playing point for electromagnetic plucking or blocking of the string 45.
  • FIG. 14 shows an alternative to the arrangement according to FIG.
  • FIG. 15a shows the arrangement described in FIG. 14 with a top view of the reed, the sinking groove (54c) of the vibrating thread being visible (with holes (53a) for passing the vibrating thread through.
  • 15b shows an alternative 15a, in addition to the two side holes (53a) there is also a central hole (53b) for passing the thread through in order to achieve better centering and good producibility.
  • the guidance of the two threads (upper thread (54a) and lower thread (54b) is shown laterally to the structure of the arrangement shown.
  • the electromagnetic Beaufechla Tongue of the reeds be it by additional, electromagnetically controlled felt hammers (51, see also 41a in Fig. 8) or by excitation of the electromagnetic vibration system itself, gives the possibility to connect an external keyboard in addition to the already mentioned possibility of playing a second voice , e.g. via a MIDI interface, which can then also have the features mentioned according to the invention.
  • 15c shows the possibility of combining described sound generation for reeds with piano mechanics.
  • a further locking or felt pad against horizontal displacement (4a) is provided, the structure shown being good for a standard wing mechanism is suitable and the coil arrangement shown can also carry out sound finishing.
  • Further preferred features are the cutout in the center of the felt hammer (51) with its rope stop faces (51a) and the optional centering springs 49b and 49a already explained.
  • the TONCODE address is supplied with latch inputs of both decoders (25a1 and 25a2), the colors are switched to the colors via the selection inputs by inverters (25a1), the two-color LEDs in Controlled by the decoder outputs.
  • inverters 25a1
  • the two-color LEDs in Controlled by the decoder outputs.
  • addressable spawns can also be provided as LED decoders, the outputs of which can then be switched on or off practically simultaneously by successive addressing for the eye, the visualization of the display according to (34 ) Fig.6b is controlled.
  • 17a relates to the exemplary embodiment of a 2x5-digit fingerprint display for a keyboard, which has already been explained at the beginning;
  • the left display (55b) has the color of the right hand
  • the left has a triad on the piano player
  • the right display (55a) shows an overlap to the right with the color of the left hand
  • the left Hand should start the game with the 3rd finger.
  • Which tones both hands should grip then results from the two-row LED display (2a), one row for whole tones (LD6) and one at a short distance above and to those of the whole tones correspondingly staggered, for semitones (LDH).
  • LD6 whole tones
  • LDH semitones
  • FIG. 17b shows a preferred practical installation of the light-emitting diode display (LDH, LDS) of the keyboard according to FIG. 17a into the cover strip, with which, in the case of standard pianos, the keys are covered at the end of their coating and into a cavity provided for accommodating the light-emitting diodes (B9).
  • a printed circuit board 86 for example to save space, all flexible printed circuit (86) and light-emitting diodes soldered directly, directly controlled by serial shift register chip (85) with integrated driver.
  • the part denoted and marked with (66) being part of a piano mechanism, and when using the keyboard as an electronic keyboard, in particular for emulating a real piano keyboard, for independent protection is sought, then can be omitted.
  • the part or stroke that is moved by the key lever end (64) of a standard piano mechanism that is, as a rule, the movement coupling that is loose due to the pushing movement between the adjusting screw (63) of the key lever (64) and the stop felt (64xz) of the acceleration anvil (65) , a movement resistance controlled by electromagnetic force action, which is given by the magnetizability of the material used as movement resistance, is provided.
  • this resistance to movement consists of a solenoid (59), which is guided in a solenoid (2c1) (not shown in the shell core housing) e.g. is firmly pressed onto a non-electrically and non-magnetically conductive plate rod (plastic or wood), which has at its upper end a plate (62) for abutting the abutment surface, which in principle is a replica of the plate surface called adjustment screw (63), and further from a further electromangeable core (60) separated by an electrically and non-magnetically conductive intermediate piece (61) from the first core, pressed onto said rod, which is immersed in a further solenoid (2c2), which is used together with this core as a stroke length measuring system, which either according to the principle of a differential choke or because of the larger air gap according to the measuring principle of inductance detuning of a coil, e.g.
  • the program can now be carried out according to the activated key blocking (with excitation current ip), e.g. via multiplexer circuit with sample &. 12, or the query required for the control, for example, by evaluating the oscillator frequency (us) of an inductively detunable oscillator formed with the length measuring inductor, ditto for evaluating the TON signal mentioned.
  • Fig. 19 shows the preferred embodiment of the arrangement according to Fig. 18 for subsequent installation in a Siandart piano.
  • the resistance to movement according to the invention between said adjusting screw of the key lever and the aforementioned felt stop surface is so narrow that it does not change the structural conditions of the piano.
  • the bestanö part of the arrangement which belongs to the standard piano (66) can also be omitted, in order to only get an electronic replica of the response of an original piano door, e.g. in connection with a midi interface, which is provided by the Stroke length measuring system of the arrangement is fed. Described advantage results from the use of a narrow lever, e.g.
  • the tensioning thread is suspended, for example, by a long slot guide (81) between two balls (80).
  • the embodiment shown in FIG. 19 preferably for the electromagnetic actuation of the tension thread (70) and thus the lever movement called the narrow lever (62) counter-clock-controlled cores (59A, 59B) which are guided in cylindrical shell core coils (2c1A, 2c1B).
  • the embodiment shown in FIG. 20 moves the narrow lever (62) called electromagnetically actuated armature surface (69) by mutually tightening, preferably also repelling, between the pole surfaces of two shell cores (2c1A, 2c1B) between which the armature surface moves in a movement, that corresponds to the stop actuation called Amposses (65) is arranged.
  • FIG. 25 shows the use of plates which can be shifted according to the coordinate system through elongated holes (90a), (91a), which are screwed one above the other and are fastened to a keyboard cover of the piano, each of which relates to a side part (73).
  • the lifting magnet (41a) provided for each reed there is a pitch that corresponds to the key spacing of a piano keyboard, whereby for example the semitones do not necessarily have to be embedded in the whole tones, but can be located in a semitone box part of the instrument located behind the whole-tone box.
  • the stop pin of the reed shown in Fig. 8 then corresponds to the lifting plate (62xz) shown in Fig. 19. # In preferred dimensioning of the actuation stroke, when the button (57) is fully depressed, the lifting plate (62xz) is just pushed upwards so far that the reed (3) (e.g. covered with felt) can still swing freely .
  • the stop of the reed then results from the electromagnetic actuation of the lifting plate (64 xz), by feeding the coil current (ip), the size of which is determined by the stroke length measuring system in the lifting measuring coil (u), or z .For example, frequency with inductive evaluation, is made dependent on what the stop generated on the reed corresponds to the keystroke made.
  • the preferred keyboard version described is housed in a housing which has a plug-on device (for example) guide pin for plugging the bell resonance box, so that the lifting plates of the keys are passed through guide holes in the base plate of the glockenspiel resonance box at the intended locations, so the resonance box is optional is attached to the framed part (66) of Fig. 18. It is evident that the low-rise version described for Fig.
  • FIG. 18 makes use of the possibility of simultaneously influencing the sound of the reed generated by means of an electromagnetic vibration system, as explained for example in FIG. 12.
  • the electromagnetically controlled oscillating core (47a) is designed as a circular ring, through the central hole of which the felt-covered stop pin (41a, Fig.
  • the electromagnetic pulse when striking or damping a reed has hardly any disturbing effect on the reed frequency, since it is far from the resonance frequency of the reed.
  • a return spring is provided, for example, for damping the reed, which can of course also be done by the stop element (64xz), in order to bring back the stop elements with a low control current.
  • Another variant is to feed the dedicated keystroke signals from the keyboard (us) to a MIDI interface so that, for example, instead of the chimes. to play a "sampled" electronic piano, whereby of course both can take place simultaneously and the loudspeakers of the "sampled” piano can be located in the resonance box of the instrument below the reeds.
  • the express usability of the game guide according to the invention language training should be given, then for example use is made of the experience that foreign languages are easiest to learn in a relaxed state, e.g. the case of singing along or repeating song lyrics stored in memory or in the instrument's RAM, the rhythm or luminous intensity indicated by the LEDs corresponding to the pronunciations of the pronunciation.
  • the spoken text from the RAM is displayed on a ticker display.

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Abstract

Un dispositif pour faire de la musique est utilisé pour apprendre à jouer de toutes sortes d'instruments de musique. Il s'agit d'un guide pour instruments ayant des positions qui doivent être touchées au moins atteintes par les mains ou par les doigts du joueur. Ces positions, le cas échéant également des touches, sont affichées par le guide pendant l'éxécution, notamment pour apprendre à jouer en tempo.
EP19910902597 1989-12-23 1990-12-27 Dispositif pour faire de la musique Withdrawn EP0464173A1 (fr)

Applications Claiming Priority (12)

Application Number Priority Date Filing Date Title
DE3942853 1989-12-23
DE3942853 1989-12-23
DE3943194 1989-12-28
DE3943194 1989-12-28
DE3943195 1989-12-28
DE3943195 1989-12-28
DE4000093 1990-01-03
DE4000093 1990-01-03
DE4000426 1990-01-09
DE4000426 1990-01-09
DE4041766 1990-12-24
DE4041766A DE4041766C2 (de) 1989-12-23 1990-12-24 Musiziereinrichtung

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EP0464173A1 true EP0464173A1 (fr) 1992-01-08

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WO (1) WO1991010222A1 (fr)

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WO1992011618A1 (fr) * 1990-12-24 1992-07-09 Roman Koller Systeme d'apprentissage audio-visuel
DE4143257C2 (de) * 1991-01-01 2001-04-19 Roman Koller Verfahren zur Anpassung der Phasenlage oder Frequenz eines rhythmischen Vorgangs
IT1279161B1 (it) * 1995-03-10 1997-12-04 Comus Spa Dispositivo elettronico per lo studio e la pratica di uno strumento musicale, in particolare una batteria
EP0969447A1 (fr) * 1998-06-30 2000-01-05 Klaus Assfalg Xylophone électronique
US20210225342A1 (en) * 2020-01-17 2021-07-22 Aaron Thomas Protective cover for electronic music equipment
CN112071163B (zh) * 2020-09-25 2022-03-04 山东工业职业学院 一种乐理教学方法及辅助装置
CN112908091A (zh) * 2021-01-14 2021-06-04 宋鹏新 一种用于小号训练用的辅助器材

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US3552256A (en) * 1968-10-28 1971-01-05 Rice Honeywell Teaching device for musical instruments
US4080867A (en) * 1975-09-22 1978-03-28 Srinkarn Ratanangsu Electronic display system for musical instruments
IT1113061B (it) * 1978-02-21 1986-01-20 S I El Spa Soc Ind Elettronich Apparecchiatura elettronica per l'insegnamento e la letture della musica
GB2044511A (en) * 1979-02-23 1980-10-15 Gaf Corp Music teaching system
JPS5692567A (en) * 1979-12-27 1981-07-27 Nippon Musical Instruments Mfg Electronic musical instrument
GB2116770A (en) * 1982-03-03 1983-09-28 Michael John Lewis A display device
GB8421255D0 (en) * 1984-08-22 1984-09-26 Chan Y H Computerized music teaching instrument

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