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
  • G10H1/0025—Automatic or semi-automatic music composition, e.g. producing random music, applying rules from music theory or modifying a musical piece
• • 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
• • 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
  • G10H2210/101—Music Composition or musical creation; Tools or processes therefor
  • G10H2210/105—Composing aid, e.g. for supporting creation, edition or modification of a piece of music
• • 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
  • G10H2210/101—Music Composition or musical creation; Tools or processes therefor
  • G10H2210/151—Music Composition or musical creation; Tools or processes therefor using templates, i.e. incomplete musical sections, as a basis for composing
• • 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
  • G10H2220/091—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith
  • G10H2220/101—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith for graphical creation, edition or control of musical data or parameters
  • G10H2220/106—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith for graphical creation, edition or control of musical data or parameters using icons, e.g. selecting, moving or linking icons, on-screen symbols, screen regions or segments representing musical elements or parameters
• • 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
  • G10H2240/00—Data organisation or data communication aspects, specifically adapted for electrophonic musical tools or instruments
  • G10H2240/121—Musical libraries, i.e. musical databases indexed by musical parameters, wavetables, indexing schemes using musical parameters, musical rule bases or knowledge bases, e.g. for automatic composing methods
  • G10H2240/131—Library retrieval, i.e. searching a database or selecting a specific musical piece, segment, pattern, rule or parameter set
• • 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
  • G10H2240/00—Data organisation or data communication aspects, specifically adapted for electrophonic musical tools or instruments
  • G10H2240/325—Synchronizing two or more audio tracks or files according to musical features or musical timings

Definitions

• the present method is primarily intended for persons who, while being strongly attracted by music and musical composition, are not good at manipulating a musical keyboard or receiving instruction from branches such as solfeggio or harmony.
• the musical works to which the method according to the invention is applicable are constituted, and this is a case frequently encountered, of a melody and an accompaniment, the latter being often called orchestration or orchestral accompaniment, when has several instruments.
• the simplest method for the interested person, for lack of being able to compose it himself, is to take one in the repertoire of the musical heritage of the past, - lawful thing if its author has died for more than 70 years and copy it, even adapting it somewhat, as for example to remove one or the other ornamental outmoded, or rework. These things done, she could, without being able to write it in music, sing it mentally.
• the method according to the present invention makes it possible to obtain in a short time an unprecedented musical work of the length of an entire piece of music, for example to obtain during the course of a the same day a piece of several minutes. It consists of using banks of melodies and accompaniment banks, the latter constituting collections of orchestral accompaniments, which have a canvas structure the length of an entire piece.
• This structure of orchestral accompaniment canvases implements several accompanying instruments, a rhythmic preference associated with those of our time, an introduction and a final.
• These collections of orchestral accompaniment patterns are presented in several groups, for example group a, group b, group c, etc., each of them ringing in a distinct tone. They are recorded in advance in the software made available to the user, and in a manner easily audible by him to the ear.
• the user is invited to listen to these melodies and orchestral accompaniments, to examine in depth those they prefer, and to make a choice.
• the next step is to simultaneously record the sound of the melody and the orchestral accompaniment - but not just any way.
• the system allows the user to truly "modulate" his melody according to the accompaniment he hears.
• the software makes the following maneuver available to it. He starts listening to the orchestral accompaniment and acts on the mouse so that at each click of the mouse is recorded, and this audibly, a note of melody, and this in sequence, starting with the first, with as a characteristic, that each of these successive sounds of the melody is noted by the system as being the duration of the click pushed by the user.
• the song once recorded can be made visible on the screen in the form of a linear diagram affecting the shape of a ribbon provided with equal time units and numbered in sequence (the "measures") with a course of cursor moving as you listen to the song.
• This allows the user to improve his in the following way. While listening, he locates the number of the measure where he could have heard two notes he considers unsatisfactory in compatibility. For one of the two - and this will usually be the one belonging to the orchestral accompaniment - he has the wish to suppress it or to attenuate it.
• the software enables it to display on the screen the structure of the orchestral accompaniment at the level of the measurement bearing the number concerned. He sees the instruments intervening, each instrument appearing accompanied by a virtual potentiometer which governs its volume. It is then enough for him to lower the one concerned, and this for the duration of the measure in question to the exclusion of others.
• Fig.l represents an example of what appears on the computer screen when the user calls a melodic theme from one of the banks, - melodic theme here consisting of 2 sentences of 7 notes each, and represented on the screen by 14 marks 2 put in sequence on a litter 1.
• Fig.2 shows the same sequence modified by the user to better adapt to his taste the notes of the melody called.
• Pig.3 shows an example of the on-screen representation of how the orchestral accompaniment is described.
• the mobile cursor 4 vertical line, is represented: it is mobile from the start and moves at a uniform speed, over the audible course of the accompaniment, on 32 tracks
• Fig.4 shows the same with the cursor
• Fig. 5 again represents the cursor in the course of scrolling, here arrived in measure 6.
• the preceding measures have been successively filled with markers embodying the fact that the notes of the melody were, one after the other, recorded and recorded over those of the orchestral accompaniment.
• Fig.6 shows an example of an on-screen representation of the structure of an orchestral accompaniment corresponding to a given measure.
• Fig. 7 schematically represents a "screenshot" supposed to represent the maneuverability of the user with his mouse, during the main operations that help him compose.
• the example described below illustrates in a concrete case the description of the process according to the invention.
• the user begins by exploring, by audition, the banks of melodies appended to the software available to him. They are classified in categories such as: gay, serious, nostalgic, sad or other. At this point, the tempo, or the playing speed of the melody, is not yet decided by the user; he will do it later.
• By choosing a melody he notes to which group it belongs: either for example the group A. At the desired moment, he will have to choose an accompaniment of the homonymous group.
• the user can, and must, display on the screen a diagram representing the sequence of sounds of the selected melodic theme.
• a button is available to erase any "note” junk, and to add more, it will make use of a small virtual keyboard located on the screen.
• a keyboard located on the screen.
• his melody being considered adopted with regard to the choice of sounds (but not yet their durations, nor the rhythm of the game), it leaves it on the screen, and will explore orchestrally the orchestral accompaniments in the banks that contain them, and here, more precisely, in the homonymous bank, "group a". He chooses one, given the melody he has in mind, according to his taste.
• the bank gives him the choice between various styles, and suppose for example that he chooses an accompaniment in the style "songs-rock".
• a simple maneuver it records it with materialization on the screen of its visual scrolling diagram which has the appearance of fig.3.
• By launching the cursor it describes the entire ribbon, until the last measurement, the one bearing the No. 32, and the sound accompanies him audibly, so that the user has a system locating.
• the orchestral accompaniments in the chosen case "song-rock” are built with a length of 25 to 35 measures.
• the software provides simple tools to delete certain measures, or to split, to change places of split or non-duplicate measurements, or other such maneuvers.
• the user must also assign a tempo, a speed of play, scrolling his orchestral accompaniment. He will do this by taking into account the pace he wants to give to his piece: for example, for a nostalgic piece, it will take a slow tempo. It must also take into account the duration of the melody which it has so that it adapts to that of the accompaniment. It is common for him to decide to play the melody - this is the object of the maneuver that will be described below - only after one or more accompanying measures alone, - and similarly at the end of the piece. It is among others in anticipation of this that the accompaniments were elaborated with an introduction and a final. In our example, as it is a song, it has a duration of about two minutes.
• the note will be all the longer. Aided by the fact that the accompaniment takes place at the same time as his maneuver with the melody, it is therefore the user and he alone who will give the rhythm deemed appropriate to his piece, since he is master of both the when he enters a note, and the duration he gives it.
• Fig.5 shows the cursor en route, arrived in the sixth bar. Looking closely at this figure, we can see that the user has slightly modified the rhythm evoked by the previous sequences ( Figures 1 and 2). It has, if you will, "swing" compared to the regular rhythm of which are generally provided the folk melodies. Measure 5 has only one note, because it pushed at length on the click. And on measure 6, he clicked four times, and quickly.
• the correction maneuver that the present method allows consists in recording the number of the measurement concerned, and by a simple maneuver, to show on the screen what is the structure of the orchestral accompaniment at the level of said measurement.
• Figure 6 shows schematically how such a table can be presented for the measurement taken This is the case with the number 7, for example.
• Each instrument of the orchestral accompaniment is on the screen accompanied by a small potentiometer whose activation allows to attenuate or to suppress its sound. It is enough for the user by attentive listening, to identify the one of the instruments responsible for the dissonance. In general it will be one of the solo instruments of accompaniment, and in no case, for obvious reasons, percussion, it will leave as it is.

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• Engineering & Computer Science (AREA)
• Physics & Mathematics (AREA)
• Acoustics & Sound (AREA)
• Multimedia (AREA)
• Theoretical Computer Science (AREA)
• Electrophonic Musical Instruments (AREA)
• Auxiliary Devices For Music (AREA)

Applications Claiming Priority (2)

Publications (1)

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Family Applications (1)

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• 2006
  • 2006-11-14 WO PCT/BE2006/000123 patent/WO2007053917A2/fr active Application Filing
  • 2006-11-14 US US12/093,608 patent/US20090272252A1/en not_active Abandoned
  • 2006-11-14 EP EP06817623A patent/EP1969587A2/de not_active Withdrawn

Non-Patent Citations (1)

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