Classifications

• • 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
  • G09B15/02—Boards or like means for providing an indication of notes
  • G09B15/023—Electrically operated

Definitions

• the present invention relates to the general technical field of the electronic generation of musical sequences, in particular in a playful and/or learning context.
• the present invention relates more specifically to a musical sequencer comprising means for generating a musical sequence as well as an interface for composing said musical sequence.
• the objects assigned to the invention therefore aim to remedy the various drawbacks of the prior art mentioned in the foregoing and to propose a new musical sequencer allowing users who do not know music theory, and in particular children , to reproduce or create precise and harmonious musical sequences, in a particularly simple and intuitive way, by carrying out simple manipulations accessible to all, which promote learning.
• Another object of the invention aims to propose a new musical sequencer which makes it possible to parameterize very easily and quickly the rhythm of the musical sequences generated.
• Another object of the invention aims to propose a new musical sequencer particularly suited to the implementation of musical awakening activities.
• Another object of the invention aims to propose a new musical sequencer which makes it possible to generate, in a particularly rapid and intuitive manner, long and complex musical sequences.
• Another object of the invention aims to provide a new musical sequencer which, while implementing a minimum number of hardware components, makes it possible to easily reproduce or create sophisticated musical sequences.
• Another object of the invention aims to provide a new musical sequencer which is extremely compact and robust, and is based on a very simple handling principle.
• Another object of the invention aims to provide a new musical sequencer whose design is particularly reliable and gives it a character that is both playful and durable.
• Another object of the invention aims to provide a new musical sequencer whose design facilitates the manipulation and the creation of harmonious musical sequences without any knowledge of music theory and musical composition.
• a musical sequencer comprising means for generating a musical sequence as well as an interface for composing said musical sequence, characterized in that said composition interface comprises a plurality of blocks as well as receiving locations for removably receiving the blocks, said plurality of blocks including at least one primary block associated with at least one temporal or sound musical characteristic as well as several secondary blocks each associated with at least one respective sound , said receiving locations including at least one primary location for receiving the primary block and a series of secondary locations for receiving the secondary blocks, said means for generating the musical sequence being connected to said composition interface so that said generated musical sequence includes a sequence of sounds that correspond to those associated with the secondary blocks received s by the secondary locations, said temporal or sound musical characteristic applying to all said series of sounds.
• FIG. 1 illustrates, in a schematic elevational view, a first example of a musical sequencer according to the invention, whose composition interface is formed by a base which accommodates in this case a primary block associated with a rhythmic figure (here formed by two quarter notes) and four secondary blocks each associated with a chord (which are in this case respectively the chords of C major (C) , F major (F), G major (G) and A minor (Am).
• FIG. 2 schematically illustrates the principle of operation of the musical sequencer of Figure 1, and more precisely the application, to the sound (chord of C major) associated with the first secondary block, of the rhythmic figure (two quarter notes) defined by the primary block.
• FIG. 3 illustrates, in a schematic perspective view, a second embodiment of a musical sequencer according to the invention, which essentially corresponds to that of Figure 1, with the difference that the primary block defines this time a different rhythmic figure (four quarter notes instead of two quarter notes) and that the base is connected, for example by wireless communication means, to an independent portable terminal (in this case a touch pad), which displays for example information aimed at guiding the user.
• an independent portable terminal in this case a touch pad
• FIG. 4 illustrates, in a schematic view, another embodiment of a musical sequencer according to the invention, in which the base is formed of two separate modules joined to one another, a first module being intended to accommodate one or more primary blocks while the second module accommodates the secondary blocks, the two modules communicating with each other by a direct or indirect, wired or wireless link, at least one of the two modules being able to communicate moreover with a portable terminal of the touch pad type.
• Figure 5 illustrates, in a schematic perspective view, an embodiment similar in principle to that of Figure 3, but which this time implements advanced secondary blocks in the form of cubes, each side face of which corresponds to a chord, with a visual code system identifying each of the keys to which the chord associated with the side face concerned belongs.
• Figure 6 is a schematic view illustrating the principle of operation of the sequencer of figure 5.
• Figure 7 is a schematic view of a detail of Figure 5, showing in particular the active side face of each of the secondary blocks.
• FIG. 8 is a logic diagram illustrating how the composition interface generates a musical sequence from the positioning, within the primary and secondary locations, of primary and secondary blocks.
• FIG. 9 illustrates, according to a schematic cross-sectional view, an exemplary embodiment of identification and orientation determination means associated with each location, based on the combined implementation of a near-field communication system (NFC ) and a magnetic detection system, to identify the block received in the location concerned and to determine its spatial orientation relative to the location.
• NFC near-field communication system
• magnetic detection system magnetic detection system
• FIG. 10 illustrates, according to a schematic top view, a first arrangement of a magnetic detection system intended to make it possible to determine the orientation of a block within a location, said magnetic detection system implementing a single magnetic sensor disposed centrally relative to the location.
• Figure 11 illustrates, in a schematic top view, an alternative embodiment of the magnetic detection system of Figure 10, this time implementing two magnetic orientation sensors arranged at the edge of the location.
• the invention relates to a musical sequencer 1 which allows a user to produce musical sequences automatically or semi-automatically.
• the musical sequencer 1 is advantageously an electronic musical sequencer.
• the musical sequencer 1 according to the invention comprises means for generating a musical sequence, as well as an interface 2 for composing said musical sequence.
• the said composition interface 2 is advantageously in the form of a man-machine interface that can be manipulated, preferably directly and physically, by the user and which allows the latter to adjust various parameters of the musical sequence intended to be generated.
• said interface 2 allows the user to construct and configure the musical sequence in question.
• the composition interface 2 comprises a plurality of blocks 3, 4, 5, 6, 7, which are in the form of independent tangible elements, voluminous (of the cube type) or flat (of the cards).
• block is not limited to a particular geometry or consistency and thus designates either flat or solid objects, rigid or flexible.
• Each block 3, 4, 5, 6, 7 is configured to be grasped and manipulated by hand by a user, which means that its size and its mass are suitable for such use.
• the blocks 3, 4, 5, 6, 7 advantageously all have the same shape (for example a cube shape as in the examples illustrated in the figures) as well as a rigid character. However, it is perfectly possible to implement blocks 3, 4, 5, 6, 7 rather having a soft or flexible character, at least superficially, with shapes and/or dimensions which may vary from one block to another. .
• the composition interface 2 also includes reception slots 8, 9, 10, 11, 12 to receive the blocks 3, 4, 5, 6, 7 in a removable manner, and preferably individually.
• each reception location 8, 9, 10, 11, 12 is advantageously configured to receive only one of the blocks 3, 4, 5, 6, 7 at a time, the user being able at any time, manually, to separate each block 3, 4, 5, 6, 7 of the respective location 8, 9, 10, 11, 12 which receives it.
• the slots 8, 9, 10, 11, 12 for receiving blocks 3, 4, 5, 6, 7 can be in any suitable form, and for example in the form of a simple flat surface delimited by a marking, or , as illustrated in the figures, in the form of a conformation complementary to the shape of each block 3, 4, 5, 6, 7.
• the composition interface 2 comprises at least one base 13 intended to form a reception base for the blocks 3, 4, 5, 6, 7.
• the base 13 is thus advantageously in the form of a plate configured to rest stably on a flat support (for example a table).
• the base 13 can in this case be formed of a one-piece unit plate (as illustrated in Figures 1, 3 and 5).
• the base 13 it is perfectly possible (cf. FIG. 4) for the base 13 to be alternatively composed of several independent modules 13A, 13B which can be attached and/or be functionally connected to each other (for example by means of a connector by contact or wireless means of communication).
• each reception location 8, 9, 10, 11, 12 is in the form of a hollow housing provided on the surface of the base 13 and whose shape and dimensions are combined with that of the blocks 3, 4, 5, 6, 7.
• Each reception location 8, 9, 10, 11, 12 is thus advantageously in the form of an indentation made on the surface of the base 13 to individually accommodate one of the blocks 3 , 4, 5, 6, 7.
• said plurality of blocks includes at least one primary block 3 associated with at least one temporal or sound musical characteristic.
• said at least one temporal or sound musical characteristic is a rhythmic figure, so that each primary block 3 is in this case associated with at least one rhythmic figure.
• the invention is however not limited to the association of each primary block 3 with at least one rhythmic figure, and said at least one temporal or sound musical characteristic can alternatively be for example a sound timbre, for example characteristic of a musical instrument, so that each primary block 3 is in this case associated with at least one sound timbre.
• said plurality of blocks includes a single primary block 3, for reasons of simplicity and ergonomics.
• said plurality of blocks also includes several secondary blocks 4, 5, 6, 7 each associated with at least one respective sound.
• Each of said sounds can for example be formed by a musical note, or a set of simultaneous musical notes or successive.
• said sounds associated with the secondary blocks 4, 5, 6, 7 are each formed by a chord, which chord is preferably a chord formed from notes played simultaneously, that is to say superimposed at the same time (this which excludes in this case chords expressed by successive notes, such as arpeggios, it being understood that it is alternatively possible to implement chords formed of notes played successively, in which case the arpeggios are included this time).
• said receiving slots include at least one primary slot 8 to receive the primary block 3 and a series of secondary slots 9, 10, 11, 12 to receive the secondary blocks 4, 5, 6, 7.
• said interface 2 is designed to play audibly, for a predetermined duration (for example 1 s), the sound associated with a secondary block 4, 5, 6, 7 given from when the latter is received by a secondary location 9, 10, 11, 12. If the sound in question is a chord formed of notes played simultaneously, it is possibly possible that the chord in question is played like a arpeggio, that is to say that its notes are played successively, so that the user can more easily identify the notes forming said chord.
• the composition interface comprises only a single primary location 8 to individually receive one or more primary blocks 3, and a series of secondary locations 9, 10, 11, 12, advantageously arranged one after the other, in line.
• other locations are provided to accommodate other blocks (tertiary blocks).
• the interface 2 includes, in addition to a primary location to receive the primary block 3 and four secondary locations to receive the secondary blocks 4, 5, 6, 7, two tertiary locations intended to receive in this case tertiary blocks 14, 15 which allow for example to associate the musical sequence generated with a specific part of a particular piece of music.
• the means for generating the musical sequence are connected to said composition interface 2 for: - that said generated musical sequence includes a series of sounds which correspond to those associated with the secondary blocks 4, 5, 6, 7 received respectively by the secondary slots 9, 10, 11, 12,
• each primary block 3 is associated with at least one rhythmic figure
• said sounds of said sequence of sounds are played, preferably in the order of arrangement of the secondary blocks 4, 5, 6, 7, according to a rhythm which applies to each sound of the sequence of sounds, which rhythm corresponds to the, or to one of the, rhythmic figure(s) associated with the primary block 3 received by the primary location 8.
• said sounds of said sequence of sounds are then played with a sound timbre which applies to the entire sequence of sounds and which corresponds to, or to one of, the sound timbre(s) associated with the primary block received by the primary location 8.
• the invention is thus based on a particularly simple and effective technical principle, which consists in allowing the user to select different sounds by simply positioning secondary blocks 4, 5, 6, 7 in the secondary slots 9, 10, 11, 12 , so as to thus form a sequence of sounds which constitutes the musical sequence, and to apply to this sequence of sounds a parameter defined by the primary block 3, and for example a particular rhythm or a particular sound timbre.
• the invention provides for placing a primary block 3 "as a factor" of several secondary blocks 4, 5, 6, 7 so that the parameter associated with the block primary 3 is "distributed" to each of the sounds associated respectively with each secondary block 4, 5, 6, 7.
• each primary block 3 is associated with at least one rhythmic figure
• the user can materialize very easily, by a sequence of blocks 3, 4, 5, 6, 7 which can be manipulated, a musical part with a block 3 of rhythmic figure which applies to the whole part, and several blocks 4, 5, 6, 7 which correspond to the different chords of the musical part that the user wishes to generate.
• FIG. 2 illustrates this principle of application, to each chord of the sequence of chords defined by the sequence of secondary blocks 4, 5, 6, 7, of one and the same rhythmic figure defined by the primary block 3.
• the FIG. 2 thus illustrates a rhythmic figure 16, corresponding in this case to two quarter notes (noted here with any note, in this case a G).
• This rhythmic figure 16 is associated with the primary cube 3 of Figure 1, and is moreover advantageously represented graphically on the primary block 3 so that the user can directly identify the nature of the rhythmic figure that he intends to associate with the sequence sounds of the musical sequence he wants to generate.
• FIG. 2 also illustrates a chord 17 which is in this case a C major chord (C), here notated with any rhythm (quarter note).
• the chord 17 is for example associated with the secondary cube 4 received in the secondary location 9 (cf. FIG. 1).
• the composition interface 2 thanks to the electronic and/or application means with which it is equipped, will then combine the rhythmic figure 16 with two quarter notes and the chord 17 of C major to create a musical sub-sequence 18 formed in the species by two chords of C major played according to a rhythmic figure with two quarter notes.
• This principle is thus applied to each secondary block 4, 5, 6, 7, so that in the case of the example illustrated by figure 1, the musical sequence generated will correspond to the following series of chords:
• the generated musical sequence 180 corresponds to the following series of chords:
• each sound (chord) defined respectively by each secondary block 4, 5, 6, 7 is thus advantageously repeated in accordance with the rhythmic figure defined by the primary block 3 (for example repeated twice when the rhythmic figure is formed of two quarter notes).
• the secondary slots 9, 10, 11, 12 are for example four in number, which allows a good compromise between simplicity of use on the one hand and possibilities of composition on the other. go.
• the invention is obviously not limited to a particular number of secondary locations.
• the secondary locations 9, 10, 11, 12 are arranged one after the other, for example to form a row opposite which is arranged the primary location 8 intended to receive the primary block 3 (see figure 1).
• the row of secondary locations 9, 10, 11, 12 thus extends longitudinally, in a rectilinear or curvilinear manner, between a first secondary location 9 and a last secondary location 12.
• the row of secondary locations 9, 10, 11, 12 advantageously defines a reading direction of the sounds associated with the blocks 4, 5, 6, 7 respectively received by the secondary locations 9, 10, 11, 12 in question, this direction being advantageously defined from the secondary location 9 the furthest close to the primary location 8 in the direction of the secondary location 12 farthest from the primary location 8.
• the sequence of sounds that forms the musical sequence generated corresponds to the sequence of sounds associated with each secondary block 4, 5, 6, 7 played in the order of arrangement of said secondary blocks according to the meaning defined above.
• the invention is not limited to an in-line arrangement of the receiving slots 8, 9, 10, 11, 12 and a matrix arrangement, or according to a closed contour, is entirely possible.
• the use of a row(s) or row(s) layout is however preferred because of its intuitive and ergonomic nature.
• the musical sequencer 1 comprises means for reading each musical sequence generated, controlled for example by buttons 130, 131 arranged on the base 13 and making it possible to control the start of the reading and its stopping.
• the musical sequencer 1 also comprises sound broadcasting means 19, of the loudspeaker type, connected to said reading means to broadcast each generated musical sequence audibly.
• the musical sequencer 1 therefore also ensures by itself, thanks to appropriate means (reading means and sound diffusion means) preferably embedded within the base 13, an audible retransmission of the sequence composed using the composition interface 2.
• the interface 2 is equipped with a visual signaling device 90 of the progress of the reading of the musical sequence generated, which includes for example a row of indicator lights 900 arranged parallel to the row of secondary locations 9, 10 , 11, 12 and which light up one after the other at each beat of the rhythmic figure imparted by the primary cube 3, which makes it possible to materialize the progress of the reading in correspondence with the construction formed by the blocks secondary 4, 5, 6, 7.
• a visual signaling device 90 of the progress of the reading of the musical sequence generated which includes for example a row of indicator lights 900 arranged parallel to the row of secondary locations 9, 10 , 11, 12 and which light up one after the other at each beat of the rhythmic figure imparted by the primary cube 3, which makes it possible to materialize the progress of the reading in correspondence with the construction formed by the blocks secondary 4, 5, 6, 7.
• the reading and/or sound diffusion means 19 can be embedded in the interface 2, and for example within the base 13, or on the contrary be remote within an independent module, connected for example by means wireless communication to the base 13.
• the musical sequencer 1 comprises wireless communication means (based for example on the Bluetooth ® protocol) allowing it to communicate with a multifunction mobile terminal 20 (tablet or telephone for example) on which a dedicated application is executed making it possible, for example, to ensure in particular the reading and sound broadcasting of each musical sequence generated from the composition interface 2, and for example to control certain parameters (sound timbre, rhythmic figures, sound volume, tempo, etc.), possibly redundantly with the block system.
• the invention thus makes it possible, in this advantageous embodiment, to combine both the manipulation of real objects (the primary(s) and secondary blocks 3, 4, 5, 6, 7) with the power of the mobile terminals of the like tablet or telephone, which makes it possible to deport certain functions of the sequencer 1 (guide the user by inviting him to reproduce a series of blocks displayed on the screen, record, read and distribute the musical sequences generated, etc.).
• the use of a terminal 20 is of course absolutely not mandatory, especially more than the direct manipulation of physical objects proves to be particularly effective in quickly arriving at the desired result, while encouraging experimentation.
• the musical sequencer 1 comprises a device for recording each musical sequence generated, as well as concatenation means for assembling several musical sequences recorded one after the other in order to form a unitary resulting musical sequence.
• the recording device and the concatenation means are for example in the form of electronic means embedded in the base 13, which is advantageously equipped with appropriate control devices (button 132, wheel 21, touch screen or other) allowing the user to control the recording and concatenation functions in question.
• the recording device and/or the concatenation means can entirely, like the reading and sound broadcasting means, be remote to an independent terminal 20 connected to the base 13 by means of wireless communication.
• Each musical sequence can be stored in a dedicated memory of the musical sequencer 1, memory which can be incorporated into the base 13 or be moved to the external terminal 20 (in which case the memory used is that already present by construction in the terminal 20) .
• This concatenation function thus makes it possible to construct complex musical sequences by adding different elementary musical sequences one after the other, each elementary musical sequence being able to be distinguished from the other elementary musical sequences by the chords that it implements and/or by the rhythmic figure (and/or any other musical characteristic, such as for example the sound timbre) which is applied to them. Thanks to this concatenation function, the user can record different parts of the same piece of music and then put them together to end up with the whole piece.
• the storage of each musical sequence generated and the concatenation of several sequences to obtain a piece are controlled by means of the terminal 20, according to the following methods for example:
• the sequencer 1 thus advantageously implements several storage levels, associated for example respectively with tertiary blocks 14, 15 (cf. FIG. 4).
• the interface 2 comprises a first tertiary reception location receiving in this case a first tertiary block 14, and a second tertiary reception location receiving in this case a second block tertiary 15.
• the first tertiary location corresponds to an upper storage level associated with a piece of music
• the second tertiary location corresponds to a lower storage level associated with part of a piece of music.
• the composition interface 2 comprises a member 21 for adjusting the tempo of each musical sequence generated.
• the tempo adjustment device 21 includes for example a rotary wheel or any other appropriate means (hardware or software) which makes it possible to apply to the rhythm defined by the primary block 3 a pulsation speed which serves as a standard for building the different rhythmic values of the rhythmic figure applied to the sequence of sounds according to the principle explained above.
• the tempo value (expressed in beats per minute) can possibly be displayed directly on the base 13, or possibly on the independent terminal 20.
• the wheel advantageously forming the adjustment member 21 is preferably not limited to controlling the tempo .
• said wheel preferably also forms a push button which allows each press on it to change the parameter (tempo, sound volume, sound timbre, transposition, etc.) controlled by the rotation of the wheel.
• each primary block 3 is associated with several different temporal or sound musical characteristics, for example with several different rhythmic figures, said primary location 8 being configured to receive said primary block 3 according to several different predetermined orientations corresponding respectively to one of said characteristics musical time or different sound.
• the primary block 3 can be received by the primary location 8 in different positions each corresponding to a specific spatial orientation of the primary block 3 relative to the base 13, each of these predetermined orientations being associated with a characteristic particular temporal or sound musical, for example to a particular rhythmic figure.
• the composition interface 2 advantageously comprises not only primary means for identifying the primary block 3 received by the primary location 8, but also primary means for determining the orientation of said primary block 3.
• interface 2 is able to identify which primary block 3 is received by primary slot 8, which allows composition interface 2 to access the list of different musical time or sound characteristics assigned to the primary block 3 concerned (which can be a list of different rhythmic figures for example), then to identify what is the temporal or sound musical characteristic of this list which is selected to be applied to the sequence of sounds, by determining the orientation of the primary block 3.
• said primary identification and orientation determination means are connected to the means for generating the musical sequence so that either applied to said sequence of sounds of said musical sequence generated the temporal or sound musical characteristic associated with the predetermined orientation in which said primary block 3 is located received by the primary location 8.
• the primary means for identifying and determining orientation are connected to the means for generating the musical sequence so that said rhythm according to which said sounds of said generated musical sequence are played corresponds to said rhythmic figure associated with the predetermined orientation in which is primary block 3 received by primary slot 8.
• each primary block 3 is in the form of a prism with a base 30 intended to remain against the primary location 8 in all said predetermined orientations of the primary block 3, when the latter is received by the primary location 8
• the base 30 forms an underside of the primary block 3 intended to bear against the associated primary location 8, and for example to rest on a bottom wall 80 of said primary location 8.
• the primary block 3 can in this case be received by the primary location 8 according to different orientations which all have in common the fact that the base 30 remains against the primary location 8, and for example against the bottom wall 80 of the latter.
• the passage of the primary block 3 from one predetermined orientation to another while it is received in the primary location 8 is carried out by rotation of said primary block 3 on itself, along an axis central perpendicular to the base 30 and the bottom 80 (which corresponds for example in the illustrated embodiment to a vertical axis).
• the prism forming the primary block 3 also comprises a plurality of side faces 31, 32, 33, 34, which rise in this case from the periphery of the base 30.
• Said side faces 31, 32, 33, 34 are advantageously each associated with one of said different temporal or sound musical characteristics, and for example each associated with a different rhythmic figure, preferably graphically illustrated on the corresponding side face 31, 32, 33, 34 in order to be visually identified by an user.
• Each of said predetermined orientations of block 3 corresponds to the positioning of a different side face 31, 32, 33, 34 in a predetermined zone 22 of, or in line with, the interface 2 of composition.
• the predetermined zone 22 can thus correspond to a zone of the base 13, or alternatively, in accordance with the various embodiments illustrated in the figures (see in particular FIG. 6), can correspond to a zone of the space extending to the right of the base 13.
• the primary block 3 can thus be advantageously received by the primary location 8 in different positions which are distinguished from each other by the positioning of a side face 31, 32, 33, 34 different in the predetermined area 22.
• said primary means for determining the orientation of the primary block 3 are configured to identify which side face 31 among said plurality of side faces 31, 32, 33, 34 is positioned in said predetermined zone 22.
• each primary block 3 is for example associated with several different rhythmic figures, the composition interface 2 making it possible to select one of these different rhythmic figures in order to apply it following the sounds of the musical sequence by adjusting simply the orientation of the primary block 3 received in the corresponding primary location 8, the passage from one rhythmic figure to another being effected for example simply by turning the primary block 3 along a central axis of rotation perpendicular to the base 30 and at the bottom 80 of the primary location 8, while said base 30 remains against said bottom 80.
• each primary block 3 is in the form of a cube with a lower face corresponding to the base 30, and an opposite upper face 35 which advantageously bears an identification marking 350 to facilitate the proper positioning, by the user, of the primary block 3 on the primary location 8.
• the four side faces 31, 32, 33, 34 of the cube carry a marking identifying the figures rhythms with which they are respectively associated. The user can select the rhythmic figure he wishes to apply to the generated musical sequence by simply positioning the corresponding side face 31, 32, 33, 34 in the predetermined area 22.
• each secondary block 4, 5, 6, 7 is advantageously associated with several different sounds, and for example with several different chords.
• each secondary location 9, 10, 11, 12 is configured to receive any one of said secondary blocks 4, 5, 6, 7 according to several different predetermined orientations corresponding respectively to one of said different sounds with which the secondary block is associated. 4, 5, 6, 7 concerned.
• each secondary block 4, 5, 6, 7 is advantageously associated with several chords each corresponding to a predetermined orientation of the secondary block concerned 4, 5, 6, 7 relative to the base 13.
• the composition interface 2 advantageously comprises secondary means for identifying the secondary blocks 4, 5, 6, 7 received respectively by the secondary locations 9, 10, 11, 12.
• the secondary means of identifying the secondary blocks 4, 5, 6, 7 thus allow the composition interface 2 to identify, for a secondary location 9, 10 , 11 , 12 given, what is the secondary block 4, 5, 6, 7 received by the location in question, and therefore what is the list of sounds (which are preferably chords) selectable by means of the block secondary 4, 5, 6, 7 identified.
• the composition interface 2 also comprises secondary means for determining the orientation of each secondary block 4, 5, 6, 7 received in a secondary location 9, 10, 11, 12.
• each secondary block 4, 5, 6, 7 thus makes it possible to select, from the list of sounds associated with each secondary block 4, 5, 6, 7, one of the sounds in question which will be used for the generation of the musical sequence , in combination with the rhythmic figure selected by means of the primary block 3.
• the secondary identification and orientation determination means are thus advantageously connected to the means for generating the musical sequence so that each sound of said generated musical sequence corresponds (except for possible transpositions) respectively to each sound associated with the predetermined orientation in which each secondary block 4, 5, 6, 7 is received by one of said secondary locations 9, 10, 11, 12.
• each secondary block 4, 5, 6, 7 is presented, like each primary block 3, in the form of a prism with a base 40, 50, 60, 70 intended to remain against the secondary location 9, 10, 11, 12 which receives it in all said predetermined orientations of the secondary block 4, 5, 6, 7 concerned.
• the passage from one predetermined orientation to another for a secondary block 4, 5, 6, 7 received in a given secondary location 9, 10, 11, 12 is advantageously carried out by rotation of said secondary block 4, 5, 6 , 7 along a central axis perpendicular to the base 40, 50, 60, 70 of the prism forming the secondary block 4, 5, 6, 7 in question.
• each prism respectively forming each secondary block 4, 5, 6, 7 comprises a plurality of side faces each associated with one of said different sounds with which the secondary block 4, 5, 6, 7 concerned is associated, each of said predetermined orientations of each secondary block 4, 5, 6, 7 corresponding to the positioning of a different side face 41 of the secondary block 4, 5, 6, 7 concerned in a respective predetermined zone 23, 24, 25, 26 of, or in line with , the 2 composition interface.
• the principle of selection by means of the side faces is therefore preferably exactly the same here as that described above in relation to the predetermined zone 22 in which one of the side faces 31, 32, 33, 34 of the primary block is individually positioned. 3.
• the secondary means for determining the orientation of each secondary block 4, 5, 6, 7 are configured to identify which side face 41, 51, 61, 71 among said plurality of side faces of the secondary block 4, 5 , 6, 7 concerned is positioned in said predetermined zone 23, 24, 25, 26 correspondingly associated with the secondary location 9, 10, 11, 12 concerned.
• each secondary block 4, 5, 6, 7 has several side faces each associated with a respective corresponding chord.
• the user can thus select one of these chords by positioning the secondary block 4, 5, 6, 7 concerned in one of the secondary slots 9, 10, 11, 12 so that the side face of the secondary block corresponding to the selected chord is positioned in the predetermined zone 23, 24, 25, 26.
• the selected chords are the chords of C major (C), F major (A), G major (G) and A minor (Am) which are respectively associated with the side faces 41, 51, 61, 71, which are located respectively in the predetermined zones 23, 24, 25, 26.
• each secondary block 4, 5, 6, 7 is also in the form of a cube with a lower face corresponding to the base 40, 50, 60, 70, and an opposite upper face which advantageously bears an identification marking 400, 500, 600, 700 to facilitate the proper positioning, by the user, of each secondary block 4, 5, 6, 7 on a primary location 9, 10, 11, 12 chosen.
• the four side faces of each cube bear a marking identifying the chords with which they are respectively associated. The user can select the chord he wishes to include in the generated musical sequence by simply positioning the corresponding side face 41, 51, 61, 71 in the predetermined zone 23, 24, 25, 26.
• each of said predetermined zones 22, 23, 24, 25, 26 extends substantially in a plane perpendicular to the plane in which the bottom 80 of each reception location 8, 9, 10, 11, 12 extends, as illustrated in particular by FIG. 6.
• This embodiment is particularly suitable for blocks 3, 4, 5, 6, 7 which pass from one orientation to the other by rotation along a central axis of rotation perpendicular to the bottom 80 of each location 8, 9, 10, 11, 12.
• the passage, for each block 3, 4, 5, 6, 7, from one predetermined orientation to another is effected by rotation along a central axis which extends parallel to the bottom 80 of each reception location 8, 9, 10, 11, 12, in which case the predetermined zone 22 , 23, 24, 25, 26 respectively associated with each reception location 8, 9, 10, 11, 12 extends before parallel to the bottom 80 of each location 8, 9, 10, 11, 12.
• the primary and secondary means for identifying the primary blocks (s) 3 and secondary 4, 5, 6, 7 can be based on any known technology, as can the primary and secondary means for determining the orientation of the primary blocks (s) 3, and secondaries 4, 5, 6, 7.
• said primary identification means and/or said primary orientation determination means and/or said secondary identification means and/or said secondary orientation determination means comprise at least; a radio-identification system (RFID) including at least one radio tag integral with each primary 3 and/or secondary 4, 5, 6, 7 block and at least one conjugate reader integral with each primary 8 and/or secondary 9 location , 10, 11, 12, and/or an optical detection system (not shown) including at least one photosensitive sensor secured to each primary 8 and/or secondary 9, 10, 11, 12 location and configured to detect one or more colors (s) of each primary block 3 and/or secondary block 4, 5, 6, 7, and/or a near field communication system (NFC) including at least one radio tag 27 secured to each primary block 3 and/or secondary 4, 5, 6, 7 and at least one conjugate reader 28 secured to each primary 8 and/or secondary 9, 10, 11, 12 location, and/or a magnetic detection system including at least one magnet 29 secured to each primary block 3 and/or secondary 4, 5, 6, 7 and at least one magnetic sensor 40, 40A, 40B conjugate solida ire of each primary 8 and/or
• each block 3, 4, 5, 6, 7 is formed by a cube capable of passing from one predetermined orientation to another by rotation along a central vertical axis.
• Each base 30, 40, 50, 60, 70 is split into four zones with either an NFC radio tag arranged in one of these four zones and four combined NFC readers positioned in the base 13, at each location 8 , 9, 10, 11, 12, i.e. two NFC radio tags in two of the four zones and two combined NFC readers arranged in the base 13, at each location 8, 9, 10, 11, 12.
• This solution makes it possible both to identify each block received in the slots and also to detect its orientation.
• This solution has the advantage of being completely contactless and without visible sensors.
• This solution may require an initialization procedure by the user, in which the latter positions the blocks 3, 4, 5, 6, 7 in an order and/or a particular orientation so that the base 13 writes on the NFC tags the characteristics of blocks 3, 4, 5, 6, 7 and/or their orientation, in order to allow future detections.
• This procedure may be made necessary by the possible difficulty of industrially programming this information.
• each cube rotates not along a vertical axis as shown in the figures to pass from one predetermined orientation to another, but along a horizontal axis.
• each cube could carry four NFC radio tags arranged on each of the faces 30, 31, 33, 35 intended to come against the bottom 80 of each location 8, 9, 10, 11, 12.
• the ergonomics of this is not ideal, and the industrial programming of RFID tags is potentially complex.
• the blocks 3, 4, 5, 6, 7 are each formed by a respective cube which passes from one predetermined orientation to the other by rotation along a central vertical axis, perpendicular to the bottom 80 of each location 8, 9, 10, 11, 12.
• the identification means are formed by an NFC radio tag embedded in each block 3, 4, 5, 6, 7 and advantageously positioned at the base 30, 40, 50, 60, 70 respectively of each block 3, 4, 5, 6, 7.
• Each of said NFC radio-tags is capable of communicating with a conjugate reader attached to each location, said radio-tags and conjugate readers forming a communication system in near field (NFC) capable of identifying each cube placed in a given location.
• NFC near field
• each cube advantageously include a photosensitive sensor arranged at the level of the bottom 80 of each location 8, 9, 10, 11, 12.
• the base 30 of each cube is itself divided into four portions each having a different color so that for each predetermined orientation of the cube the photosensitive sensor is opposite one of said colors.
• each slot 8, 9, 10, 11, 12 of the base 13 is configured to detect without contact the cube which accommodates it and its useful face. This detection is carried out by combining two contactless technologies, namely:
• NFC near field communication system
• a magnetic detection system which makes it possible to detect the orientation of the magnetic field generated by a magnet (preferably diametrically magnetized) embedded in each cube, to deduce the orientation of the cube .
• the means for identifying and determining orientation advantageously comprise;
• a magnet 29 diametrically magnetized and arranged in or on each block 3, 4, 5, 6, 7, in this case at or near the base 30, 40, 50, 60, 70;
• a radio tag 27 also disposed inside each block 3, 4, 5, 6, 7, preferably also at or near the base 30, 40, 50, 60, 70; the radio tag 27 contains an identifier of the block 3 in which it is embedded as well as possibly the angle of orientation of the magnet 29 with respect to a reference face of the block 3 concerned.
• a near field reader (NFC) 28 which communicates in near field with the radio tag 27 and is composed for this purpose of a radiofrequency module for the transmission/reception, of a control unit, of an antenna and an interface for transmitting the data to the electronic card of the composition interface 2.
• the NFC reader 28 is used at least in reading to identify the block 3 received in the location 8 and possibly also in writing if an initialization procedure (optional) is implemented, as described below.
• At least one magnetic sensor 40 configured to detect the orientation of the magnetic field of the magnet 29.
• a single magnetic sensor 40 is implemented, this magnetic sensor 40 being disposed substantially at the center of the bottom 80.
• an initialization procedure to be implemented by the end user can be provided to record on the radio tag 27 the orientation angle of the magnet 29 with respect to a reference face of each block 3, 4, 5, 6, 7, which makes it possible not to have to worry about the positioning of the magnet 29 with respect to the faces of each block 3, 4, 5, 6, 7 during the production of the latter (this which could lead to an additional cost).
• the NFC radio tag 27 of each block carries information on the orientation angle of the magnetic field with respect to the reference face.
• the initialization procedure mentioned above therefore corresponds to this second case. It can take place for example in the following manner.
• the user simply positions the reference faces of the cubes as in the example indicated on a instructions for use, and triggers the initialization via a specific button carried by the base 13 or via the application executed on the terminal 20.
• the system then automatically takes care of determining the orientation angle of the magnetic fields with respect to to the reference faces of the cubes, and to write this information on each radio tag 27. This procedure is executed only once for a given set of blocks (except for a possible reinitialization in the event of an error).
• said secondary blocks 4, 5, 6, 7 comprise on the one hand a basic secondary block each side face of which is associated with a chord in the key of C major (for example with one of the four basic chords of this tonality), and on the other hand a plurality of advanced secondary blocks, the side faces of the same advanced secondary block being associated with different respective chords, said chords being chosen and attributed to the advanced secondary blocks so that the following triple condition is satisfied :
• Each advanced sub-block is associated with at least one chord of each key.
• the secondary blocks are in the form of identical cubes with a lower face intended to rest on the bottom of the location which receives the cube and four side faces (numbered 1 to 4) each associated with a chord according to the distribution set out in Table 1 below, each chord being noted by its English designation (which is also the case for the chords noted in figures 1, 3, 4, 5 and 7).
• the advanced cubes numbers 2 to 7 above thus contain all the frequent chords, spread over six cubes. For the sake of simplicity and because they are much more rarely used, the diminished chords of the keys are not taken into account.
• the advanced cubes numbered 2 to 7 in the above allow to have all the agreements in their basic state. The distribution was chosen so that the cubes are all made up in the same way, listing each chord once and only once. This distribution has the advantage for a given cube:
• chords of the tonality there is necessarily one and only one face which bears one of the chords of the tonality; indeed, in a key, it is impossible to have a chord and its minor version (except for the particular case of the dominant chord of a minor key, which can be managed by an exception in the graphic representation on the cube), as well as a chord and another (in their undiminished simple states) separated by a diminished fifth;
• the identification marking 400, 500, 600, 700 affixed to each secondary block 4, 5, 6, 7 is a colored marking worn on the upper face intended to be always visible regardless of the orientation of the block 4, 5, 6, 7 concerned. This makes it easier to read the partitions represented, for example on the screen of the terminal 20, with a succession of cubes.
• each secondary block 4, 5, 6, 7 carries on each of its side faces, preferably not only the name of the chord associated with the side face in question, but also a visual code (for example a color code) identifying each of the keys to which the chord associated with the side concerned belongs.
• a visual code for example a color code
• FIG. 7 makes it possible to illustrate, in relation to FIG. 5, the visual code system advantageously implemented within the framework of the invention.
• the first cube (block 4) has a side face 41 associated with the G major (G) chord. Face 41 thus bears the name of the chord (G) on a colored background (for example green). This same color (green for example) is taken up by the graphic marker 400 arranged on the upper face.
• the side face 41 also carries different labels 401, 402, 403, each preferably colored with a specific color. Each of said labels 401, 402, 403 respectively corresponds to a key (and its relative key) of which the chord associated with the side face 41 selected forms part.
• the tones and relative tones in question are moreover advantageously explicitly marked on the labels 401, 402, 403.
• the user immediately knows that he has constructed a potentially harmonious sequence of sounds. noting the presence of the same label G/Em (green for example), which indicates that the sequence of chords G (G major), Bm (B minor), C (C major) and Am (A minor) is harmonious because each side selected 41 , 51 , 61 , 71 bears the same label G/Em which indicates that each of the selected chords belongs to the same key of G major/i minor (G/Em).
• G/Em green for example
• the sequencer 1 is designed to automatically superimpose on the generated musical sequence 180 a percussion track 181 which follows the rhythm defined by the primary cube 3 and which is for example adapted to the musical genre and/or to the selected instrument(s). ) to play the sequence of sounds of the musical sequence 180.
• the interface 2 is designed to automatically generate, depending on the rhythmic figure selected by means of the primary cube 3, and preferably also depending on the sound timbre and/or the musical genre selected to play the sequence of sounds, a percussion track 181 which is based on one or more rhythmic figures 181 A, which preferably include the same number of beats as the rhythmic figure selected by means of of the primary cube 3, but may be different from it, and for example more or less complex.
• the sounds of the percussion are superimposed on those of the chords selected by means of the secondary cubes 4, 5, 6, 7, to form a resulting musical track 182.
• the musical sequencer 1 in order to generate all the possible combinations of sounds and to limit the number of pre-recorded audio files to be stored in the musical sequencer 1 to a strict minimum, but also to use standard technology, the musical sequencer complies with the MIDI standard.
• Sequencer 1 also allows Sequencer 1 to be more scalable, for example by making it easier to add a new chord (which is a simple new combination of notes) without having to update the audio files since the latter already contain all the individual notes of the range of the device.
• the audio files are recorded in the base 13 and/or in the terminal 20, so-called “basic” sounds being for example stored in the electronic means on board the base 13 for use without an external terminal 20, while that so-called “advanced” sounds are stored in the external terminal 20.
• the architecture of the sequencer 1 is for example advantageously the following:
• each face of each primary cube 3 corresponds in a database to a rhythmic figure (also marked on the relevant face of the cube), as well as a MIDI file representing this rhythm for any given note (cf. FIG. 2).
• each side of each secondary block 4, 5, 6, 7 corresponds in a database to a chord (also marked on the side concerned), as well as a MIDI file representing this chord for any given rhythm (cf. figure 2).
• a MIDI file representing this chord for any given rhythm
• the means for generating the musical sequence must advantageously carry out the following steps to generate the sounds of the musical sequence constructed by means of the interface 2:
• each MIDI note corresponds to several audio files, themselves corresponding respectively to the note in question played with the timbre of each of said musical instruments.
• Blocks A1, A2, A3, A4, A5 each designate a step of detecting the cube 3, 4, 5, 6, 7 concerned and the side face 31, 41, 51, 61, 71 selected;
• - block B designates a search step in the database of the corresponding rhythmic figure while block C designates a search step for the corresponding MIDI file;
• Blocks D1, D2, D3, D4 designate a search step in the database of the chord corresponding to the face 41, 51, 61, 71 selected; - the blocks E1, E2, E3, E4 each designate a step for applying a possible transposition, to transform one chord into another;
• Block G designates a search step in the database of the rhythmic figure of percussions 181 A corresponding to the couple (Rhythmic figure of the chords;
• - block H designates a search step for the MIDI file corresponding to the rhythmic percussion figure 181 A;
• - block I designates a step of combining the MIDI files, consisting of applying rhythmic figure 16 to the chord sequence, applying rhythmic percussion figure 181 A to each element of the chord sequence and integrating the defined tempo by the user, thus obtaining a resulting sequence 182 generated in MIDI;
• - block J designates a search step in the bank of audio files of notes and percussion corresponding to the musical Genre defined by the user;
• - Block K finally designates a step of simultaneous audio playback of the chord sequence and the percussions, by applying the audio files corresponding to each MIDI note.
• the invention thus makes it possible, in an extremely simple and ergonomic way, to easily construct harmonious accompaniments, without any musical skill.
• the sequencer 1 is furthermore upgradable in the sense that new functions can be provided by additional blocks and/or additional applications obtained for example during updates of the firmware integrated into the interface 2 and/or the application executed by the multifunction terminal 20.
• the principle on which the invention is based consisting in combining blocks associated with different functions to combine the functions in question and thus obtain a resulting musical sequence, can be used in multiple contexts different.
• the invention finds its industrial application in the design, manufacture and use of musical sequencers.

Landscapes

• Engineering & Computer Science (AREA)
• Multimedia (AREA)
• Business, Economics & Management (AREA)
• Physics & Mathematics (AREA)
• Educational Administration (AREA)
• Educational Technology (AREA)
• General Physics & Mathematics (AREA)
• Theoretical Computer Science (AREA)
• Electrophonic Musical Instruments (AREA)

Applications Claiming Priority (3)

Publications (1)

Family

ID=77519400

Family Applications (1)

Country Status (2)

Family Cites Families (5)

• 2021
  • 2021-07-28 EP EP21762069.9A patent/EP4189661A1/de active Pending
  • 2021-07-28 WO PCT/FR2021/051414 patent/WO2022023674A1/fr active Application Filing

Also Published As

Similar Documents

Legal Events