FR3133941A3 - Synergistic system of compression, coloring, discrimination, staves of symbolic sequences of musical notes, adjusted as an extension of the keys of a keyboard. - Google Patents

Abstract

Synergistic system of compression, coloring, discrimination, staves of symbolic sequences of musical notes, adjusted as an extension of the keys of a keyboard. The synergy offers the new score (2) by catalysis of the compression (20) on its precisely aligned colored subjects (6b) in extension of the keys, the additional determining, multiple technical effect, allowing it to be read with anticipation, played just immediately, without music theory. The condensed colored arrangement (16) of instructions in differentiated stages, made up of attributes, signs, multipliers, simple, hybrid or even polychrome symbols (24) with multidirectional connections, directly above the keys it governs, characterizing the accompaniment, discriminating (21) hands, notes not only promotes their identification, particularly from feint to walk (18), their play, their learning, but above all the mental load being saved, an increased capacity for attention towards other sequences than the synthesis brings together. It allows industrial construction of short A2 format scores, 20 sheets, of the 3rd movement of Beethoven's "Au Clair de Lune" sonata. Figure to be published with the abstract: Figure 4.

Description

Synergistic system of compression, coloring, discrimination, staves of symbolic sequences of musical notes, adjusted as an extension of the keys of a keyboard.

The device according to the invention facilitates reading, writing, musical training and playing, through the additional determining technical effects of multiple instructions regulating, on new score staves, any sequence of musical note symbols, condensed into flow of colors, requiring the prerequisite of their intimate correspondence with a keyboard (5) of a percussion, air or electronic instrument, the staves distributing columns perpendicular to the long side of the keyboard without necessarily touching it, each column being dimensioned in width to align point towards its step dedicated to the keyboard and extend it near or far in any way. The adjustment requires that one or more columns or marks, reference (6a) (6b) must coincide with one or more cardinal keys of the keyboard in particular at "central C" (5a). The direct spatial material technical relationship, the new symbolism with the keys makes it possible to optimize the game and anticipation in a context of dense instructions, without the use of music theory.
The device organizes and governs, in the special staves (1) new musical scores (2) made up of columns (7) (8) joined parallel to each other intended to rest in plan against the board of a piano or on other keyboard instruments (5) of keys and/or in digital mode in particular and maintained perpendicular to the long side of the keyboard, an assembly in condensed form called compaction (20) or compression (13), of sequences of their elements (3), symbols (4) special mono or polychrome notes meeting, for those of the notes, the prerequisite of being aligned imperatively adjusted precisely (6a) (6b) opposite (5a) and according to the dimensions of the note keys of the keyboard (5) of real size and standard or custom span and, through this catalytic combination of compression (13) and specificities, it promotes early accuracy of play, sophisticated, intuitive automatic reactions, a reduction in mental resources for the benefit of anticipation and rapid technical progress in appropriation, mastery of a chosen piece, even difficult. This system of singular condensed instructions (13) produces, when implemented within the new partition (2) by governing the stages (10) of compact sequences of symbols (4), signs and attributes, by accentuating by cycles (17) of colors (16) preferentially, and on the basis of said prerequisite, an additional determining technical effect, multiple, among other mechanics on the game, by allowing resources and mental load to be reduced or even canceled allocated to the identification in said dense sequences, of the keys to actuate, for the benefit of better anticipation of the following sequences without worrying, therefore, not only about having to know on the spot the notes corresponding to the symbols (4) however arranged in sophisticated synthesis, their sharp flat octave, but also to look in anticipation for instructions that are too far from the keyboard (5) or missing because they are out of image in the absence of radical technical processing of said instructions, or too ephemeral to be executed as in the case of the “Piano roll” scrolling robot. This synergy device requires as a prerequisite the intimate alliance between the special partition (2) and the keyboard (5) which extend materially according to precise positions (6b), arrangements (6a), opposite each other depending on the " middle C" (5a). A set of borders (9) borders the columns (7) (8), each border ending on 1 fake black key of the keyboard and each column on 1 or 2 white key steps, and is arranged differently from that of the "Piano roll" of which each column serves 3 or 4 steps and no border continues a feint, it therefore allows in synergy with differentiations of symbols from step to feint, an optimized, immediate discrimination identification of feints or steps to press, notes to play, sing, vocalize ; the keyboard seems at eye level, it catches the eye. As for the "Piano roll" we position each finger on the keyboard precisely below each note symbol to of course activate the corresponding key even though here the signals come from dense sequences, it is immediate no need at first time to know the note nor to interpolate it from the music theory of a different scale, nor glasses.
The present invention relates, in the production, deciphering and playing of musical scores: a system of condensed instructions of the action synthesized from one hand to the view of the other hand, as in (12) where the symbols relating to a first hand are placed against those of the second, in indices, exponents, attributes, colors, and then as in (20) for data compression where bracketed parentheses and other distinctive signs group together note symbols whose mentions or varieties of terminals call for their possible repetition, symbols in direct physical gaze with their keys to be activated, this by pointing them, overhanging and/or being aligned with them, immediately designating the musical notes and, through shape effects or the help of attributes, various sequences, rhythm, amplitude, tempo arousing sophisticated automatic reactions in the performer, player, singer and intuitive. The decisive technical advantage of this system allows them to improve in particular coordination, musical sense, the speed of execution of the piece, without resorting to music theory, without worrying about the name of the notes, their theoretical or real situation despite their symbols arranged in sophisticated synthesis, while anticipating, intuitively embracing the development of the score.
The device compacts certain repetitions or sequences of symbols of notes, chords, families of chords, on very few stages (10) or even on a single one in charge of the succession of a multitude of sounds, while the “Piano roll” can only assign a single level for a single sound, note or chord, never for successions or repetitions.
It thus authorizes the construction of industrially editable material scores (2) which are considerably shorter than those which would result from the compilation of freeze frames of a "Piano roll", this in an average ratio of approximately 1 to 7, we will see further than topically it can reach 1 against 30.
The device according to the invention promotes a new product for musical training, its implementation requiring as a prerequisite a precise alignment (6a) (6b) of the staves of the device with the keys (5a) of a keyboard (5) notably piano, and this in a completely acceptable format, industrially editable in shortened A1 format, foldable in two to form a shortened A2 magazine format, a little larger than that of a traditional score, notably music theory, and requiring possibly the creation of a specific support which must preferably be placed as close as possible to the keyboard keys without hindering their action or that of the hands.
The present invention is part of the reform of Musical Training of 1977 by the Ministry of Culture which recommends a new approach, judging the tedious learning of music theory too far from the goal to be achieved and in opposition to any initial approach wanting to rely on concrete facts.

In this spirit certain processes and techniques had the merit of seeing the light of day before this reform or saw it subsequently, aiming to free the reader, player, singer from the mastery of music theory or otherwise add a practical introduction by facilitating learning if applicable:
by presenting a vertical sequence such as the "Klaviar technique" at the beginning of the 20th century, and more recently the digital "Piano roll" and the "NM Score",
or by presenting a more horizontal sequence, such as these techniques of referencing octaves and chords using capital letters.
The "Piano roll" brings down summarily differentiated note symbols vertically towards their dedicated keys on the keyboard, without however trying to condense the expression to reduce the number of stages and bring distant phrases closer together. To promote immediate actuation by the hands, of the keys also selected by this descent of symbols, it uses different and constant colors for each hand and more or less dark, on more or less narrow shapes depending on the steps or feints, this which already lightens the burden of distinguishing sharps, flats and naturals. It also presents an adjustment of its columns with the keyboard, but with dark columns, different, wider, and of which no border is in continuity with a feint unlike the present device. The said shapes undergo a morphism without proportionality which makes them narrower on a feint than on a walk, and this unlike the present device which favors another more meaningful discriminant, and very practical in its implementation when it comes to recall of symbols in indexing at lower scales.
All these techniques as an adjunct to music theory or to free oneself from it bear fruit while being subject to the following limitations and which should be overcome by the present invention, particularly with the new enhancing effect that it provides.

Technical problem

In the first aforementioned case, even if their scaling of a piano keyboard or other key instrument is possible, particularly for the "Piano roll" that is to say that the dimensions of the scores or electronic animations, computer systems allow physical continuity between their sections, compartments and those of the physical keys on this keyboard, this scaling is thwarted by the fact of the too large number of successive notes each representing a level in the vertical sequence, to the detriment of the overview of the sentences to come, very limited. As for it, the "Klaviar" technique does not support in practice a rapid sequence of complex sentences. Likewise, the “Piano roll” imposes a rhythm on the keyboard that is difficult to sustain visually, a source of confusion. Concerning the second, more horizontal sequence, too much memorization effort is still required before achieving virtuosity.
In the current state without compression the robots, even if their screen and keyboard were on the scale of the real keyboard, are not very efficient as an aid for playing without music theory, even considering a freeze frame, the symbolism too succinct, little discriminant which is not very relevant will lead to confusions of lines and symbols of notes activating the keys, in reading which is never fast moreover, or even due to the fact that one has left the reading to observe the real keyboard.
Finally, these techniques are poorly suited to publishing paper scores in a short, practical, productive format offering visibility in anticipation of the game.

Technical solution

In order to overcome the aforementioned limitations, to achieve a greater speed of execution of the game more quickly without confusion, intuitively, without necessarily knowing music theory, to offer a better overview of successive musical sequences and to bring closer others more distant, the device according to the invention applies to densely synthesize the symbolic representation of sequences of musical notes, their writing, to facilitate visual or braille reading, musical training and playing, by means of a compressible set of data in the form of symbols, signs, attributes distributed in pseudo-vertical columns and on their borders, positioned precisely opposite the keyboard keys.
In this view, shared in certain respects by the "Piano roll", the position of the symbols is directly and intimately linked to the real or virtual presence of the keyboard (5), to its scale dimensions and to its "do lock" (5a).
In fact, a face to face with note symbols with the keys of a keyboard or the strings of a guitar is already used by musical robots or in single symbol tablatures to guide the hand automatically to the right action, however, in its new objectives mentioned above, the invention releases an additional determining, multiple technical effect of data compression, of a new, more relevant representation of the staves in relation to the keys, of advanced discrimination of symbols, the addition of sign attributes, legend mentions, and a new color ordering, all in synergy.
The positions, shapes of the symbols and some of their attributes, summaries of the coordination of the pianist's hands such as terminals indices exponents signs mentions colors, help to locate and specify the action of the hands, particularly on either side of the "c central", or more generally to the left or right on the keyboard.
The indexing, recall of symbols comes on a reduced scale with proportionality for reasons of synthesis, place, lightness and discriminating power: in this frequent case, this is the main reason why a discrimination between symbols of walking or feinting in their positions active non-indexed, cannot take place according to non-proportional modification, morphism of the external contours of their shape as for the "Piano roll" where a wide or square parallelepiped on a step is seen narrowed and less wide or rectangle on a feint because this technique does not offer symbol recall in indexing.
Parentheses brackets braces mainly participate in the compression of chords as in (10) but possibly also possibly repetitive musical phrases, or arrowed sequences of their subsets as in (23) , and thus synthesis for a shorter, condensed score while remaining light.
Other color attributes and/or directional signals, arrows, continuous or discontinuous lines, dotted lines in particular make it easy to locate oneself in the score, and to locate oneself there during reading or after a pause, hesitation or error.

Benefits provided

Finally, in the new pseudo-vertical column staves, these syntheses of symbolic sequences of notes depending on the position coordinates of the keyboard keys see their link become lighter with the traditional horizontal stave of music theory in the sense that they allow the player, reader , singer and even in certain cases for the future composer to free themselves from a heavy intermediate step, the interpretation of the position of each note in its traditional range to find it on the keyboard, to therefore free themselves from the knowledge of music theory immediately. On the other hand, this link remains entire, complete for those who endeavor to transcribe a music theory score by applying it to their new score according to this device.
One of the advantages being to play at your own rhythm and almost instantly a musical phrase and its melody, and quite early with both hands together, it is therefore a more efficient, complete product than the "Piano roll", this last with characteristics of pseudo vertical ranges opposite a keyboard, but without the versatility of what radically distinguishes the present device, namely new columns and symbolic sequences, compression, synthesis in new flows of colors, multidirectional meaning such as backwards, retrograde, oblique in particular.
Concerning one of the capital dimensions of the device, we now draw attention to the restriction in the appendix due to the imperative of black and white figures, having the consequence of styling the effect of the new flow of colors: its dimension , in the wake of Tategaki conducive to poetic flow, where the staves of vertical columns entwined with the fluid current of their content, vocality, accompaniment of frequencies of instrumental strings or other origins, organ, synthesizer, likely to place the observer in a rich emotional state of polarization, through a catalysis of chromatic variations punctuating the score divided according to crossed sequences, most often periodic or repetitive, of a series of colors and a set of lines, parallel branches recalling the said strings , forming grids, regular, irregular, straight or curved checkerboards where asymmetries and colored flows in their rhythm play on its ear, on inner hearing making it vibrate silently, musically.
By playing the score according to this device he can refer to the mechanics of fluids, as a "Lagrangian" observer positioning himself at the same speed as the fluid of the notes, stopping it in some way: in his eyes the fluid is at a standstill . Then he goes up against the current or down like on a treadmill, noting at each beat its position, the note, from the initial conditions; extraordinarily it is given to him to be master of his relative speed and his position, to modulate them unlike the "Eulerian" observer who will experience an imposed speed in a single fixed location on the keyboard of a robot scrolling from "Piano roll" for example. In this extraordinary case the Lagrangian description prevails over the Eulerian one, as in that of music theory, its fixed scopes however not offering as much ease, synthesis or relevance, an advantage in reading backwards.
Also through the effects of the colored flows, almost automatic intuitive reactions, the device can be offered as an adjunct in the treatment of certain psychomotricity, attention or autism-related disabilities.
In addition to any help on the sidelines of the score in the legends (6), learning for beginners could require the support of a teacher or therapist if necessary, knowing better the device and the score studied as it is already the case traditionally with music theory, on the other hand the apprentice will naturally be encouraged as much if not more to draw inspiration from the tempo and rhythm of key recordings of his piece, to progress proactively in his musical training.

Other characteristics and advantages of the invention will appear on reading the detailed description which follows, for the understanding of which we will refer to the appended figures exemplifying without limitation the particular embodiment already cited, and extracted from a complete prototype assembly. , existing, applications according to the device of all the measures of the 3rd movement of the "Moonlight Sonata" by LV Beethoven, prototype designed by the applicant herein, not disclosed at the date of this deposit.
In these figures the diagram of a musical keyboard (5) is present for information purposes for understanding the mode of securing and wedging (6a) (6b) of the device with it (5a). The keyboard is not systematically represented in its entire length, and its distance from the partition of the device is variable, as elsewhere in reality, and here for reasons of space and clarity of referencing.

is a view of the application for measures 1 to 8, and the beginning of the 9th measure until the 3rd G sharp played in treble clef including that of the 1st chord.
On the 1st basic floor in partition (2), the star sign (3a) indicates the start then the shift of a symbol, by the thumb or first actuator of the right hand, each time it progresses by 4 symbols. This process is not exhaustively recalled here on the upper floors (10) concerned, its summary will find place in legend (6) against this sign. The left hand starts first, it accompanies the right with an Alberti Bass with 7 repetitions of a pattern of 2 notes symbolized by a triangle, and a square represented partially because attached to a disk also partial dedicated to the right hand , the whole forming a hybrid (25) on G sharp due to the promiscuity of the symbols and in the fingering. In this context, the vertical serpentine (21b) delimiting the areas of the hands, two serpentines work on the 2nd floor indicating that in a particular fingering and at a precise location one hand encroaches on the area of the other. The coil (21b) is difficult to use on the 1st floor where it is absent. During the first Bass motif just after C sharp in the left hand, the hybrid note is played twice, changing hands alternately, right left, without telescoping. The diamond portion in the left hand on the C sharp of the higher octave, only comes into play once at the first of the two final chords where this diamond is recalled to the right against their doubled parentheses indicating repetition, first index and simple parentheses determining a single agreement by the association with the triangle. The said diamond portion is attached to a portion of the right hand disc, which disc covers its instantaneous accompaniment a small square of the left hand, as a lower left index finger (19). In this figure the majority of the symbols of the left hand indexed occupy areas (19) (19c) distributed in a clockwise direction against all discs of the right hand according to a rule of concomitance detailed below and the synthesis of which is called to appear in legend (6) of the score (2). This process, similar to the upper stages concerned, can also present a more neutral form of indexing less spatially regulated, particularly against chords or an isolated note. On the 4th and 5th floors the different offset of the right hand makes it bounce to play 4 notes from each 4th keystroke: each bounce is signified by the 2 superimposed parallelepipeds, at C sharps with the direction of the bounce, the durations proportional to the heights parallelepipeds, and for each 1st parallelepiped the accompaniment in the lower left index finger according to the said rule, i.e. a hollowed out triangle thus characterizing a march in the left hand, a B. Still on these levels, the extreme notes A and E on the right have their symbols bounded by hooks with non-symmetrical legs indicating that these notes are played in the said offset, but are excluded during the 2 final chords. Any summary useful for understanding the instructions is placed in legend (6) in the margin and/or in situ and can be supported if necessary by a teacher or user of the system.

is a view of the application for measurements 1 and 2, corresponding exclusively to the first floor in , which alone restores 30 levels relative to the "Piano roll" and for 52 notes of music theory. The heavy weighting for this stage contributes to the final gain in this relative contraction of stages, according to the average ratio of 1 to 7 extrapolated from the stages of the said prototype all subjects of the compression device. We see a horizontal variant (6b) of the score adjustment mark for “middle C” (5a). The very advanced compression system here, in a line of the right hand with the star sign (3a) of the offsets and already referred to above, can be applied in And to further reduce the number of already compact stages.

is a view of the application following precisely that in , or concerning the beginning of the 9th measure from the 4th G sharp played in treble clef including that of the 1st chord, to end at the end of measure 14 on the penultimate chord in the 2 keys. We notice an elongated triangle symbol (15) in the left hand for a note played while the key is held down continuously over the entire column, the whole A repeated in B, notation making it possible to differentiate the corresponding sequences arrowed for the right hand under the terms of the column A and its repetition B. At the top right of the figure and at 2 levels, the attribute S for "single" indicates that the note has no accompaniment, moreover these 2 bracketed levels are governed by a multiplier so their process is repeated here 4 times. The coil (21b) helps place the hands for a particular fingering. We notice by the parentheses and the indexing that 3 notes are always played together in agreement, going up in the levels, from the agreement supporting the arrow on the 1st level and then at each end of the arrows, hence the placement of the parentheses particular, or global columns, these attributes like brackets, braces in particular being specific to agreements. The left hand is differentiated in itself by triangles and squares because they are differentiable, recalled in indexes against the right hand, and also in relation to the right hand which only includes undifferentiated discs because they are nowhere indexed and because that they are signposted in a clear sequence. Finally, according to the base, the sequence of the first progression arrows is applicable from the 4th to the 14th floor without however being materialized in order to lighten the partition.

is a view of the application between the middle of measure 29 from the agreement of the 2 C sharps in treble clef, and the end of measure 32. We see another vertical variant (6b) of the adjustment mark from score (2) to “middle C” (5a). The left hand is differentiated in itself by triangles, squares and discs because they are differentiable, recalled as indexes against the right hand, and also in relation to the right hand, which only includes diamonds which are not differentiated because they are nowhere indexed. and because, for the arrowed diamonds, they are in a clear sequence. The two-tone diamond (24) and its two-tone hooks are enlarged because they correspond to two successive levels on the left hand. Each shade of the diamond and the brackets, shown in black and white, by hatching or solid, is the same as each shade (16) of the 2 floors concerned on the 2nd and 3rd floors. The smaller diamonds on the right are only of one shade or the other whole, in correspondence with one of the 2 levels on the left hand, for a given shade. Hatching can mean whole green, and solid means whole black for example. This mode of arrangement of coupling and discrimination by colors applies higher up in the floors, notably on the 7th and 8th floors where another large diamond intervenes on the G note in its large hooks, all two-tone in reality, however their 2 colors are not represented here or even further to the right on the small arrowed monochrome diamonds, nor on the left hand. These two shades can be black and red. Likewise, the alternation of colors from one floor to another, with or without a cycle and applying everywhere, is not represented here so as not to overload, except on the 2nd and 3rd floors as already seen above by means hatched or solid areas. An example of a color cycle of the stages, common to the entire device and used in the said prototype will be here from the 1st stage: blue green black red repeating up to the 9th and last stage of this figure and beyond in its continuation below.

is a view of the application following precisely that in , i.e. from bar 33 to the middle of bar 36 at the end of the G sharp accompaniment in treble clef. The symbols of the disc are the domain of the right hand, the other symbols are of the left hand, the serpentine (21b) not being recalled here. By indicating in the margin the departure, order, direction, turnaround and repetition of various colored arrowed paths annotated with patterns in treble clef, this application presents an alternative to confinement (19f) possible in index against their chords in bass clef, of these treble clef motifs comparable to Alberti's Basses (12). We notice in the legend that the 1st horizontal arrow is two-tone because its path alternates 2 colors here highlighted by the solid and hatched areas. This first path starts from the A chord and continues passing from solid to hatched zone until the beginning of the content of the hook, to the symbol marked C which triggers the accompaniment of the hatched chord in the left hand, and it should be noted that the 4 symbols preceding C even if they are of the same color, hatching do not trigger the corresponding chord because they are marked with the letter S meaning that they are played alone without accompaniment. These 4 symbols could take on a specific color from their isolation of the agreement (16), and therefore different hatchings, however the present arrangement for assigning hatched and solid areas signifying the colors is the simplest so as not to load the drawing by other forms of hatching in black and white, notably in the legend and to better unify the 2 curves detailed in the legend from the mark D to C. The last path leads from D to the upper floor directly without a curve, it is explained in legend by an arrow only partly hatched because it penetrates another level of color represented by a solid zone. The last floor, an alternative example as mentioned above of compression and discrimination (21) is the seat of an Alberti Bass (12) of 3 symbols in left hand synthesis while for this hand, 4 symbols are recalled for a double sequence, in G sharp index right hand.

is a view of the application between the middle of measure 93 from the 4th chord in treble clef, and the end of measure 101. We notice here that the smallest difference in altitude in (23), explained below , has priority over the nearest symbol on the upper level which in this case does not represent the note to be played immediately. On the 10th floor a double chord in the right hand, D sharp, F sharp, C, is accompanied in the left hand by an Alberti Bass of which 2 of the 4 motifs are played alone in isolation between the repetition of the chord then afterwards, this in alternation with the 2 other motifs concomitant with the agreement, and it is the same on the upper floor. This single floor corresponds to 8 floors of a “Piano roll” scrolling robot. We also observe that on the 8th and 13th floors the parentheses in the right hand conceal a chord of two notes played relentlessly for the duration of the 6 motifs of the accompanying Alberti Bass and indexed against it, a chord of which the first note is played very little time before the other, by instruction of the arrow. The coils (21b) do not need to be here because the areas of the hands are naturally well separated. In the left hand, the arrows continue virtually above those visible while the S mark, for isolated note alone without accompaniment, ends on the 4th level.

is a view of the application for measures 163 to 166 inclusive. Their phrasing includes extension slurs for each hand, alternating with expression or “legato” slurs. The device synthesizes the legato by the arrows and the color while the prolongation is mainly by elongation of the symbols, synonymous with special duration of the playing of the note, but also by arrows and colors. Rectangles are associated with the left hand, and ovals with the right hand. The colors helping each hand in the staggered coupling of the staggered stages are only shown here from the 9th stage, i.e. in (17a) at mark H, which appears in solid black color without hatching but knowing that, in its version of the prototype optimized in color, this stage is already two-tone, matching the color of its lower half with that, identical, of the upper half of the stage marked G also two-tone, immediately below to its right. The present figure being in black and white, the colors have been replaced by a set of 2 different hatchings, one with white rectangles as in (24) upper, and the other with oblique white bands as in (24) lower, which can alternate with solid black as in (24) middle, in particular. Overall and except in specific cases, each staggered layer of note symbols is swept by its dedicated hand which plays it in bursts from left to right then maintains it as a chord for the time that, in the nearest layer , the other hand completes its burst and begins its agreement then releasing the 1st hand cited which begins a burst on the upper floor and so on. The total order of bursts becoming overlapping chords along the path is labeled A, B, C, D, E, F, G, H, I, J, K. Stages A and G are associated with an extension link on the notes G and F sharp respectively of monochrome symbols, on the far left of the score, at the start of each arrow. The majority of symbols are two-tone, only one has 3 shades (24) and some are monochrome including those in F and in the left hand of this chord, those of the left hand entirely hatched on the last level of the score, finally the two small rectangles, G and F sharp, marked with a star referring here exclusively to additional information called to appear in the legend as introduced at the beginning and end of the description of . Each cycle (17) can be of 4 colors: black (17a), red (17b), blue (17c), green (17d) for example, each vertically occupying approximately half a portion in each level, except on monochrome symbols or sorting colors already mentioned.

is a view of the application for measures 183 to 189 inclusive. It has 13 floors. Between the top of the elongated rectangles (15) and the base of the last 2 floors, 4 floors are inserted which testify to the synthetic force of the device, summarizing alone 69 floors of a scrolling robot "Piano roll". Concerning the first 7 basic levels, simply follow the arrows in the right hand from the initial E to C sharp backwards, while the accompaniment in the left hand is played continuously without pause, with a single chord (15 ) of which we omit the parentheses because they are obvious and so as not to load the score. These 7 floors can still be compacted into 2 floors in the same way that the 10th and 11th floors are further compressed, and even into a single floor as if on the 11th we replaced each symbol on its place by a beacon such as the star sign (3a) as in . The separation coils (21b) are also not necessary as the distribution of the hands is obvious, with the discs for the right hand.

is a view of the application between a start in measure 196 at the 1st mid of bass clef, and the end of the last measure 200. The disk symbols are for the right hand and the parallelepipeds are for the left hand. The final bouquet is synthesized using arrows and in particular the hybrid symbol (25), half parallelepiped, half disk, on a step or feint which delimits any common terminal used in turn by each hand thus discriminated (21a). On the 1st basic level, each hand begins on each of the E around the "central C" by playing 4 notes, and in this series the left hand ends on the upper E, place of the so-called hybrid symbol (25) square/disc, and common terminal because under him the right hand was thrown. On the upper level, the hands in their new series of 4 notes begin their progression by shifting to the second note in their previous series, and so on on the following levels with a constant shift of an additional note compared to the previous start. . The global arrows illuminate a progression to the right followed by a turnaround towards the top of the floors, for better anticipation, overview. It should be noted that the synthesis used in And for their 1st floor in particular, can be applied here to compact the first 12 floors into 2 floors only, or even just one, with on the first floor a line from the current symbol of E before "middle C", to that of extreme E in the 3rd octave starting from the "central C", and with on the second floor a line of reversal from the symbol of the C sharp preceding this extreme E, to the symbol of the E in the 2nd octave under the "central C". These two lines would be dotted with star signs (3a) as in And indicating the shift here of the hands simultaneously, with each progression of 4 symbols. In this further synthesis, the gain would be a reduction of 10 to 11 stages in this figure of one of the prototype applications. The final floor above (10) has inlaid music theory notes corresponding to the symbols and which could be applied elsewhere with other components such as the treble and bass clefs, so a fun learning of music theory would be encouraged at the same time.

The following detailed presentation defines more completely in its structure the device according to the invention, capable of a decisive new technical effect.
In this device a first component, specificities in the synergy, physically or virtually brings together a set of staves (1) of simple (7) and doubled (8) columns for musical score (2), preferably white or clear but not exclusively, in any case showing a monochrome or polychrome background which contrasts with the elements (3) and symbols (4), perpendicular to the long side of a keyboard (5), these columns (7, 8) possibly vertical or preferably making an angle reasonable with the vertical, each positioned most exactly with acceptable tolerances opposite, gaze, continuity of the key being assigned to the keyboard (5), certain columns being able to be discriminated. The columns are separated by visible borders (9), accentuated or not, borders falling or pointing most exactly with acceptable tolerances, on the feints in their middle as an extension and without the continuity technique being limiting. These boundaries can each be a continuous or discontinuous, dotted line, or possibly be a thick line or column, whether or not discriminated. The said borders falling, pointing with precision by means of tolerances towards the feints as in extension, imply that between two borders (9) a single column (7) and a double (8) fall, point with the same precision opposite, extension, continuity of one and two devolved steps respectively. In particular, a possible appearance of this set would be a pictorial plan constructed according to the juxtaposition of several images of keyboards (5) parallel to each other according to their length, identical in size to that (5) of the musical instrument to be played, with all the keys of the same note of these keyboards, forming a column and aligned with precision with tolerances on the active key of this note on the real keyboard, and with aligned thin feints touching at the ends or not.
Said set supports symbols (4) of musical notes arranged precisely in said columns (7, 8) and on said borders (9), and (3) attributes of the symbols, signs mentioning legends (6) , mono or polychrome, fixed or mobile or evolving, possibly accentuated, illuminated, backlit, illuminated, emit sounds, voices, notes, by all kinds of means of application, printing, processing , accentuation, animation, engraving, braille, computer electronics, physical, tactile, audio, visual, holographic, mechanical. Towards the ends of this partition (2) at its base particularly, are located (6a) marks, notches or lines representing the locations of the first and last columns (7) (8) and borders (9) allowing it to be positioned against the keyboard or next to it, and thus correctly in relation to its "central C" (5a), so that each column of the staves, dedicated to a march, particular note on the keyboard (5) in the octave corresponding, falls, points with precision by means of tolerances with respect to each clear key, step of the keyboard dedicated to the note, and that each border between the simple columns, or between a double and singles, dedicated to a feint, falls , points in the same way on each dark key or each feint. The score being in essence cut so that each column fits with its key dedicated to the keyboard, the positioning can also be obtained by making the dedicated column (6b) for "central C", marked accordingly, coincide with the key active “middle C” (5a). The double columns (8) of the single ones (7) preferably have no internal separation, they represent on the keyboard two steps side by side without feint between them, and the symbols (4) dedicated to these steps are arranged in the left and straight in these double columns, but not in the middle which would lead to confusion especially since there is no feint in this place. This partition (2) is preferably on the same scale as the keyboard associated with it and which is generally of standard size and span, and is therefore also adapted to the dimensions of the board of a piano or other instrument with keyboard. It may possibly include at its base a keyboard schematized in full or partially alongside a real keyboard, preferably. The said borders (9) preferably permanently visible, particularly in the local absence or low density of symbols (4) of notes, allow the identification and distinction between neighboring feint and walk unlike the technique of musical robots parading such as " Piano roll" where only the moving note symbols have different shapes depending on whether they are a feint or a walk, with no other marking boundary under them towards the keyboard.
This set of borders (9) bordering the columns (7) (8), each border ending on 1 feint and each column on 1 or 2 steps, is arranged differently from that of the "Piano roll" of which each column serves 3 or 4 steps and no border continues a feint, it therefore allows in synergy with differentiations of symbols from march to feint, an optimized, immediate identification and discrimination of feints or marches to press, notes to play, sing, vocalize.
The desired goal is to facilitate writing reading transcription composition playing singing of musical scores and training, and with regard to reading the game without necessarily knowing or mastering music theory, with the main and determining technical advantage in reading summaries dense symbolic sequences, to know almost immediately where to place your hands on the keyboard and which keys to operate together and/or successively, which accelerates progress in the study of a piece, even complex for a beginner, and its appropriation to the game: it absorbs the theme and melody more quickly. The partition (2) can be entirely tactile and act as another keyboard of sound notes which may be bright if activated, the partition being able to be played on it with the hands directly, the stages (10) being fixed or able to scroll upwards. bottom or top depending on whether you want the phrase to always play in the same place. In the case where the symbols (4), floors remain fixed, the hands progress up or down to play according to the direction of the tactile board which can be reversed, hands arriving at each summit or base, to present the next sheet. This tactile, audio-visual representation can possibly detach itself, be moved away from the physical keyboard.

In this device the second component, specifics in the synergy, governs on the said supports in support, or being contained therein or framed or crossed, or facing, in 2D or 3D or hologram, and on several stages (10) a sequence (11) a plurality of symbols (4) of all regular or irregular open or closed shapes, multiform where applicable, and other elements (3), attributes and signs, mono or polychrome, all integrated into an enameled synthesis of instructions allowing their reading, horizontal, vertical, oblique, omnidirectional, not necessarily following the preferential direction from left to right, backwards or retrograde (11b), upwards or downwards (11c), where stages generally emerge (10 ) of progression each preferentially discriminated by a particular color (16) according to a cycle (17) or not, in particular when they concern a sequence (11) of note symbols played by the two hands together or accompanying each other, which will be monochrome if both hands are associated with the same floor exclusively. Such sequences are applications for transcription or adaptation of music theory measures from an existing traditional score in particular, or to directly create a new composition by formalizing it without it.
As a general rule, note symbols (4) are dedicated for each hand to the level of one level (10) or more, and are preferably, in the same level, of the same color (16) but of differentiated shapes (21) different from one hand to the other, a vertical serpentine (21b) being able to mark their separation, and even different in one hand especially when they form a pattern or Basse d'Alberti (12) requiring an order in the game and therefore discriminations and when there is no other auxiliary indicating, supporting this order. Generally and except in specific cases, Alberti's sequences, melodies and bass patterns are not circumscribed as closely as possible by limits, unlike chords whose note symbols are limited by parentheses, brackets, braces in particular. Then during the progression in the stages (10), all or certain notes alone or forming a sequence pattern chord (11), can change symbols (4) if the configuration of the data in the following stages requires it, and for the need to offer in this configuration the optimum conditions for data compression techniques, reading safety and play. The symbols (4) the attributes, signs, markers, indexations (3) and their suites determine sets and under -data sets that are condensed and concentrated using compression techniques (13) with the aim of shortening the partition (2) by reducing the number of stages (10). These techniques (13) use, without limitation, color, repetition markers, indexing, orientation, abbreviation, and mentions, explicit signs (3). They allow in particular, by the coupling of beacon and arrow signs, to shift from each beacon a star (3a) for example, the particular repetitive action of a hand, of a fingering, along overlapping arrowed sections in a scale or other progression of notes.
Thus the main symbols (4) representing a musical note to be played on a step or feint are positioned, unequivocally in a column (7) (8) but which can overflow it in the event of necessity of imposed size, or as symmetrically as possible straddling a border (9) whether in the form of lines, strip, line or column. These same symbols (4) of notes can be recalled in the margins of other notes or sequences (11) of notes, condensed sequences (13) if necessary, and in recall by indexing techniques, in indices and/or exponents , without limitation, thus for reasons of space or density, lightness they are often reduced to a lower scale (14) and therefore, to prevent any confusion, by trying to limit or avoid a modification of the proportions. However, a modification of the proportions will be sought in the case of notes to be held (15) played relentlessly on several levels, we can thus stretch a square into a rectangle, a circle into an oval for example, but without this modification necessarily being applied when these symbols (4) become recalled, indexed to others. The overall master plan, in the sequence of more or less horizontal stages (10), is preferentially ascending from the base or a particular latitude of the partition (2), if necessary as close as possible to the keyboard (5) and the hands, but the descending variant is also possible in this context by starting from the top of the staves (1) or from another latitude and approaching the keyboard. In the simple general case, and unless otherwise indicated, each hand progresses generally from left to right (11a) in its stage with, where appropriate, repetition or resumption with offset (11) of this progression possibly including variations, and the symbol (4) or its set (11), of the next note, chord or pattern to be played for a given hand is the closest and/or is designated as a priority in the ascending direction by the smallest difference in altitude (23) higher with regard to the level of the symbol or its whole, of the note, chord or motif already played; and conversely in the descending direction we will consider the lower altitude differential, unless otherwise mentioned. This smallest gap (23) can be such that the symbol of the note to be played is that of the one already played and to be held continuously for a certain time, thus the identical symbols touching each other are stacked (15) on several floors in the case appropriate, and the same goes for sets of notes, chords in particular. This device in synergy associates the said main symbols (4) of notes with a secondary arrangement of elements (3) pictorial graphics, figures, diagrams, tables, shapes, marks, signs symbolic or not, textual or not, these elements , quite distinct from said borders (9), which can also be portions of lines, curves, brackets brackets braces, serpentines (21b), underlining, accentuation, attributes, inlays, accessits, bands, dotted lines, arrowed lines or not in particular, but without the constraint of permanent periodicity of borders, and in this particular case they are therefore secondary. Some of these secondary elements involve punctuation, tempo, speed, fingering, repetitions, characteristics of the sequence (11) of notes, the orientation of the playing, phrasing, discrimination of the hands and others concern the legend mentions ( 6), and possibly scopes, symbols, codes, equivalences, punctual correspondences common with music theory, they are tools of the compression device (13) of data (3) (4) introduced above.

In this device, the third component of the specificities in the synergy includes, in the sequence of successive stages (10) and to better distinguish them, a new ordering of colors, an alternation or succession of colors (16) generally and preferably uniform for each (10), and cyclic (17) or not, without excluding other discriminations by color whether for the floors or only the symbols (4), or between floors, and to better and quickly find your way while playing or find your place after a pause, in the stages of the progression, between them or within a motif (11), chord or even a note. An example of a periodic cycle (17) may concern that of four uniform colors changing from one stage to another, black (17a) red (17b) blue (17c) green (17d) and thus repeating every four stages, or in another order, this spatially observed "four" period is not necessarily in a constant volume. There may also be an imperfection in the color cycle which resumes either in the original order or in another. As a general rule, a stage (10) associates the two hands which accompany each other in a particular sequence (11) condensed (13) or not, and the symbols (4) of this sequence are of the same color for the two hands ( 16) unless a first hand is associated with one or more additional floors of the second hand, and in this case this first hand will have symbols in several shades (24) each recalling one of the associated floors, in the second hand . This non-limiting discrimination technique can also be carried out by means of dedicated signs or mentions or other artifices, distinctions, accentuations (3), replacing or complementing colors.

In this device the fourth component, specificities in the synergy, includes a particular discrimination accelerator (18) allowing the mono or polychrome symbols (4) and particularly those of the notes to be immediately distinguished, recognized according to their location on a feint or a step, by the presence (18) or absence of a recess or interior mark (18), presence designating the state on a step by its white color or lighter than that of its symbol or very different, or absence on a feint, that is to say for a solid or united symbol or otherwise differentiating itself otherwise from the symbol of a step, or vice versa, without this preferential discrimination technique being limiting: discrimination by signs or mentions or other artifices, distinctions , deformations, notch, dedicated appendages can come as a complement or alternative. The goal being to discriminate at first glance a step from a feint that we already sense at hand and particularly in reading the appreciation on a reduced scale of the note symbols which would be indexed to other notes chords or motives. Thus among other techniques, this frequent case of indexing, recall of note symbols on a reduced scale (14), gives the main reason why discrimination of symbols (4) of walking or feinting according to their active positions is not indexed, would not be practical by using modifications of proportions, morphism of the external contours of their shape, and could induce errors in the appreciation of the symbol or confusion with another, as in the example of a wide or square parallelepiped on a step which would be narrowed and less wide or rectangle on a feint, such a configuration would hardly lend itself to the recall on the reduced scale (14) of note symbols in indexing because a small square can be confused with a small rectangle, and particularly if small symbols are drawn with more or less precision, notably freehand, and even less if we had to shrink or thin other symbols, circle, triangle, diamond, star (3a) among others, this to distinguish them on feints.

In this device a first component, compression (13) in synergy with the specificities, firstly comprises the placement, confinement (19) of all or part of a mono or polychrome sequence (11) of the symbol(s) (4) of the note, chord or pattern played by a first hand, in one of the spatially and temporally reserved places (19) located according to a rule, in subscript or superscript and/or with other distinctive signs, against the larger symbol(s) of the note, chord or pattern played with the second hand during this sequence, recalling the order and sequence in the first hand, the repetitions, directions, fingering, rhythm, tempo and any general or particular instructions, with a simple example of an Alberti Bass (12) or a chord to be repeated if necessary. These indices or exponents (19) or other attributes can occupy one or more places, particular areas against or surrounding the symbol (4) or the group of those of the chord or pattern supporting these attributes: lower left and/or right, and/or upper left and/or right, ranges depending on the occurrence of the simultaneity of the accompaniment for said symbol or group when it is struck on the keyboard one or more times, or repeated. Indeed during particular sequences, the same note, or chord or motif of a first hand, can be played one or more times, while being able to be accompanied by the second hand each or sometimes by a note, or a chord or pattern. This accompaniment of the second hand is specified by taking place by superscript index or attribute around the symbol(s) of the other hand, in the lower left place (19a) if the accompaniment is played on the first strike of this other hand, and/or in the upper left place (19b) if on the second strike of the same, and/or in the upper right place as in (19c) if on the 3rd strike of the same, and/or in the lower right place (19d) if on the 4th strike of the same. Any empty place (19th) indicates that this other hand is struck alone without simultaneous accompaniment at that beat. It happens in And for example, that a note from a first hand already played the first time at time t, notably the C sharp right hand 1st octave level preceding the "middle C", is played again once (4a) at the 3rd time at t+ 3, and that the following E note played at t+1 is replayed again twice (4b) following the same period of the 3rd beat, i.e. at t+4 then t+7, and that the other notes initially played at t+2 the G sharp, t+6 the "central C" sharp, t+10 the 2nd E, t+14 the 2nd G sharp are replayed again three times (4c) according to this period, at t+5, t+8, t+11 for G sharp t+2, then at t+9, t+12, t+15 for "middle C" sharp t+6, then at t+13, t+16, t+19 for 2nd mid t+10, finally at t+17, t+20, t+23 for the 2nd G sharp t+14, while being accompanied by the second hand. This accompaniment here is a simple Alberti Bass of two notes on the left hand alternating every two beats, each note repeating every four beats, implying that the accompanied right hand is struck alone every other time, without accompaniment of the Bass. These two notes are never struck alone, except the first initially, and apart from this case they always each accompany a right hand note simultaneously. This accompaniment specified by superscript index or attribute (19) around a symbol (4) of the right hand would occupy the lower left range if the accompaniment is played at the first strike of this symbol, therefore in this example at times t for C sharp, t+1 for E, t+2 for G sharp, t+6 for "middle C" sharp, t+10 for 2nd E, t+14 for 2nd G sharp, or A upper left range if it is on the second strike therefore at times t+3, t+4, t+5, t+9, t+13, t+17 for the same notes respectively, or the upper right range if at the third strike is at times t+7 for the E, t+8 for G sharp, t+12 for "middle C" sharp, t+16 for the 2nd E, t+20 for the 2nd G sharp, or the range lower right if on the fourth strike i.e. at times t+11 for G sharp, t+15 for "central C" sharp, t+19 for the 2nd E, t+23 for the 2nd G sharp. The clockwise direction of the ranges and this regulated indexing technique (19), recall and compression (13) of data are not limiting, exclusive. Secondly, the specific ranges subject to constraints described above (19) are not exclusive of ranges with more neutral characters (19f) whose positioning will be stable in index against a symbol always on the right or on the left or above or below because it is linked to another way when striking or repeating this symbol, and sequences with or without repetition, chord, pattern, sequence can receive this same type of indexing just like the above-mentioned notes. Each index range can also include several chord symbols or note patterns. Concise information on these modalities of progression in the sequences, and coordination between the hands is naturally located in the legend (6) where it finds room for better understanding and could possibly be developed by any teacher who knows the piece , the device, and/or according to an occasional targeted comparison with the music theory version or other tools, robots. It does not appear in full in the present figures.

In this device the second component, compression (13) in synergy with the specificities, includes general basic or particular adapted compaction (20), created by synthesis, discrimination (21) and not only by neutral confinement (19f) or regulated (19) but also by other synthesis instructions, thanks to a plurality of symbols (4) of notes including square triangle diamond disk, for example for Alberti Basses (12), and secondary markers (3) of repetitions (22) such as parentheses, square brackets, braces, doubles, triples or quadruples and so on indicating as many repetitions in the playing of notes, chords, patterns, sequences or sequences thus framed, or as explicitly indicated with multiplication operators addition, figures and texts or by any other attribute, sign, means indicating repetitions in situ, or in the margin or indicated elsewhere in a legend (6) or notification, or indicating references to other segments to be played, replay as in And . In play with accompaniment, the symbols (4) of notes dedicated to one hand are preferably discriminated (21) in it and different from those of the other hand (21a) and according to two zones, each dedicated to a hand and separated by a serpentine (21b) for example, the assembly generally constituting a stage (10) of the same color (16) or adorned with another specific discriminant. In general basic mode the compression applies to the Alberti Basses (12) of which, for the hand concerned the pattern is written on a single line with as simplification if necessary the only mention of each different symbol only, without any repetition, most generally but not exclusively without bracketed parenthesis or other similar sign of closure, while on the other hand this motif of the accompaniment is signified against its symbols in attribute, exponent or index on neutral areas (19f) or adjusted (19), with where applicable complete order of the pattern which may include a greater number of symbols remaining identical, if there are repetitions (22) in said pattern, order of the keys to be played. Both around the so-called Basses (12) and their reminder of the accompaniment in attribute (19), (19f) against the accompaniment, there can be mention of repetitions (22) of the motif(s) themselves this by any kind (3) of attributes, signs or explicit instructions. Overall in the sequence (11) the note symbols follow one another in sequences, sentences circumscribed on a level (10), alignment for which a minimum variation in altitude (23) from a horizontal reference is sought as in , And .

In this device the third component, compression (13) in synergy with the specificities, creates a determining effect by distributing a new ordering of colors (16) associated (24) on the same symbol (4) or series of symbols, similarly on (3) attributes, signs: for example and not exhaustively a note symbol can be two-tone or multi-tone (24) indicating that the key of this note must be held played relentlessly with one hand while two or plus Alberti Basses (12) or phrases from the stages of the corresponding colors (16), are played with the other hand as in , And . This makes it possible to associate stages (10) (16) of one hand with that (10) (24) or those of the other hand as in . There may be an association (24) of more than 2 colors characterizing one or more symbols (4) of a note, musical phrase or any attribute, sign (3) of a hand, referring to as many levels (10 ) with the other hand as in . This discrimination technique (24) is not restrictive and can be carried out by means of signs, mentions, hatching or other dedicated devices to replace or complement the colors.

In this device the fourth component of compression (13) in synergy with the specificities establishes an aggregate (25) of several parts of different symbols (4) constituting a single hybrid symbol on the same place dedicated to a note, hybrid possibly contain separation marks demarcating its partial compounds, indicating that this note is played by each hand separately, the symbols dedicated to one hand being preferably discriminated different (21) from those of the other hand as in on the first floor with G sharp then C sharp, and on the second floor with G sharp, and otherwise as in on floors 1 (21a) to 4, and floors 6 to 11. Another note symbol (4), in subscript or exponent (19), can also appear integer against this hybrid (25), indicating the accompaniment of the hand concerned by the form of this access, and possibly according to the rule of placement ranges referred to above, non-limiting: in first floor, the G sharp (19) in the lower left range against the C sharp,

In this synergy device of compression and specificities, the components may have optimization biases whether physically, materially, mechanically or not and on the real scale of a keyboard of a musical instrument, of a table of piano or other keyboard instrument, and/or whether electronically, and/or computerized, and/or virtually in 2D or 3D, by hologram, or on another scale for singing for example or demonstration, and therefore comprising in itself any easement allowing the implementation of active characteristics of said symbols, attributes, signs and mentions, by sounds of notes, tones and lighting, with tactile triggers and/or stops or by thought of the eyes, automatic or semi automatic, variable intensity and/or flashing lights, in particular.

This technical synergy device creates several increased impacts on the effectiveness of the playing, its immediate accuracy with fewer false chord notes, on the speed of progression and appropriation of the piece, on the management of resources for the benefit of better anticipation and intuition, on the data rate with compression (13) adapted to editable formats close to those of traditional scores, the heart of the product being this compression in a flow of colors ready to germinate as in a particular groove, spread like popcorn: the only first floor of Or according to this device compresses 52 notes of music theory and 30 levels of the “Piano roll”.

Framework of an industrial application of the invention

The device is applicable for industrial construction of new special scores in a format approximately 20 cm lower than A1 and foldable into a shortened A2 magazine printing format and in this family, to the measures of the 3rd movement of the sonata "Au Clair de Lune" by LV Beethoven, the application of which according to the device forms an existing prototype of 19 single-sided sheets in short A1 which can be converted into a format of 20 double-sided sheets in short A2, a little larger than that of a traditional score, reasonably, adaptable to the panel of a piano in particular and on a specific support if necessary. Optimization of the format can be carried out by avoiding the extreme columns common to the score and devoid of note symbols and also by returning the legend (6) of the margins to the appendix.
The prototype produces a synthesis on approximately 536 stages of cyclic colors, or 520 stages after more in-depth synthesis discussed in brief description of And and applied in And , to put into perspective the approximately 3688 stages, raw without corresponding synthesis of a "Piano roll" robot for this movement, in a potential ratio of 1 to 7 in support of the new multiple technical effect of the device.

Claims (9)

Device organizing and governing, in the special staves (1) of new musical scores (2) made up of columns (7) (8) joined parallel to each other intended to rest in plan against the board of a piano or on other instruments with keyboard (5) of keys, and/or in digital mode in particular, and maintained perpendicular to the long side of the keyboard, an assembly in condensed form called compaction (20) or compression (13), of sequences of their elements (3), symbols (4) of special mono or polychrome musical notes meeting for those of the notes the prerequisite of being aligned imperatively adjusted precisely (6a) (6b) opposite (5a) and according to the dimensions of the note keys of the keyboard (5) of real size and standard or custom span and, through this catalytic combination of compression (13) and specificities, promoting early accuracy of playing, sophisticated, intuitive automatic reactions, a reduction in mental resources for the benefit of anticipation and rapid technical progress in appropriation, mastery of a chosen piece, even difficult, and characterized in that it includes a system of singular condensed instructions (13) capable of producing, when it is implemented within the new partition (2) by governing the stages (10) of compact sequences of symbols (4) signs and attributes, by accentuating them with cycles (17) of colors (16) preferentially and on the basis of the said prerequisite, a multiple technical effect, among other mechanics on the game, by making it possible to reduce or even cancel the resources and mental load allocated to the identification in the said sequences, although dense, of the keys to be pressed , for the benefit of better anticipation of the following sequences without worrying, therefore, not only about having to know on the spot the notes corresponding to the symbols (4) although arranged in sophisticated synthesis, their sharps flat octave, but also to look in anticipation for instructions too far from the keyboard (5) or missing because out of image in the absence of radical technical processing of said instructions, or too ephemeral to be executed. This synergy device requires as a prerequisite the intimate alliance between the special partition (2) and the keyboard (5) which extend materially according to precise positions (6b), arrangements (6a), opposite each other depending on the " middle C" (5a).
The device compacts certain repetitions or sequences of symbols of notes, chords, families of chords, on very few stages (10) or even on a single one responsible for the succession of a multitude of sounds. Device according to claim 1 and characterized in that it comprises a first component, specificities in the synergy, which physically or virtually brings together a set of spans (1) of single (7) and doubled columns (8) for partition (2 ) musical, preferably white or light but not exclusively, in any case featuring a monochrome or polychrome background which contrasts with the elements (3) and symbols (4), columns intended to be arranged perpendicular to the long side of a keyboard (5) , columns (7, 8) possibly vertical or making an angle preferably reasonable with the vertical, each positioned most exactly with acceptable tolerances facing each other, gaze, continuity of the key assigned to it on the keyboard (5), certain columns capable of being discriminated. The columns are separated by visible borders (9), accentuated or not, borders falling or pointing most exactly with acceptable tolerances, on the feints in their middle as an extension and without the continuity technique being limiting. These boundaries can each be a continuous or discontinuous, dotted line, or possibly be a thick line or column, whether or not discriminated. The said borders falling, pointing with precision by means of tolerances towards the feints as in extension, imply that between two borders (9) a single column (7) and a double (8) fall, point with the same precision opposite, extension, continuity of one and two devolved steps respectively.
Said set supports symbols (4) of musical notes arranged precisely in said columns (7, 8) and on said borders (9), and (3) attributes of the symbols, signs mentioning legends (6) , mono or polychrome, fixed or mobile or evolving, possibly accentuated in sound and light or braille. Towards the ends of this partition (2) at its base particularly, are located (6a) marks, notches or lines representing the locations of the first and last columns (7) (8) and borders (9) allowing it to be positioned against the keyboard or next to it, and thus correctly in relation to its "central C" (5a), so that each column of the staves, dedicated to a march, particular note on the keyboard (5) in the octave corresponding, falls, points with precision by means of tolerances with respect to each clear key, step of the keyboard dedicated to the note, and that each border between the simple columns, or between a double and singles, dedicated to a feint, falls , points in the same way on each dark key or each feint. The score being in essence cut so that each column fits with its key dedicated to the keyboard, the positioning can also be obtained by making the dedicated column (6b) for "central C", marked accordingly, coincide with the key active “middle C” (5a). The double columns (8) of the single ones (7) preferably have no internal separation, they represent on the keyboard two steps side by side without feint between them, and the symbols (4) dedicated to these steps are arranged in the left and straight in these double columns, but not in the middle which would lead to confusion especially since there is no feint in this place. This partition (2) is preferably on the same scale as the keyboard associated with it and which is generally of standard size and span, and is therefore also adapted to the dimensions of the board of a piano or other instrument with keyboard. It may possibly include at its base a keyboard schematized in full or partially alongside a real keyboard, preferably. The said boundaries (9) preferably permanently visible, particularly in the local absence or low density of note symbols (4), allow the identification and distinction between neighboring feint and walk. This set of borders (9) bordering the columns (7) (8), each border ending on 1 feint and each column on 1 or 2 steps, is arranged differently from that of the "Piano roll" of which each column serves 3 or 4 steps and no border continues a feint, it therefore allows in synergy with differentiations of symbols from march to feint, an optimized, immediate identification and discrimination of feints or marches to press, notes to play, sing, vocalize. Device according to claim 2 and characterized in that it comprises a second component, specificities in the synergy, which governs the said supports in support, or being contained therein or framed or crossed, or facing, in 2D or 3D or hologram, and on several floors (10) a sequence (11) of a plurality of symbols (4) of all regular or irregular open or closed shapes, multiform if applicable, and other elements (3), attributes and signs, mono or polychrome, all integrated into a synthesis peppered with instructions allowing their reading, horizontal, vertical, oblique, omnidirectional, not necessarily following the preferential direction from left to right, backwards or retrograde (11b), ascending or descending ( 11c), where generally stages (10) of progression emerge, each preferentially discriminated by a particular color (16) according to a cycle (17) or not, in particular when they concern a sequence (11) of note symbols played by the two hands together or accompanying each other, which will be monochrome if the two hands are associated with the same floor exclusively. Such sequences are applications for transcription or adaptation of music theory measures from an existing traditional score in particular, or to directly create a new composition by formalizing it without it.
As a general rule, note symbols (4) are dedicated for each hand to the level of one level (10) or more, and are preferably, in the same level, of the same color (16) but of differentiated shapes (21) different from one hand to the other, a vertical serpentine (21b) being able to mark their separation, and even different in one hand especially when they form a pattern or Basse d'Alberti (12) requiring an order in the game and therefore discriminations and when there is no other auxiliary indicating, supporting this order. Generally and except in specific cases, Alberti's sequences, melodies and bass patterns are not circumscribed as closely as possible by limits, unlike chords whose note symbols are limited by parentheses, brackets, braces in particular. Then during the progression in the stages (10), all or certain notes alone or forming a sequence pattern chord (11), can change symbols (4) if the configuration of the data in the following stages requires it, and for the need to offer in this configuration the optimum conditions for data compression techniques, reading safety and play. The symbols (4) the attributes, signs, markers, indexations (3) and their suites determine sets and under -data sets that are condensed and concentrated using compression techniques (13) with the aim of shortening the partition (2) by reducing the number of stages (10). These techniques (13) use, without limitation, color, repetition markers, indexing, orientation, abbreviation, and mentions, explicit signs (3). They allow in particular, by the coupling of beacon and arrow signs, to shift from each beacon a star (3a) for example, the particular repetitive action of a hand, of a fingering, along overlapping arrowed sections in a scale or other progression of notes.
Thus the main symbols (4) representing a musical note to be played on a step or feint are positioned, unequivocally in a column (7) (8) but which can overflow it in the event of necessity of imposed size, or as symmetrically as possible straddling a border (9) whether in the form of lines, strip, line or column. These same symbols (4) of notes can be recalled in the margins of other notes or sequences (11) of notes, condensed sequences (13) if necessary, and in recall by indexing techniques, in indices and/or exponents , without limitation, thus for reasons of space or density, lightness they are often reduced to a lower scale (14) and therefore, to prevent any confusion, by trying to limit or avoid a modification of the proportions. However, a modification of the proportions will be sought in the case of notes to be held (15) played relentlessly on several levels, we can thus stretch a square into a rectangle, a circle into an oval for example, but without this modification necessarily being applied when these symbols (4) become recalled, indexed to others. The overall master plan, in the sequence of more or less horizontal stages (10), is preferentially ascending from the base or a particular latitude of the partition (2), if necessary as close as possible to the keyboard (5) and the hands, but the descending variant is also possible in this context by starting from the top of the staves (1) or from another latitude and approaching the keyboard. In the simple general case, and unless otherwise indicated, each hand progresses generally from left to right (11a) in its stage with, where appropriate, repetition or resumption with offset (11) of this progression possibly including variations, and the symbol (4) or its set (11), of the next note, chord or pattern to be played for a given hand is the closest and/or is designated as a priority in the ascending direction by the smallest difference in altitude (23) higher with regard to the level of the symbol or its whole, of the note, chord or motif already played; and conversely in the descending direction we will consider the lower altitude differential, unless otherwise mentioned. This smallest gap (23) can be such that the symbol of the note to be played is that of the one already played and to be held continuously for a certain time, thus the identical symbols touching each other are stacked (15) on several floors in the case appropriate, and the same goes for sets of notes, chords in particular. This device in synergy associates the said main symbols (4) of notes with a secondary arrangement of elements (3) pictorial graphics, figures, diagrams, tables, shapes, marks, signs symbolic or not, textual or not, these elements , quite distinct from said borders (9), which can also be portions of lines, curves, brackets brackets braces, serpentines (21b), underlining, accentuation, attributes, inlays, accessits, bands, dotted lines, arrowed lines or not in particular, but without the constraint of permanent periodicity of borders, and in this particular case they are therefore secondary. Some of these secondary elements involve punctuation, tempo, speed, fingering, repetitions, characteristics of the sequence (11) of notes, the orientation of the playing, phrasing, discrimination of the hands and others concern the legend mentions ( 6), and possibly scopes, symbols, codes, equivalences, punctual correspondences common with music theory, they are tools of the data compression device (13) (3) (4) introduced in claim 1. Device according to claims 2 and 3, and characterized in that it comprises a third component, specificities in the synergy, which organizes, in the sequence of successive stages (10) and to better distinguish them, a new ordering of colors , an alternation or succession of colors (16) generally and preferably uniform for each (10), and cyclic (17) or not, without excluding other discriminations by color whether for the stages or only the symbols (4) , or between stages, and to better and quickly find your way while playing or find your place after a pause, in the stages of the progression, between them or within a motif (11), chord or even a note. An example of a periodic cycle (17) may concern that of four uniform colors changing from one stage to another, black (17a) red (17b) blue (17c) green (17d) and thus repeating every four stages, or in another order, this spatially observed "four" period is not necessarily in a constant volume. There may also be an imperfection in the color cycle which resumes either in the original order or in another. As a general rule, a stage (10) associates the two hands which accompany each other in a particular sequence (11) condensed (13) or not, and the symbols (4) of this sequence are of the same color for the two hands ( 16) unless a first hand is associated with one or more additional floors of the second hand, and in this case this first hand will have symbols in several shades (24) each recalling one of the associated floors, in the second hand . This non-limiting discrimination technique can also be carried out by means of dedicated signs or mentions or other artifices, distinctions, accentuations (3), replacing or complementing colors. Device according to claims 2, 3, 4 and characterized in that it comprises a fourth component, specificities in the synergy, which is a particular accelerator (18) of discrimination allowing mono or polychrome symbols (4) and particularly those of notes to be immediately distinguished, recognized according to their location on a feint or step, by the presence (18) or absence of a recess or interior mark (18), presence designating the state on a step by its color white or lighter than that of its symbol or very different, or absence on a feint that is to say for a solid or united symbol or otherwise differentiating otherwise from the symbol of a march, or vice versa, without this preferential technique of discrimination is restrictive: discrimination by signs or mentions or other artifices, distinctions, deformations, notches, dedicated appendages may be complementary or alternative. Device according to claims 1, 2, 3, 4, 5 and characterized in that it comprises a first component, compression (13) in synergy with the specificities, which directs the placement, confinement (19) of all or part of a mono or polychrome sequence (11) of the symbol(s) (4) of the note, chord or pattern played by a first hand, in one of the spatially and temporally reserved places (19) located according to a rule, in subscript or superscript and/or with other distinctive signs, against the larger symbol(s), of the note, chord or motif played with the second hand during this sequence, recalling the orders and sequence in the first hand, repetitions, directions, fingering, rhythm, tempo and any general or particular instructions, with a simple example of an Alberti Bass (12) or a chord to be repeated if necessary. These indices or exponents (19) or other attributes can occupy one or more places, particular areas against or surrounding the symbol (4) or the group of those of the chord or pattern supporting these attributes: lower left and/or right, and/or upper left and/or right, ranges depending on the occurrence of the simultaneity of the accompaniment for said symbol or group when it is struck on the keyboard one or more times, or repeated. Indeed during particular sequences, the same note, or chord or motif of a first hand, can be played one or more times, while being able to be accompanied by the second hand each or sometimes by a note, or a chord or pattern. This accompaniment of the second hand is specified by taking place by superscript index or attribute around the symbol(s) of the other hand, in the lower left place (19a) if the accompaniment is played on the first strike of this other hand, and/or in the upper left place (19b) if at the second strike of the same, and/or in the upper right place (19c) if at the 3rd strike of the same, and/or in the lower right place (19d) if at the 4th strikes the same. Any empty place (19th) indicates that this other hand is struck alone without simultaneous accompaniment at that beat. This clockwise direction of the ranges and this regulated indexing technique (19), recall and compression (13) of data are not limiting, exclusive. The specific ranges subject to constraints described above (19) are not exclusive of ranges with more neutral characters (19f) whose positioning will be stable in index against a symbol always on the right or on the left or above or below because linked to a another way when striking or repeating this symbol, and sequences with or without repetition, chord, pattern, sequence can receive this same type of indexing just like the above-mentioned notes. Each index range can also include several chord symbols or note patterns. Concise information on these modalities of progression in the sequences, and coordination between the hands is naturally located in the legend (6) where it finds room for better understanding and could possibly be developed by any teacher who knows the piece and the device. Device according to claim 1 and the other preceding claims, and characterized in that it comprises a second component, of the compression (13) in synergy with the specificities, which is the general basic or particular adapted compaction (20), created by synthesis, discrimination (21) and not only by neutral (19f) or regulated (19) confinement but also by other synthesis instructions, thanks to a plurality of symbols (4) of notes including square triangle diamond disk, for example for Alberti Basses (12), and secondary markers (3) of repetitions (22) such as parentheses, brackets, braces, doubles, triples or quadruples and so on indicating as many repetitions in the playing of notes, chords, motifs, sequences or sequences thus framed, or as explicitly indicated with multiplication operators addition, figures and texts or by any other attribute, sign, means indicating repetitions in situ, or in the margin or indicated elsewhere in a legend (6) or notification, or indicating references to other segments to play, replay. In play with accompaniment, the symbols (4) of notes dedicated to one hand are preferably discriminated (21) in it and different from those of the other hand (21a) and according to two zones, each dedicated to a hand and separated by a serpentine (21b) for example, the assembly generally constituting a stage (10) of the same color (16) or adorned with another specific discriminant. In general basic mode the compression applies to the Alberti Basses (12) of which, for the hand concerned the pattern is written on a single line with as simplification if necessary the only mention of each different symbol only, without any repetition, most generally but not exclusively without bracketed parenthesis or other similar sign of closure, while on the other hand this motif of the accompaniment is signified against its symbols in attribute, exponent or index on neutral areas (19f) or adjusted (19), with where applicable complete order of the pattern which may include a greater number of symbols remaining identical, if there are repetitions (22) in said pattern, order of the keys to be played. Both around the so-called Basses (12) and their reminder of the accompaniment in attribute (19), (19f) against the accompaniment, there can be mention of repetitions (22) of the motif(s) themselves this by any kind (3) of attributes, signs or explicit instructions. Overall in the sequence (11) the note symbols follow one another in sequences, sentences circumscribed on a level (10), alignment for which a minimum variation in altitude (23) from a horizontal reference is sought. Device according to claim 1 and the other preceding claims, and characterized in that it comprises a third component, compression (13) in synergy with the specificities, which distributes a new ordering of colors (16) associated (24) on the same symbol (4) or series of symbols, similarly on (3) attributes, signs: for example and not exhaustively a note symbol can be two-tone or multi-tone (24) indicating that the key of this note must be held played relentlessly with one hand while two or more Alberti Basses (12) or phrases from the corresponding color levels (16), are played with the other hand. This makes it possible to associate stages (10) (16) of one hand with that (10) (24) or those of the other hand. There may be an association (24) of more than 2 colors characterizing one or more symbols (4) of a note, musical phrase or any attribute, sign (3) of a hand, referring to as many levels (10 ) with the other hand. This discrimination technique (24) is not restrictive and can be carried out by means of signs, mentions, hatching or other dedicated devices to replace or complement colors. Device according to claim 1 and the other preceding claims, and characterized in that it comprises a fourth component, compression (13) in synergy with the specificities, which establishes an aggregate (25) of several parts of symbols (4 ) different constituting a single hybrid symbol on the same place dedicated to a note, hybrid possibly containing separation marks demarcating its partial compounds, indicating that this note is played by each hand separately, the symbols dedicated to a hand being preferably discriminated different (21) from those of the other hand. Another symbol (4) of note, in subscript or exponent (19), can also appear integer against this hybrid (25), indicating the accompaniment of the hand concerned by the shape of this accessit, and possibly according to the non-limiting rule placement ranges referred to in claim 6.