JPH0626937Y2 - Karaoke rhythm sheet - Google Patents
Karaoke rhythm sheetInfo
- Publication number
- JPH0626937Y2 JPH0626937Y2 JP1987036451U JP3645187U JPH0626937Y2 JP H0626937 Y2 JPH0626937 Y2 JP H0626937Y2 JP 1987036451 U JP1987036451 U JP 1987036451U JP 3645187 U JP3645187 U JP 3645187U JP H0626937 Y2 JPH0626937 Y2 JP H0626937Y2
- Authority
- JP
- Japan
- Prior art keywords
- room
- sound
- rhythm
- beat
- karaoke
- Prior art date
- Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
- Expired - Lifetime
Links
Description
【考案の詳細な説明】 (産業上の利用分野) この考案はカラオケ歌詞をリズムに合わせ抑揚をつけて
記入するのに使用するカラオケリズム譜用紙に係る。[Detailed Description of the Invention] (Industrial field of application) The present invention relates to a karaoke rhythm score sheet used to write karaoke lyrics in rhythm according to rhythm.
(従来技術) いわゆるカラオケの唄い方を覚えようとする場合、従来
は歌手が吹き込んだ元歌のレコード或いはテープによっ
て元歌を聞き、または楽譜や歌詞の書かれた歌集等を見
ながら聞いて、元歌のメロデイを覚え、メロデイにのせ
て歌詞を繰り返し唄って覚えるのが通例である。(Prior art) When trying to learn how to sing a so-called karaoke song, conventionally, the original song is recorded by the singer's original record or tape, or while listening to the songbook in which the score and lyrics are written, It is customary to remember the original song, Melody, and sing the lyrics repeatedly on Melody.
(本考案が解決しようとする問題点) このような方法ではメロデイにのせて歌詞を覚えること
はできてもリズムを正確にとって唄うことは難しく、や
やともすれば音程がはずれ、或いはいわゆるめりはりが
なく、一本調子になり易い上に、楽譜をみながらテープ
またはレコードの演奏を聞けばメロデイは覚え易いとし
ても、抑揚は楽譜には記載してなく、歌手が自分のフイ
ーリングによって抑揚をつけて唄っているので、テープ
等の録音を聞いただけでは何処と何処に抑揚をつけてい
るのか覚えることがなかなか難しい。(Problems to be solved by the present invention) With such a method, it is difficult to sing the rhythm accurately, even though the lyrics can be memorized on the melody, and the pitch may be out of sync, or so-called clinging. It's easy to get into a single tone, and even if it's easy to remember Melody if you listen to the tape or record while watching the score, the intonation is not listed in the score, and the singer adds the intonation by his own feeling. Since I am singing, it is difficult to remember where and where I put the intonation just by listening to recordings such as tapes.
したがって楽譜が読めなくとも容易にリズムにのせて抑
揚をつけて歌詞を覚え、而もめりはりのある唄い方がで
きるようになる方法或いはカラオケリズム譜があればカ
ラオケ愛好者にはひじょうな福音となるであろうことは
容易に推測できる。Therefore, even if you can not read the score, you can easily put the rhythm on the rhythm and learn the lyrics and learn how to sing a song with a metaphor, or if there is a karaoke rhythm score, karaoke lovers will have a very good gospel It can be easily guessed that
本考案は上記のような事情に鑑み、カラオケの唄い方が
容易に上達できるカラオケリズム譜に使用するカラオケ
リズム譜用紙を提供することを目的とする。The present invention has been made in view of the above circumstances, and an object of the present invention is to provide a karaoke rhythm score sheet for use in a karaoke rhythm score in which the singing method of karaoke can be easily improved.
(問題点を解決するための手段) この考案によるカラオケリズム譜用紙は、横方向に連続
する室を備えかつ拍子に合わせた少なくとも2以上の小
節を有する複数段を縦方向に並置している。このカラオ
ケリズム譜用紙では、室をリズム1拍ごとに区分し、抑
揚記号を記入する複数の抑揚室を有する上の行と、歌詞
の発声音を記入する音室を有する下の行との2行を各段
の各室に設け、下の行の音室を表音室と裏音室とに区分
している。(Means for Solving the Problems) The karaoke rhythm score sheet according to the present invention has a plurality of rows having chambers continuous in the horizontal direction and having at least two or more bars matched to the beat, which are arranged in the vertical direction. In this karaoke rhythm score sheet, a room is divided into beats of rhythm, and an upper row having a plurality of intonation chambers for entering intonation marks and a lower row having a sound room for entering a vocal sound of lyrics are provided. Rows are provided in each room of each stage, and the sound room in the lower row is divided into a sound room and a back sound room.
(作用) リズム1拍ごとに区分された室の音室を更に表音室と裏
音室とに区分するから、表音室及び裏音室の各小音室が
2分の1拍を示す。また音室を空欄にして休止を示し、
正確なリズムを表すことができる。また、歌詞を発声音
に分解して音室に記入できるから容易に強弱を捉えるこ
とができ、抑揚室に記入された抑揚記号と合わせて、一
見して抑揚及び強弱を理解できる。(Function) Since the sound room of the room divided into each rhythm is further divided into the sound room and the back room, each sound room of the sound room and the back room shows a half beat. . Also, leave the sound room blank to indicate a pause,
Can represent an accurate rhythm. Moreover, since the lyrics can be decomposed into vocal sounds and entered in the sound room, the strength can be easily grasped, and together with the intonation symbol entered in the intonation room, the intonation and strength can be understood at a glance.
(実施例) 本考案に係るカラオケリズム譜用紙の一例を示せば、第
1、第2図に示すように1段1が上下の2行2、3より
なり、リズム1拍ごとにそれぞれ1室21、31に区分
され、下行3の各室は更に左右の小室31a、31bに
区分されている。(Example) To show an example of the karaoke rhythm score sheet according to the present invention, as shown in FIGS. 1 and 2, one step 1 consists of upper and lower two rows 2 and 3, and one room for each rhythm beat. The chambers in the descending row 3 are further divided into left and right small chambers 31a and 31b.
上の行2の各室21は抑揚記号を記入する室であり、抑
揚室と呼ぶこととする。また下の行3の各室31は歌詞
の発声音を記入する室であって、音室と呼ぶこととし、
音室が二つに区分された左の小室31aには1拍の表音
を、右の小室31bには裏音を記入するので、それぞれ
表音室、裏音室ということとする。Each room 21 in the upper row 2 is a room in which an intonation symbol is entered, and is called an intonation room. Further, each room 31 in the lower row 3 is a room for writing a vocal sound of lyrics, and is called a sound room,
The left small chamber 31a, which is divided into two sound chambers, has one beat of phonetic sound, and the right small chamber 31b has a back sound. Therefore, they are referred to as a sound room and a back sound room, respectively.
1段は拍子(例えば4拍子)に合わせた小節(4拍1小
節)の少なくとも2倍以上の室数が横方向に連続し、縦
方向には複数段が並列して適宜大きさの紙に印刷されて
いる。第1段の上側には抑揚室、音室の番号を、各段の
左端には段番号を記載しておけば使用に便利である。The number of chambers in the first row is at least twice the number of bars (four beats and one bar) that match the time signature (for example, four beats), and the number of chambers is continuous in the horizontal direction. It is printed. It is convenient to put the numbers of the intonation chamber and the sound chamber on the upper side of the first stage and the stage numbers on the left end of each stage.
(記入方法) このようなカラオケリズム譜用紙の記入方法について述
べれば次の通りである。まず、伸ばす発声音は子音的発
声音と母音的発声音とに分解し、子音的発声音は平仮名
で、母音的発声音は片仮名で記入する。例えば「か」は
「かア」と、「き」は「きイ」と記入する。(Entry method) The entry method of such a karaoke rhythm score sheet is as follows. First, the stretched vocal sound is decomposed into consonant vocal sounds and vowel vocal sounds, and the consonant vocal sounds are written in hiragana and the vowel vocal sounds are written in katakana. For example, enter “ka” for “ka” and “kii” for “ki”.
また母音の「あ、い、う、え、お」も伸ばすときは子音
と同様に分解して「あア、いイ、うウ、えエ、おオ」と
記入し、伸ばさないときは通例のとおり「あ、い、う、
…」、「か、き、く、…」と表音どおりに記入する。Also, when extending the vowel "A, I, U, E, O", it is decomposed in the same way as the consonant and entered as "A A, I I, U U, E E, O", and when it is not extended, it is customary. As you can see, "Ah, u, u,
"...", "K, K, K, ..."
母音的発声音を更に伸ばす場合は母音的発声音に続いて
長音記号「ー」を記入する。To further extend the vowel vocalization sound, enter the long-sound mark “-” after the vowel vocalization sound.
リズム譜用紙の各音室31にはリズムの1拍に相当する
発声音を記入し、更に抑揚室21には揚音記号 、抑音記号 、両者の組合せ記号を抑揚をつける発声音の上に記入す
る。揚げたり下げたり抑揚をつけて唄う場合、揚げる時
は一たん下げておいてから揚げ、下げる時は一たん揚げ
ておいて下げるが、子音的発声音から母音的発声にかけ
て揚げたり下げたりするので、子音的発声音から母音的
発声音にかけて抑揚記号を記入する。また、母音的発声
音のところで揚げたり下げたりする場合があるが、其の
時は母音的発声音の上に揚音記号、抑音記号または両者
の組合わせ記号を記入する。第3図は周知の北国の春の
歌詞をリズムに合わせて本考案のカラオケリズム譜用紙
に記入した例を示している。A phonation sound corresponding to one beat of the rhythm is entered in each sound room 31 of the rhythm music sheet, and an upsound symbol is entered in the intonation room 21. Grave marks , Write the combination symbol of the two above the vocalization to which the intonation is added. When singing with frying, lowering, or intonation, when frying it, lower it once before frying, and when lowering it, deep frying once and lowering it, but it flies or lowers from consonant vocalization to vowel vocalization. , Inflection marks are written from consonant vocal sounds to vowel vocal sounds. In addition, there is a case where the voice is raised or lowered at the vowel vocalization sound. In such a case, an utterance sign, a grave sign, or a combination symbol of the both is written on the vowel vocalization sound. FIG. 3 shows an example in which the well-known spring lyrics of northern countries are filled in on the karaoke rhythm score sheet of the present invention in accordance with the rhythm.
元歌を聞き、歌詞の歌い始めの発声音が1拍の表裏の何
れから歌い始められているかを聞きわけて、リズム譜の
表音室31aまたは裏音室31bから歌詞の発声音を記
入する。Listen to the original song, find out which of the front and back of the beat the singing sound at the beginning of the lyrics starts singing, and enter the vocal sound of the lyrics from the phonogram room 31a or the back room 31b. .
この歌では1拍の裏音から歌われるが、最初の「し」は
抑揚をつけて下から上へ揚げるので1拍の裏音室に「し
イ」と記入し、第2拍の表裏音室には「らか」と記入、
第3拍の「ば」は第4拍にかけて「ばー」と伸ばすので
「ば」を「ばア」と分解して第3拍の表裏音室に記入
し、第4拍の音室には長音記号「ー」を記入して曲の第
1小節を終えて第2小節に進み、第5拍は「あお」と表
音どおりに表裏音室に記入し、第6拍の「ぞ」は抑揚を
つけて下げるので表音室には「ぞ」、裏音室には「オ」
と記入し、第7拍は「ら」と普通に歌うので表音どおり
に表音室に記入して、裏音室は空けて半拍だけ休止し、
第8拍の「み」は抑揚をつけて下げるので「みイ」と記
入し、第2小節を終える。In this song, it is sung from the back sound of one beat, but since the first "shi" is put up from the bottom with an intonation, "shii" is entered in the back sound room of the first beat, and the front and back sounds of the second beat Enter "Raka" in the room,
The third beat, "ba," extends over to the fourth beat, so "ba" is decomposed into "baa" and entered in the front and back sound chambers of the third beat. Enter the long syllabary "-" to finish the first measure of the song and proceed to the second measure, enter "Ao" for the fifth beat in the front and back sound chambers in the phonetic manner, and "zo" for the sixth beat Since it's turned down with an inflection, it's "O" in the phonetic room and "O" in the back room.
I usually sing "Ra" for the 7th beat, so I write it in the phonetic room exactly as in the phonetic, leaving the back room empty and half a pause.
The eighth beat, "Mi," will be lowered with intonation, so enter "Mii" to end the second bar.
次に第3小節に進み、第2段の第1拍は「な」に抑揚を
つけて揚げるので表裏音室に「なア」と記入し、第2拍
は「アー」と伸ばしながら下げるので長音記号「ー」を
記入し、第3拍の「み」は抑揚をつけて揚げるので「み
イ」と記入し、第4拍の「か」は抑揚をつけて下げるの
で「かア」と記入、第5拍の前半拍はその前の第4拍か
ら「アー」と伸ばしてくるので長音記号「ー」を表音室
に記入し、後の半拍の「ぜ」は第6拍の前の半拍にかけ
て抑揚をつけて揚げるので「ぜエ」と分解し「ぜ」は第
5拍の裏音室に、「エ」を第6拍の表音室に記入し、第
6拍の裏音室と第7拍の表裏音室には長音記号「ー」を
記入、第8拍は休止であるから空けておく。以下同様に
して歌詞の発声音を各音室に記入して行く。Next, go to the 3rd measure. Since the first beat of the second stage is to be fried with the intonation added to "na", enter "naa" in the front and back sound chambers, and extend the second beat with "a" and lower it. Enter the long syllabary "-", and the third beat "Mi" will be fried with inflection, so it will be written as "Mii", and the fourth beat "Ka" will be put with inflection and will be "Ka A". Entry, the first half of the 5th beat extends from the 4th before that to "Ah", so enter the long syllabary "-" in the phonetic room, and the latter half of the "Ze" is the 6th beat. Since it is fried with inflection over the first half beat, it is decomposed as "zee" and "ze" is entered in the back sound room of the fifth beat, and "e" is entered in the sound room of the sixth beat. The long sound symbol "-" is written in the back sound room and the front and back sound room of the 7th beat, and the 8th beat is a pause, so leave it. In the same way, enter the vocal sound of the lyrics in each sound room.
次に、元歌を聞きながらリズム譜用紙に抑揚記号を記入
する。前述したように、抑揚を付ける場合揚げる時は一
たん下げておいてから揚げ、下げる時は一たん揚げてお
いてから下げる。Then, while listening to the original song, fill in the intonation marks on the rhythm sheet. As mentioned above, when adding intonation, when deep-fried, lower it once and then deep-fried, and when lowering it, deep-fried and then lower it.
まず「しイ」では「し」で一たん下げておいて「イ」で
揚げるので子音的発声音の「し」から母音的発声音の
「イ」の上にかけて揚音記号 を記入、次に第3拍の「ばア」では「ば」で一たん下げ
ておいて「ア」で揚げるので子音的発声音の「ば」から
母音的発声音の「ア」にかけて揚音記号 を記入する。次に第6拍の「ぞオ」は「ぞ」で一たん揚
げておいて「オ」で下げるので「ぞ」から「オ」にかけ
て抑音記号 を記入する。このようにして各段の上行の抑揚室に抑揚
記号を記入する。First of all, in the case of "shii", lower it with "shi" and fry it with "i". Therefore, from the consonant vocalization "shi" to the vowel vocalization "i" Then, in the third beat "Baa", lower it with "Ba" and fried with "A". So, from the consonant vocalization "Ba" to the vowel vocalization "A" symbol Fill in. Next, "zo" of the 6th beat is fried with "zo" and lowered with "o", so the grave accent from "zo" to "o" Fill in. In this way, the inflection symbol is entered in the ascension room above each row.
録音の演奏を聞きながら伴奏が始まってから歌手が唄い
出すまでの前奏を例えば「1、2、3、…8」(2小節
分の拍子)と繰り返し数えて前奏の拍子数を調べ、リズ
ム譜の始めに記載しておけば、カラオケで唄う場合伴奏
の何処から唄いだせば良いのか判りやすいので便利であ
る。While listening to the performance of the recording, the prelude from the beginning of the accompaniment until the singer sings is repeatedly counted as, for example, "1, 2, 3, ... 8" (beat for two measures), and the beat number of the prelude is checked to determine the rhythm score. It is convenient to put it at the beginning of because it is easy to know where to start singing when singing in karaoke.
(効果) 本考案のカラオケリズム譜用紙は上述した通りリズム1
拍ごとに1抑揚室と表裏の2小音室からなる1音室とを
有するので、楽譜を読めなくとも伴奏に合わせて所定の
方法に従って歌詞の発声音を子音的発声と母音的発声と
に分解し、拍子に合わせてこのリズム譜用紙に記入する
と共に、歌手独自の抑揚に合わせて抑揚記号を記入する
ことは容易である。(Effect) The karaoke rhythm score sheet of the present invention has the rhythm 1 as described above.
Since each beat has one intonation room and one sound room consisting of two small sound rooms on the front and back sides, lyric sounds can be converted into consonant and vowel sounds according to a predetermined method according to the accompaniment even if the score cannot be read. It is easy to disassemble and fill in this rhythm score sheet according to the time signature, and fill in the intonation marks in accordance with the intonation unique to the singer.
また、この用紙に記入したカラオケリズム譜を見ながら
伴奏に合わせて唄えば容易にリズムに合わせて唄うこと
ができる上に、抑揚をつけるところも判るので元歌と同
じように抑揚をつけて唄うことができ、要所要所では子
音的発声と母音的発声とに分けて発声するので所謂めり
はりもはっきりさせることができるようになる。或いは
有名歌手の唄い方そっくりに唄うこともでき、カラオケ
の唄い方が益々上達し、カラオケを楽しむことができる
等実用上大きな効果が得られる。Also, if you sing along with the accompaniment while observing the karaoke rhythm score entered on this sheet, you can easily sing along with the rhythm, and you can also see where to inflate, so you can infuse like an original song. Since it is possible to utter differently in consonant vowels and vowel utterances at required points, so-called swelling can be made clear. Alternatively, it is possible to sing like a famous singer's singing style, the singing style of karaoke is improved, and karaoke can be enjoyed.
第1図は本考案に係るカラオケリズム譜用紙を例示した
正面図、第2図は説明のため第1図の要部を示した正面
図、第3図は本考案のカラオケリズム譜用紙の記入例を
示す正面図である。 1……カラオケリズム譜1段、2……上の行、3……下
の行、20……室、21……抑揚室、31……音室、3
1a……表音室、31b……裏音室FIG. 1 is a front view illustrating a karaoke rhythm score sheet according to the present invention, FIG. 2 is a front view showing an essential part of FIG. 1 for explanation, and FIG. It is a front view which shows an example. 1 ... Karaoke Rhythm 1st Stage, 2 ... Upper Line, 3 ... Lower Line, 20 ... Room, 21 ... Induction Room, 31 ... Sound Room, 3
1a ... sound room, 31b ... back sound room
Claims (1)
せた少なくとも2以上の小節を有する複数段を縦方向に
並置したカラオケリズム譜用紙において、 室をリズム1拍ごとに区分し、 抑揚記号を記入する複数の抑揚室を有する上の行と、歌
詞の発声音を記入する音室を有する下の行との2行を各
段の各室に設け、 下の行の音室を表音室と裏音室とに区分したことを特徴
とするカラオケリズム譜用紙。1. In a karaoke rhythm score sheet having a plurality of rows arranged in a vertical direction, the rooms having laterally continuous chambers and having at least two or more measures matched to a beat, the chambers are divided into each rhythm, and intonation is performed. Two rows, an upper row with a plurality of intonation chambers for writing symbols and a lower row with a sound chamber for writing the vocalizations of lyrics, are provided in each room of each stage, and the sound chambers in the lower row are displayed. Karaoke rhythm score sheet characterized by being divided into a sound room and a back sound room.
Priority Applications (1)
Application Number | Priority Date | Filing Date | Title |
---|---|---|---|
JP1987036451U JPH0626937Y2 (en) | 1987-03-12 | 1987-03-12 | Karaoke rhythm sheet |
Applications Claiming Priority (1)
Application Number | Priority Date | Filing Date | Title |
---|---|---|---|
JP1987036451U JPH0626937Y2 (en) | 1987-03-12 | 1987-03-12 | Karaoke rhythm sheet |
Publications (2)
Publication Number | Publication Date |
---|---|
JPS63144692U JPS63144692U (en) | 1988-09-22 |
JPH0626937Y2 true JPH0626937Y2 (en) | 1994-07-20 |
Family
ID=30846864
Family Applications (1)
Application Number | Title | Priority Date | Filing Date |
---|---|---|---|
JP1987036451U Expired - Lifetime JPH0626937Y2 (en) | 1987-03-12 | 1987-03-12 | Karaoke rhythm sheet |
Country Status (1)
Country | Link |
---|---|
JP (1) | JPH0626937Y2 (en) |
Families Citing this family (1)
Publication number | Priority date | Publication date | Assignee | Title |
---|---|---|---|---|
JP2009069788A (en) * | 2007-09-12 | 2009-04-02 | Kazuomi Makiyama | Subtitle for karaoke, and storage medium with subtitle recorded thereon |
Family Cites Families (3)
Publication number | Priority date | Publication date | Assignee | Title |
---|---|---|---|---|
JPS501019U (en) * | 1973-05-07 | 1975-01-08 | ||
JPS6113924Y2 (en) * | 1979-07-20 | 1986-04-30 | ||
JPS5951370U (en) * | 1982-09-27 | 1984-04-04 | 浜田 弘作 | lyrics card |
-
1987
- 1987-03-12 JP JP1987036451U patent/JPH0626937Y2/en not_active Expired - Lifetime
Also Published As
Publication number | Publication date |
---|---|
JPS63144692U (en) | 1988-09-22 |
Similar Documents
Publication | Publication Date | Title |
---|---|---|
Parker et al. | Charlie Parker omnibook: transposed for B flat instruments | |
Widdess | Dynamics of Melodic Discourse in Indian Music | |
Daniel | Poulenc’s choral works with orchestra | |
JPH0626937Y2 (en) | Karaoke rhythm sheet | |
Lampl | Turning notes into music: An introduction to musical interpretation | |
Boone et al. | Music Theory 101: From keys and scales to rhythm and melody, an essential primer on the basics of music theory | |
Hellberg | To worship God in our way: Disaffection and localisation in the music culture of the Evangelical Lutheran Church in Namibia | |
Hold | The notation of bird‐song: A review and a recommendation | |
Beveridge | Dvorák's “Dumka” and the concept of nationalism in music historiography | |
Cho | Re-interpreting Brahms Violin Sonatas: Understanding the composer’s expectations | |
Higgins | Chopin interpretation: a study of performance directions in selected autographs and other sources | |
Kassebaum | Improvisation in alapana performance: A comparative view of raga Shankarabharana | |
Wunsch | Brainwriting in the theory class: The importance of perception in taking dictation | |
Viljoen | The ornamentation in the Fitzwilliam virginal book with an introductory study of Contemporary practice | |
Gardner | Essentials of Music Theory: Elementary | |
Wyatt et al. | Ear training for the contemporary musician | |
TW201007710A (en) | Editing and displaying method for providing visual intuitional music symbols and sound spectrum marks | |
Bach | Inventions and Sinfonias:(two-and Three-part Inventions) | |
Hill-Wells | A Performance Guide and Pedagogical Analysis to the Solo Guitar Works of Two Black Women Composers: Errollyn Wallen and Tania León | |
Wilson | The Concerto for Bassoon and Low Strings by Sofia Gubaidulina: A performance guide | |
Rossen | The Suahongi of Bellona: Polynesian Ritual Music | |
Ciantar | Styles of transcription in ethnomusicology | |
Chew | The Pianism of Ferruccio Busoni: A Critique of Selected Recordings and a Creative Re-Imagining Through New Performances | |
Bach et al. | Two-part inventions | |
Ruggiero | A recording and guide to the performance of Carl Vine's" Anne Landa Preludes" |