US3671661A

US3671661A - Method of determining pitch names in various keys and pitch name determining slide rule

Info

Publication number: US3671661A
Application number: US787189A
Authority: US
Inventors: El Yoshida
Original assignee: Individual
Current assignee: Individual
Priority date: 1967-12-30
Filing date: 1968-12-26
Publication date: 1972-06-20
Anticipated expiration: 1989-06-20

Abstract

A method of theoretically determining musical scales, chords and pitch names of transposition in various musical keys, and a music slide rule of the hand operated type for determining such pitch names which is capable of using said method.

Description

United States Patent Yoshida [451 June 20, 1972 [54] METHOD OF DETERMINING PITCH 2,657,610 11/1 Ca NAMES IN VARIOUS KEYS AND PITCH g g I u u ye 3 NAME DETERMINING SLIDE RULE 3,481,241 12/1969 Gaillard ..84/474 [72] Inventor: El Yoshida, 21 lkedamachi 5-chome,

Omihachimamshi Japan FOREIGN PATENTS OR APPLICATIONS [22] Filed: 26,1968 185,862 9/1922 Great Britain ..84/473 PP 787,139 Primary Examiner-Richard B. Wilkinson Assistant Examiner-Lawrence R. Franklin [30] Foreign Application Priority Data A'mmey john Joseph Dec. 30, 1967 Japan ..43/5303 57 ABSTRACT 52 us. Cl ..a4/473 A methd themtically determining musical scales chmds 51] CL t v 0gb 15/02 and pitch names of transposition in various musical keys, and Field of Search "84/470, 471 473 474 a music slide rule of the hand operated type for determining such pitch names which is capable of using said method. [56] References cued 10Cla1ms' ,7Drawing Figures UNITED STATES PATENTS 1,732,377 10/1929 Patterson ..84/473 A scule ,m l Jlr-CCaDDuEFFnGGuAAuB c-nb. FFuaG-ALBC X12"BID0CIE0D1EIIG.FnAuG-Brd:luDbcihIE-GSFIAIGIIIAIEI 3 lIS DIUBIEMFflBQIEIM ascnciuaipiatmz ru 1.3 9D Cscule X I|-c -o ua. -A m 6.0 1* F- -A A. etc 5 ism afaik z-.- eat: as: I812: a. s: 5 2 msmle -l s: 6 7 l: 4

METHOD OF DETERMINING PITCH NAMES IN VARIOUS KEYS AND PITCH NAME DETERMINING SLIDE RULE transposition can be located as the absolute pitch in playing music or vocalization, it matters little. But such wrong pitch names are intolerable from the viewpoint of correct music theory. For example, when the constituent pitch names of G minor triad are located, if the first, third and fifth are to be obtained according to the scales of harmonic minor scale from a standard pitch name line, which indicates chromatic scales by sharps, namely from G,G# ,A,A# B, C, Ci? D, Dii E, F, Fit they are G, A1? and D. The first, third and fifth are G, Bi: and D according to a standard pitch name line which indicates chromatic scales by flats. What matters here is whether the third should be represented as A# or as 8!: Since G minor triad is obtained in playing by playing the G, Ai$ (or 8}) and D thus selected on a musical instrument, no question arises as to which one of A ii and Bb to represent. But from the viewpoint of correct music theory there is a rule that A# in the form of the third as shown by way of example must be represented as B b This is because the music theory provides for the rule that the pitch names which constitute chords must be read in order of scales and alphabets and every other pitch name except for the sixth name of the added sixth chord. Further in constituting scales, pitch names must be alphabetically read. From the music theorythat is governed by such a complicated rule, it is not easy task even for a specialist to mentally determined the pitch'names that constitute chords in each key and the pitch names that constitute scales. Heretofore, there have been offered and suggested a great many chord scales for playing a guitar or for transposition. But although they were convenient and useful for selecting the absolute pitch, such chord scales were not effective as a means for determining the pitch names of the type described.

A primary object of this invention is therefore to provide a method of determining pitch names by which scales, chords 7 and pitch names of transposition can be detennined not only inthe form of their practical pitch but also in the form of pitch names that are correct in music theory.

Another object of this invention is to provide a pitch name determining slide rule capable of determining correct pitch names by operating said pitch name determining method in the same simple manner as by operating an ordinary duplex slide rule.

Still another object of this invention is to provide in con junction with the second object described above a pitch name determing slide rule that is small in size, handy and convenient for ready use at any place and any time.

The pitch name determining slide rule of the invention is very suitable for use as a music instruction instrument or a companion to a performer and a composer or music adapter not only in a modern music field such as jam and popular tune but also in a classic music branch in need of formal music theory.

These and other objects and advantages of the invention will become more apparent from the following description made with reference to a preferred embodiment of the invention shown by way of example in the accompanying drawings and from the appended claims.

In the drawings:

FIG. 1 is a front view showing in a preferred embodiment the pitch name determining slide rule of the invention;

FIG. 2 is a front'view of a preferred embodiment of the pitch name determining slide rule of the invention showing how to determine scales by use of the slide rule;

FIG. 3 is a front view of the preferred'embodiment of the pitch name-determining slide rule of theinvention showing how to detennine chords by use of the slide rule;

FIG. 4 is a front view of the embodimentof the pitch name determining slide rule of the invention showing how to deter mine various pitch names in transposition by use of the slide rule;

FIG. 5 is a sectional view taken along the line I I of FIG.

FIG. 6 is a rear view of the slide rule of the invention; and

FIG. 7 is a frontview of the cursor used in another embodiment of the slide rule of the invention.

A description will be made of the pitch name determining method of the invention with reference to the pitch name determining slide rule of the invention. The pitch name determining method of the invention is based upon an enhannonic line table X inscribed both on a middle scale 2 and the upper sectionof an outer scale ,1 shown in FIG. 1. That is to say, this enharmonic line table comprises three lines of pitch names, namely, the uppermost line which is used as a standard pitch name line 1, having pitch names C, Cit D, B arranged laterally in alphabetical order over a width of at least two octaves with chromatic scales in general use represented by sharps and with C represented as a tonic, the middle line which is placed below said line 1, and which is used as a first enharmonic line I, each pitch name of which enharmonically corresponds to each pitch name of said line 1,, and which represents Bi? as a tonic, which Bii is an enharmonic interval to C in the line 1,, and the lower line which is used as another enharmonic line 1, which enharrnonically corresponds to both lines 1, and 1, and which designates Dbb as a tonic.

In short, the three lines 1,, 1, and 1 of pitchnames bear an enharmonic relation with respect to each other between the upper and the lower lines. The enhannonic line table comprising these upper and lower three lines constitute the theoretic basis of this invention that makes it possible notmerely to know the practical pitch of a pitch name but also to read the pitch name theoretically correctly.

Prior to a description of examples of use to be later shown, the way of reading required for selecting a scale note when pitch names are selected in succession from lefi to right is to always select from the three lines 1,, I, and 1, such pitch names as will be in order of pitch name characters from left to right (here alphabetically). For example, whenthe pitch name on the left side (preceding pitch name) is G, if the pitch name that is to be selected from All Bl? Cbb ofthe three lines 1,, 1, and 1,, A that is to be read next to G alphabetically, namely, A in this case must be selected as a correct pitch name. But when pitch names are read from said three lines in the case of those pitch names which constitute chords other than the sixth name of the added sixth chord, the way of reading the pitch names which constitute chords is in alphabetical order from lefi to right and it is correct to read every other pitch name. For example, when a preceding pitch name is A, a succeeding name to be selected from C, Bit ,D lab is C, and must not be Bit or Dbb As this is rather different from when scales are read, care must be taken. But in the case of the sixth name of the added sixth chord, the sixth name having a scale character next to the fifth in alphabetical order is selected. For example, the sixth name in the case of C major sixth should be read as A next to the fifth G in alphabetical order and must not be read as Bl; The above description is very important for embodying this invention. Incidentally, an X as a sign of a pitch name signifies (double sharp).

As illustrated in the drawings, the pitch name determining slide rule of the invention comprises three parts: the upper section of an outer scale I, a middle scale 2 and the lower section of the outer scale I. More particularly, the pitch name determining slide rule of the inventionis constructed in the manner that the middle scale 2 is slidably fitted into the outer scale 1. said middle scale 2 having an enhannonic line table X formed thereon and having graduations 5 for clearly locating the scale positions above and below each pitch name inscribed in the upper and lower lines thereof, respectively, the lower section of the outer scale 1 has a scale number index Y inscribed thereon and made up of scale numbers and graduations 4 indicative of a division between a major scale abbreviated to MS in the drawings, a harmonic minor scale HMS, melodic minor scales ascending MMSA and melodic minor scales descending MMSD, and the upper section of the outer scale 1 is made up of the same enharmonic line table X as that of the middle scale 2 and graduations 3. In the correct engaging position of the middle scale 2, the upper and lower sections are adapted to agree with the middle scale 2 through the

graduations

3, 4 and 5. For the convenience of description the upper section of the outer scale 1, the middle scale 2 and the lower section of the outer scale 1 are hereinafter referred to as A scale, C scale and B scale, respectively. Of these scales, A scale is for original notes, C scale is for transposition, changing scales and chords, and B scale is for reading the positions of various scales and pitch names of chords. The numeral 8 designates a cursor adapted to slidably fit into the outer scale I, said cursor having indicators 6 in the form of lines in FIG. I or in the form of dots (preferably classified by color) in FIG. 7 shown on the surface thereof, said indicators 6 corresponding to the positions of the pitch names that constitute the major chord, minor chord, dominant seventh chord, minor seventh chord which are most frequently used as general chords. This is intended to suit the convenience with which the user is enabled to read the pitch names of each chord with ease by checking said cursor 8 against A scale or C scale, but the cursor 8 is not always necessary nor the indicator 6 is always limited only to the chords shown by way of example. As will become apparent from the description to be later made, such indicators 6 are in accordance with chord symbols 7 indicative of the number of tones that constitute each chord shown on the reverse side of the outer scale 1. That is to say, as shown in FIG. 6 on the reverse side of the outer scale 1 are shown chord symbols 7 indicating the positions of tones that constitute various chords used in popular tune and jam together with the scale number index Y to apply, and the pitch names of chords are selected according to the symbols 7, but the sign 1 means reading one column to the left and T means reading one column to the right. It is the indicators 6 that are so intended as to select the above-mentioned four chords most frequently used from the chord symbols 7 and to make it possible to read the tones which constitute the chords on the A and C scales at a glance. Accordingly, if desired, a further chord such as an augmented chord as shown in FIG. 7 may be advantageously included as an indicator 6.

A description of the operation of the pitch name determining slide rule of the invention comprising the elements thus described will be made in the following.

I. To determine scales (See FIG. 2)

For example, when it is desired to constitute a major scale from F note, slide C scale and bring the F of the C scale into line with l of the major scale number index MS of the B scale, read the number in the major scale of the B scale rightwardly and select the pitch names in successive alphabetical order from each enharmonic line 1,, 1 and 1,. Then the pitch names of F major scale consisting of F, G, A, Bb C, D, E can be obtained. In this case, Bb as the fourth must not be mistakenly selected from the lines I, and 1 and read as Ail and Cbb This is due to the aforestated rule according to which the fourth must be read as B b in alphabetical order because the preceding pitch name (the third) is A.

I]. How to read chord (See FIG. 3)

For example, in determining A major chord, bring A of C scale into line with the l of the harmonic minor scale number index I-IMS and read 1-3-5 according to the minor chord charcter of chord symbols 7, and A, C, and E will be obtained. The C and E in this case are read in accordance with the aforementioned way of reading chords in which every other pitch name is read. Likewise, in the case of Bb major (major triad), bring the Bb of C scale into line with the I of major scale number MS and read 1-3-5, and Rh D and F will be obtained. The structure of the other chords may be determined in the same manner as the two examples described above according to chord symbols 7 and the scale number index Y to apply.

But in the case of the added sixth chord, the sixth is read so as to be the next name to the fifth in alphabetical order, as described. For example, in the case of A minor sixth, Fil is selected from the position of 6T of HMS according to the minor 6 of the chord symbols 7 with the state shown in FIG. 3 left as it is. In this case, B I: must not be selected according to such skipped alphabetical order as when the fifth E was determined.

As described, in order to make a very general chord structure easy to read on the C scale, preferably provision of a cursor 8 according to its chord symbol with the indicators 6 in the form of lines shown in FIG. 1 or dots shown in FIG. 7 which lines or dots are classified by color for each chord makes it possible to simply determine other third, fifth and seventh by sliding the C scale and placing the keynote of its chords above the first of the indicators 6 of the cursor 8, and accordingly the provision of such a cursor provides great convenience for studying chords when musical instruments played on the basis of chord, such as, particularly, piano, electronic organ, banjo, guitar, ukulele or the like are played.

III. Transposition (See FIG. 4)

When the pitch names of the original scale are known, find them in the A scale and locate in the C scale the keynote of the scale that is desired to transpose. Slide the C scale, bring the keynote of the C scale into line with the underside of the keynote of the A scale and read the transposed tone alphabetically on the C scale. For example, when a C major is transposed to an E major, C is transposed to E, D to Fil E to Gil F to A, G to B, A to Ci? and B to D# by bringing the E of the C scale into line with the C of the A scale as shown in FIG. 4, thus all the transposed scales being known in a simple manner. Likewise, the transposition of the tones that constitute chords can be known. But the pitch names of chords, as described, are to be selected from the C scale so as to be in skipped alphabetical order except for the added sixth.

This invention has been described with reference to a pitch name determining slide rule of the duplex slide rule system shown by way of example in the preferred form of the invention, but it should be understood that the invention can be embodied in the following forms.

In the method of determining pitch names:

I. Reading of pitch names by use of the enharrnonic line tables alone.

II. Reading of pitch names by use of the enharmonic line tables in which the upper and lower arrangement of the pitch name lines 1,, 1, and 1 have optionally been changed.

III. Use of one or more kinds of pitch name characters selected from Japanese, German, Italian, French and other peculiar pitch name characters instead of or together with alphabets as pitch name characters in the enharmonic tables. IV. Indication of the keynotes of pitch name lines 1,, I, and 1, for at least one octave not by C, Bi? and Dbb but by intermediate notes thereof, respectively.

In the slide rule for determining pitch names:

V. Inclusion of modifications of the above (II), (III) and (IV) under the enharmonic line tables.

VI. Concentrical construction of the outer scale and the middle scale so as to be capable of rotating around one shaft. For example, placing a B scale in the form of a disc scale on the inside, an A scale in the form of a disc scale on the outside, and a C scale in the form of a disc scale intermediately between the B scale and the A scale so as to be rotatably slidable on a concentric shaft.

VII. The outer scale to be slidable with respect to the middle scale.

VIII. Provision of chord symbols 7, for example on the reverse side of the middle scale 2 and not to be limited on the reverse side of the outer scale 1.

IX. Making of various other modifications and additions in structure in so far as they fall within the purview of the claims of the invention described below.

As has been understood from the above description, the pitch name determining slide rule of this invention makes it possible to quickly read the theoretically correct pitch names of various scales, chords, transposition on the scales by use of enharmonic line tables only through simple hand-operated sliding, and accordingly it is very useful in that not only search of absolute pitch can be attained but pitch names correct in music theory can be obtained in playing musical instruments such as piano, electronic organ, guitar and other musical instruments, and in composition of music, arrangement of music and in the study of musical grammars, and moreover, it is certain that because it is small in size, light in weight, and convenient for the user to carry with him, this slide rule will become a good companion. not only to those players of modern music but also to music lovers in general.

What is claimed is:

l. A pitch name determining slide rule comprising an outer scale divided into two spaced sections, and a middle scale mounted between the spaced sections of said outer scale and slidable with respect thereto, said middle scale having a table including a standard pitch name line representing chromatic scales by whole tones and sharps, a first enharmonic line representing each pitch name of said standard pitch name line by an enharmonic including sharps, flats, and a double sharp, and a second enharmonic line representing each pitch name of. said first two pitch name lines by another enharmonic including flats, double flats, and a double sharp, said three lines being placed in a parallel relation and in register with each other, and the first enharmonic line being placed between the second enharmonic line and said standard pitch line, one of said sections of said outer scale having the same chromatic and enharmonic line table as that of said middle scale, and the other section thereof having a scale number index having various scale numbers inscribed thereon, said scale numbers being linearly spaced proportional to the musical intervals of various major and minor chords, whereby correct pitch notation is obtained together with correct absolute pitch in transposing music.

2. A pitch name determining slide rule according to claim 1 in which each pitch name line comprises the following lines of alphabets:

3. A pitch name determining slide rule according to claim 1 in which the pitch name characters are inscribed in alphabetical order.

4. A pitch name determining slide rule according to claim 1 in which each pitch name line is indicated for at least two octaves.

5. A pitch name determining slide rule according to claim 1 in which the outer scale is fixed and the middle scale is slidable.

6. A pitch name determining slide rule according to claim 1 in which the outer scale is slidable and the middle scale is fixed.

7. A pitch name determining slide rule according to claim 1 in which the outer scale further has a transparent cursor slidably fitted thereinto, said cursor indicating the scale positions of chords in the form of lines or dots.

8. A pitch name determining slide rule according to claim 1 in which the outer scale is provided on the reverse side thereof with chord symbols that indicate the scale positions of various chords in numbers.

9. A pitch name determining slide rule according to claim I in which the enharmonic line table and scale number index are provided in their respective pitch name positions with graduations that agree in specified position with each other.

10. A pitch name determining slide rule according to claim 1 in which each pitch name line is indicated in a straight line.

i I t I l

Claims

1. A pitch name determining slide rule comprising an outer scale divided into two spaced sections, and a middle scale mounted between the spaced sections of said outer scale and slidable with respect thereto, said middle scale having a table including a standard pitch name line representing chromatic scales by whole tones and sharps, a first enharmonic line representing each pitch name of said standard pitch name line by an enharmonic including sharps, flats, and a double sharp, and a second enharmonic line representing each pitch name of said first two pitch name lines bY another enharmonic including flats, double flats, and a double sharp, said three lines being placed in a parallel relation and in register with each other, and the first enharmonic line being placed between the second enharmonic line and said standard pitch line, one of said sections of said outer scale having the same chromatic and enharmonic line table as that of said middle scale, and the other section thereof having a scale number index having various scale numbers inscribed thereon, said scale numbers being linearly spaced proportional to the musical intervals of various major and minor chords, whereby correct pitch notation is obtained together with correct absolute pitch in transposing music.

9. A pitch name determining slide rule according to claim 1 in which the enharmonic line table and scale number index are provided in their respective pitch name positions with graduations that agree in specified position with each other.