WO1991010222A1

WO1991010222A1 - Device for musical training

Info

Publication number: WO1991010222A1
Application number: PCT/EP1990/002317
Authority: WO
Inventors: Roman Koller
Original assignee: Roman Koller
Priority date: 1989-12-23
Filing date: 1990-12-27
Publication date: 1991-07-11
Also published as: EP0464173A1

Abstract

A device for musical training is useful as a teaching aid for musical instruments of all kinds. It is a so-called guide for playing instruments having positions that must be actuated or at least touched by the hands or fingers of the player. These positions or if necessary keys as well are displayed by the guide while the instrument is played, in particular for teaching to keep the rhythm.

Description

Music device

***1. Purpose: The present invention relates to a music-making device as a learning aid for musical instruments of all kinds, a so-called game guide for instruments in which positions on the instrument have to be gripped or at least reached by the player with his hands or fingers (ie gripping or plucking strings, Striking tones and keys, pressing valves, striking sound bodies, such as block games, percussion instruments, xylophones, etc.) and these playing positions, or keys, if applicable, are indicated by the captain while playing, especially for training rhythm-appropriate playing and in an extended application even for learning foreign languages. *** 2. state of the art: reference is made to the following patent applications:

AT 388821, DE-OS 3121253, DE 3420742 C2, 6B 2097172, US 4037511 US 4703681, 2062341, US 4378720, US 4651612, US 3353435,

These publications all relate to a musical instrument, in particular keyboard instruments, in which optical display means of a so-called. The captain will play the notes to be played. *** 3. Criticism of the state of the art: All of these arrangements seem unsuitable for the applicant of the present invention for learning an instrument, since they deform the musical systems of a human being, promote them and, especially when learning an instrument, errors that have already been internalized and sloppiness are later difficult to correct . In all of the above-mentioned arrangements, the rhythm display is insufficiently taken into account or only managed with poor compromises. This is because, in all of these arrangements, the precise display of the point in time at which a note must be played is not decoupled from the respective tone display, which tone or tones are to be played, ie tone display and display of the time of play are practical to coincide, the musician therefore has to change the playing position or key actuation, the sound generation has to be carried out immediately in order to play the notes according to rhythm. Since no express reaction time is provided, or the reaction time of the musician is influenced by the different duration of the note values displayed, it is impossible to correctly luscise music that has been played according to strict measures. As a result, the musician is of course greatly stressed on the one hand, and on the other hand is constantly encouraged to play rhythmically incorrectly, which ultimately damages such a learning aid more than it benefits him. This already applies to the solo playing of instruments that can be played with two hands, since with an instrument that is played with two hands there is always accompanying music, namely the music played with the other hand, and the interaction of the hands is the most difficult hurdle for the aspiring pianist . An arrangement that tries to remedy this is the one from AT 388821, with the result that the music student is so confused by loud and simultaneously flashing displays and symbols that the musical instrument described does not appear to be an instrument, but rather resembles a pinball machine . Further attempts to remedy the above-mentioned problem led to very adventurous consultant training, such as that if the musician's timing is incorrect, the accompanying music that is being played correctly is also changed incorrectly (DE-OS 3121253) or if the player is freed from keeping a constant beat, this with the pupil "a better feedback in the sense of a success report with Better learning effect "(DE 3420742 C2), in which case a whole chain of such errors is generated instead of a single syncopical error in order to" adapt "the playing of the musician to a given accompanying music. 4, technical object of the present invention , to eliminate the deficiencies of the prior art, explained rhythm display, in particular while maintaining the use of only one display element sequentially controlled according to the order of the notes to be played per game position, and furthermore in step-by-step optional further development of the invention, the game guide about use to make universally applicable to keyboard instruments and, in a further preferred embodiment, to provide non-visual display means for the program according to the controlled captain of the instrument, which can also be recognized and used sensibly with virtuoso fast playing, in particular for the exa Rhythmic display of when a tone is to be played at a time. *** 5. Solution and request for protection: The primary solution to the technical problem is given in claim 1, which describes the arrangement according to the invention in comprehensive features, whereby it should be expressly stated that the characteristic state for displaying game positions that are not to be played (track lights up or does not light up or certain ones) Color of the display) can be selected individually (similar to the inverse display of picture elements on a monitor), and further this display can be supplemented or replaced by the preferably designed options of a non-optical game guide display described below, as disclosed in further patent claims. The claims subsequent to claim 1 are preferred developments of the invention or replace features from claim 1, wherein for such features that are found to be absolutely new according to the prior art, independent protection is still sought, in particular as the independent further use of this feature Features in this description is expressly stated. This applies in particular to the use of a completely new game guide display, preferably controlled according to the rhythm display method according to the invention: a game guide sensitive to keys or playing positions, to instruments for which such a game guide is still completely unknown according to the prior art and to their optional further possible uses are expressly stated in this description. As indicated in method feature (e) of claim 1, the display means provided for each game position indicate a game position in such a way that the game positions to be played simultaneously, whether single tones or chords, during the duration of the notes to be played immediately are displayed at the same time in such a way that they have different characteristic states for all game positions that are not to be played (e.g. LED lights up or does not light up) and that they are to be generated at the time at which the tones associated with the game positions are to be generated (e.g. by striking a key or reed or plucking a string), each have a characteristic state that corresponds to the playing positions not to be played, which indicates the rhythm of the notes to be played. The respective rhythm duration of the notes is determined by a time cycle corresponding to this duration, which is either generated by a relevant rhythm timer or can be generated in real time in synchronism with a played second tune from a memory preserve. This measure on the one hand provides the optimally timely display of the playing positions without the musician being hampered by further display of playing positions not yet to be played, and furthermore the musician is given a certain reaction time without the different duration of the notes to be played is influenced, that is exactly to an accompanying music can be played, ie the display of the tones to be played occurs in time for the selection of the game positions, but no longer exists when playing directly. As a result, the musician can concentrate much better on the music, learns to grasp the playing positions blindly and is not irritated by the captain and, which is an important prerequisite for the perfect playing of an instrument, is encouraged to think ahead, where he has the opportunity to adjust the playing positions, but at the moment the notes are actually played, the instrument plays as if the captain was not available, which means that he learns to memorize a piece of music based on melody and rhythm, which is also the point, because the student should yes learn to master the instrument and not the captain. If fingerings are to be observed when playing an instrument, the LEDs can also be designed as a single-digit number display to display the digits 1 to 5 for the purpose of displaying the fingering, this display also being switched over by an operating switch or program, optionally used as a mere illuminated display (area) can be and only important fingerings of corresponding game positions or keys are indicated by numbers. In a further preferred embodiment, the display elements can also be activated in two colors, the color then indicating which hand is to be played with. The same also applies to instruments with a simple LED display, e.g. described to the following embodiment of a carillon, the colors of the playing sticks (or clapper) for right and left hand preferably match the associated LED colors. In the case of instruments gripped with one hand, the colors of the display can also denote fingerings, in which case color matching matching finger rings can be used for better orientation, e.g. for learning string instruments such as guitars and violins. Further important game instructions can be displayed by further color coding of the display, e.g. the pedal actuation on a piano, and of course also the different emphasis on the tones, e.g. by correspondingly different display intensities. Despite the variety of information that can be reproduced by the optical game guide display according to the invention, the music student can easily follow this information in rhythm, since apart from any necessary fingerings there is no symbolic representation when displaying the game positions, which means that the disadvantages mentioned in AT 388821 do not occur. In order to enable a fingering display for keyboard instruments in a further preferred variant of the invention, which on the one hand continues to allow the use of simple light-emitting diodes as a playing position display and on the other hand enables a clear display with precise assignment of the hands to the keys to be played, the preferred two-color display according to the invention is designed in this way that for a simple central numerical display (see Fig. 17a) for 5 digits for one hand (55b) and 5 digits for the other hand (55a), on the one hand the fingerings for the right hand and left hand separately on these displays to the notes to be played in each case, the assignment of this five-digit display according to its local arrangement (i.e. right display 55a and left display 55b) not to the hands but to the game sides (i.e. right hand and left hand of the piano player) and the display color each because it is assigned to a specific hand with which the notes have to be gripped, which means that playing modes can also be displayed in which the hands must cross. In addition, the light-emitting diodes for the game position display can also be shown correspondingly in two colors (2a), the monochrome display of this display being, however, also sufficient. In a further embodiment of the invention, the two-color fingering display can also be designed in three colors, the third color then designating the fingers to be left on keys during the game until this additional color display goes out. In a further variant of the invention, the individual adjustability of the reaction time of the musician is provided, that is the time that elapses from the point in time when the visual display of the captain changes back to the characteristic state of all playing positions that are not to be played in each case (i.e., e.g. For example, go out again, which means that the relevant tone or chord should be played) until the time at which the musician is able to play the tone in a rhythm that suits the exact beat, also for a large number of synchronously playing instruments, each of which is connected to a synchronous line, the response time for each instrument being adjustable if necessary, as is expressly described in an example below. It is clear that this reaction time must be adapted to the playing ability in accordance with the requirements of the piece of music being played, because otherwise the student is forced to skip certain notes when playing with other instruments, which is, however, fully intended; this behavior corresponds to the actual circumstances not only in music students, but also in professional orchestras. In a preferred further development of the invention, a means of procedure is therefore provided in order to also let the optical game leader run synchronously with the predetermined clock if the player is no longer able to keep up, or improvise. The process control, which is responsible for the continuation of the note sequence program, carries out an event measurement for each note to be played in the following way: Within a predetermined number of notes to be played according to the relevant note sequence program according to a predetermined rhythm beat, the number of notes actually played is compared, whereby depending on this comparison, the following control measure is provided: for a result of the event measurement, in which it is determined that no note has been left out, the program is routed on with the sound of the note being played; for a result of the event measurement, in which it is determined that a note has been omitted, the program is switched on at the timing generated for the rhythm duration of a relevant note. Variants of this preferred event measurement are described in connection with FIGS. 2b, 4, 5, 6a and 6b in the following part of the description. Further options according to the invention are; In a preferred further development of the invention, non-optical display means which supplement or replace the visual display means of the game guide are provided, for which the same control method as described above can also be used and which serve the purpose that the musician follows these display means much more quickly can, in the manner according to the invention, these display means are implemented directly as program-controlled blocks at the playing positions, which hinder the sound triggering. Such blocking agents are described below for three variants of instruments; for a keyboard instrument, for a reed instrument and for a string instrument, e.g. Guitar, etc. The measure that the blocking of the sound generation is provided directly at the playing positions fulfills the purpose that the musician himself is given instruction in the handling of the playing positions in handling himself, which is why the visual display for such a trained captain Training a rhythmically correct game is not absolutely necessary. For activation with the preferred methods explained at the outset, the sound triggering at the playing positions is blocked from the point in time at which the notes to be played are otherwise indicated by the optical display means until the point in time at which they go out again, so the corresponding notes are to be played. For the preferred use on a reed instrument, damping elements are provided directly on the reeds, which on the one hand dampen a sound that may be played too early, and on the other hand can play this sound again after the correct time (cf. (41a, 42a) or (41b , 42b) or (41b1,42b1,41b2,42b2) in Figures: 8, 11, 14, 15b, 15c) and in a further development of the invention the sound generation can be influenced in such a way that impermissible rhythmic carry-over or in a mode that can be switched by operating switches Incorrect accentuations, signaled by different timbres, e.g. when the reeds swing, which means that the practicing for example on a block game can practice a melody as long as the rhythm varies slightly until it sounds clean, similar to a practicing on a trumpet, etc For the preferred use on a stringed instrument, the damping elements are preferably provided at the points where The strings have to be plucked when playing an instrument, e.g. with a guitar. directly above the hole of the sound box, with a violin where the bow is to be guided (see explanations to Fig. 13a and Fig. 13b), etc. For the preferred application on a keyboard instrument, the sound is blocked by key blocking, which is controlled according to the program as described, with the musician simply following the yielding keys during his playing, so that the exact rhythmic interplay of the two hands and the musical expression can be optimally trained and can also be played by notes or by heart instead of the described visual display of the captain can. As will be described below with regard to FIGS. 2b, 4, 5, 6a and 6b, the rhythm beat, according to which the keys are blocked, can also be used by the game itself, e.g. according to the rhythm of the notes played as accompaniment, so that the musician can set the pace of his playing absolutely or in only an acceptable variation and the blocking of the keys is only used to promote the interaction of both hands. Further preferred design features of the captain according to the invention are a tact display by a metronome synchronized or controlled by the captain's tact generator, which indicates tact inserts acoustically or optically, or also the measure that the first tone of the instrument can serve as the start signal of the learning program for the captain , or a scanned note sequence starts the program of the captain at a certain time, or can even call program parts, whereby these note sequences can then optionally switch the captain display on and off for certain music parts by means of additional commands, which are provided in the note down program, similar to that Calling of subroutines in computer programs with sequential instructions over several steps, which then correspond to the corresponding note sequences, and that the specified program according to controlled blocking of the sound triggering, or keys, m it can be made with continuously graduated force or alternating between impulses, depending on the rhythm and required playing of the notes to be played. It is evident that a captain trained in this way is suitable not only for beginners, but also in particular for perfecting virtuosos, since with a captain trained in this way, 1/32 notes can also be easily played by the manizer in sync with a program. Too late sound triggering or struck keys can alternatively also be carried out or struck automatically by the note sequence program, whereby for the key application a piano mechanism described below is designed so that this process by the piano player by correspondingly easier giving in of the corresponding key is noted, the striking force can thus be reduced according to the program, which then automatically results in the required correction, in particular in the case of fast runs, whereby this effect is also reversible, after which, with poorly regulated mechanics of old pianos, an irregularity of fast runs results. From this conclusion of analogy, the excellent usability of the electronic stroke control of a piano according to the invention described in the later part for computer-adjusted piano mechanics for improving old pianos or for readjusting new pianos is given, which is why independent protection is sought for this use, ditto for use such a keyboard for any kind of electronic pianos, because according to this principle cheap plastic keyboards can no longer be distinguished from real piano keyboards. Protection for independent use is also sought for direct sound manipulation of vibrating tone generators, in particular for the sound enhancement on reed instruments or stringed instruments described in the following part of the description. It is evident that the captain, who performs the tone blocking described on the game positions, is suitable not only for beginners, but also for virtuosos who want to reproduce not only the works of master copyists, but also their interpretations by master interpreters, i.e. for training at music academies, etc. On the other hand, the optical game guide, favored by the control method according to the invention, is already ideal for making music in groups of beginners, e.g. on the glockenspiel according to the invention, where a large number of such instruments are then synchronized in the manner described below, and because of the enormous precision with which the inventive guide can be used to play accompanying music, a piano concerto with rapid passages, the notes of which then alternate accordingly several instruments are distributed, can be played, e.g. from a school class, with a further preferred embodiment of the invention then being able to be added to a tape or CD which reproduces the orchestral music. *** 6.Features list of the figures; In the following, all features which have reference designations in the drawings with an indication of the figures in which they are used are listed in order to further support the following description of the figures. The beginning of each characteristic is marked with **.

** (1) = microphone in figures in Fig. 1,2a, 7, (10b alternative to resonance box installation); ** (21 = LEDs or (2a) multicolored LEDs in Fig. 1,3,8,10a, 11,16,17a, 17b; ** (2d and 2c2) shell core coils for electromagnetic control of the touch and pressure force of a piano keyboard ( Shell cores not shown) in Fig. 18; ** (2dA and 2c1B) = alternative captain by blocking system with relevant coils, either as shell coil drives (Fig. 19) or armature moving drive (Fig. 20) in Fig. 19, 20 , 21,22,23,24,25; ** (3) = tongues in Fig. 1,8,12,15a, 15b, 15c; ** (4,4a) = support of the tonings or (4a) others Locking in Fig.1,15c; ** (5) = standard sound preserve in Fig.1; ** (6) = interface cable to (5) in Fig.1; ** (7) = resonance box in Fig.1; ** (8) = microphone amplifier in Fig.2a; ** (9) = stop detector in Fig.2c; ** (10) = envelope detector from (9) in Fig.2c; ** (11) = maximum value memory from (9) in Fig. 2c; ** (12) = voltage divider from (9) in Fig. 2c; ** (13) = comparator from (9) in Fig. 2c; ** (14) = sequence control or step t switching mechanism in Fig.2a; ** (15) = foot pedal in Fig. 15; ** (16,17,18,19,20,21) = function keys in Fig. 3; ** (22) Alternative rhythm clock generator with Setting (23) in Fig.3; ** (24) semiconductor memory in Fig.3; ** (25a), (25a1, 25a2) = LED control decoder in Fig. 3.16; ** (25b) = damper stop coil decoder in Fig. 8; ** (TOHCODE) = decoder addresses in Fig. 3, 8, 16; ** (25c, 25d, 25e) = decoder control signals in Fig. 3; ** (26) = timer for key debouncing in Fig. 3; ** (27) = timer for reaction time formation with setting (28) in Fig. 3; ** (29, 30) = rhythm clock signals in Fig. 6b; ** (31) = signal when touch detection (TON) in Fig.6b, 4; ** (32) = 6ATE signal for (31) in Fig. 6b; ** (33) = start / start button in Fig.2a; ** (34) = lighting status of the LED lamps with elapsed rhythm times (tn ...) in Fig. 6b; ** (35) - Time diagram attack phase (9), (or Fig. 2) c in Fig 2a; ** (36) = switch microphone / external from standard sound preserve in Fig. 7; ** (37) = frequency / voltage converter in Fig. 7; ** (38) = A / D converter in Fig. 7; ** (39) = tone code values graded in semitones in Fig. 7; ** (40) = hole for LED in Fig. 8; ** (41a) = felt-coated stop pin or coil core in Fig. 8; ** (41b) = moving coil core for moving the oscillating element (47a) in FIG. 12; ** (41b1, 41b2) like (41b), however, controlled by a blessing clock, for moving oscillating thread (54a, 54b) in Fig. 14, 15a, 15b; ** (42b) = shell core coil for the tongue system in Fig. 12, 14, 15b; ** (42b) = shell core coil for vibrating system string (with 47b) in Fig. 13; ** (43) = standing platform for LED displays in Fig. 9; ** (44) = Handle bars of a guitar or similar. Instrument in Fig.11; ** (45) = instrument string in Fig. 11; ** (46) = instrument neck with ribs (44) in Fig. 11; ** (47a) = oscillating element attached to the reed (3) at points (52) in Fig. 12; ** (47b) = attached vibrating element (47b) in Fig. 13; ** (48) = Sample &. Hold with power output for current supply (iL) in dis shell core coils and downstream electronic switch (Gate 1 ... Gate n) and (MUX1..MUXn) multiplexer inputs for voltage decoupling from shell core coils in Fig. 12; ** (49) = tuning or retaining spring in Fig. 14; ** (50) = tuning screw in Fig. 14; ** (51) = felt hammer, mechanically or electromagnetically moved in Fig. 51; 15b; 15c; ** (52) = precise attachment of (47a) in Fig.12; ** (52a) = optional return spring in Fig. 19; ** (53a, 53b) = lead-through holes for oscillating thread attachment to reed in Fig. 14, 15a; 15b; ** (54a, 54b) = oscillating thread or oscillating belt parts in Fig. 14, 15a, 15b; ** (54c) = groove for sinking the vibrating thread in the reed in Fig.15a; ** (55a, 55b) = fingering display assigned to the game sides (right hand, left hand) by display colors for the right hand, colors for the left hand assigned differently with the hands) in Fig.17a; ** (56) = the distance around the light emitting diode displays of half (LDH) and whole tones (LDG) are offset in Fig.17a; ** (57) = piano keyboard, (57a) whole, (57b) semitones in Fig.17a, 17b, 19, - 20; ** (58) = balls of different colors, match the two-color LED display (2a) in Fig.1; ** (59) = moving core for accelerating force generation in Fig. 18; ** (60) = moving coil core for stroke length scanning of (59) in Fig. 18; ** (61) = electrically non-conductive and non-magnetizable connector of (59) and (60) in Fig.1B; ** (62xz) = lifting plate, moved by fixed connection with (59), same (60,61) in Fig. 18; ** (62) = Lifting plate (62xz) replaced by a particularly flat lever end with the special purpose that the arrangement can be built into any standard piano, hence additional use for the electronic improvement of standard piano mechanisms in Fig. 19,20; ** (63) = adjusting screw for adjusting the stroke position of (62,59,61,60) in the key rest position in Fig. 18,19; ** (64) = rear lever end of the button in Fig. 18, 19; ** (64xz) = felt pressure area of the push-on part (66) for lifting plate (62) in Fig. 18, 19; ** (651 = lever bearing point of the key in Fig. 18, 19; ** (65xz) = accelerating part of a piano accelerated by lifting plate (62) for hammer actuation in Fig. 18, 19; ** (66) = border means that the framed part, is part of a piano, the framed part is omitted, then you get an electronic replica of the keyboard with control of the Touch intensity via (ip), which, depending on the direction of the current, blocks or accelerates the key and scans the stroke, or the touch intensity via (us) in Fig. 18, 19; ** (67) = axis for successively attaching pivot sleeves (68), each deflecting the stroke movement of the narrow lever end (62) into a rotary motion for each key of the piano mechanism, which is actuated by further levers attached to the pivot sleeves, which are electromagnetic has required anchor surface (69), is generated, makes. As an alternative to the anchor surface (e.g. according to Fig. 20), this further lever can also be moved by tension thread or band (69a in Fig. 19) in Fig. 19, 20, 22; ** (68) = pivot bearing sleeves, as already described for (67) in Fig. 19, 20, 22; ** (69) = to (67) already described electromagnetic armature surface (69) in the air gap between the pole surfaces of two shell cores (2c1A and 2c1B), the armature is preferably polarized, therefore its angle of rotation (82, 82a, 82b) can be generated by the The pole face of one shell core coil each has an attractive field and the pole face of the other shell core coil each has a repulsive field in FIGS. 20, 21, 22, 23; ** (69a) to (67) already described alternative of the anchor surface when using moving coil drive, in Fig. 19; ** (70) = tension thread or band with two balls (80) threaded one behind the other, which are fastened to the tension thread and between which the described guide lever (69a) is moved back and forth by the thread movement, whereby the guide lever (69a) has an elongated slot (81 ) in which the thread is passed, the balls ensuring as little friction as possible in FIG. 19; ** (71) = piano key cover with hinge (72) in Fig. 20,21; ** (72) = see (71) in Fig. 20,21; ** (72A) = mounting side wall for axle bracket (74) described axle (67). The axis bracket is preferably designed to be insertable on the inside of the piano cover (73) or an adjustment device (FIG. 25) provided for this purpose, and also fixes further rods (77) for fastening the brackets of the electromagnetic drives (78) in FIG. 20 ; ** (73, 73a) = The side wall of the piano cover (73) is either replaced by an alternative side wall (73a), bolt-mounted (76), or the alternative side wall (73a) is simply mounted on the inside of the side wall (73). The alternative side wall (73a) then has the push-in device for pushing in said fastening wall (72A), or previously the plate shifting device in accordance with the coordinates (90, 91 according to FIG. 25) is screwed on, to which the push-in device in question or the axis rods mentioned are then fixed in Fig. 20,21; ** (74) = see (72A) in Fig. 20; ** (75) = standard lowering in piano key levers, in which the electromagnetic key blocking / acceleration drive (2c1A, 2dB) is preferably housed, whereby the directly driven actuating element (69a, or 69) is then oriented in the direction of the key lever representation in Fig. 19, lower picture with (75), in Fig. 19; ** (76) = bolt, see (73, 73a) in Fig. 21; ** (77) = assembly rod for threaded mounting of the spool holders (78), see also (72A), with groove (79) to prevent rotation, or possibility of jamming by means of a pressure spring (not shown) which runs into the groove (Fig. 22) Mounting rail threaded coil holders can be moved in accordance with the exact key spacing of the instrument, further protection against displacement e.g. by split pin, in Fig. 22; ** (78) = coil holder or shell core holder in Fig. 22; ** (79) = see (77) in Fig. 22; ** (80.81) = see (70) in Fig. 19; ** (82, 82a, 82b) = see (69) in Fig. 19, 20, 21, 22, 23; ** (83) = Housing suggestion for installing rows of light-emitting diodes for glockenspiel according to Fig. 1 in Fig. 10a; ** (84) = side part of (83) in Fig. 10b; ** (85) = chip, for (83) EPROM, for (88) shift registers for controlling the light-emitting diodes in Fig.10a, 17b; ** (89) = cavity for housing with a printed circuit board (86) in FIG. 10a, 17b; ** (87) = battery in Fig. 10b; ** (88) = Housing proposal for Installation of light emitting diodes for piano keyboard according to Fig. 17a, in Fig. 17b; ** (89a) housing cover from (83, 89) in Fig. 10a; ** (90.91) = exploded view of the plate shifting device already mentioned for (73, 73a) with respectively slotted guide slot slots (90a for 90 and 91a for 91), which allow the shifting of the slot slots on these slot slots by means of corresponding bolts (93, 94 ) allow slidable plates, a first plate (90) being fastened to the inside of the piano keyboard cover side part (73) or said alternative side wall (73a), for example slidable in the vertical direction, and the second plate (91) placed thereon in a horizontal direction Direction is mounted on it, this second plate on the inside (not shown) an ex. has a rail guide running from front to back, into which the axes (79, 67) mentioned can be inserted mounted on finished side parts. The pallet shift then makes the exact adjustment in both coordinate directions. (92) are spacer nipples for keeping the plates apart, so that the screw (95) of the bolt (93) has space in FIG. ** (90a, 91a, 92, 93, 94, 95) = see (90.91) in Fig. 25; *** 7th exemplary embodiments The exemplary embodiments to the drawings are explained below, whereby for the circuit-related features, the components of the circuits which have been specifically emphasized, of course, software can also be moderately simulated in a microprocessor program, for example. Counting processes explained timers can be simulated by arithmetic processes with the ALU of a signal or microprocessor, as is customary in the prior art. Furthermore, reference descriptions to other figures, which have not been explained, are explained in the description of the figures, since double explanations of the features relating to the reference descriptions are avoided. The beginning of each new figure is marked with *** in the following description. 1 relates to an exemplary embodiment of a block game in which the display means of the game guide (2a) can light up in two colors, in accordance with the different colors of the stop balls (58) of the two game rods (for example, red and green), The microphone (1) built into the resonance body of the instrument is used to scan the point in time at which a note was struck, or, in a preferred development, also sound decoding which of the reeds (3) was struck (e.g. with Circuit according to Fig.7). In a preferred further development for storing the note sequence program, in particular for accompanying music played on sound carriers, the following optional operating modes or device configurations are available via a cassette recorder (cable 6) or also a disk drive interface, or any other sound or memory preserve (5) , provided, whereby depending on the application and mode of operation, parts of the parameters or sound data stored for a note or tone can also be optional: a) Alternative 1: the note sequence program is converted into a RAH from the memory preserve (cf. 2a) loaded by the game guide according to the invention, or recorded by this RAM when programming the sound data by playing in on the instrument, the data of the note sequence program then corresponding to the sound data of the tones to be generated, such as pitch to be generated, duration of the tone to be generated, associated attack intensity and, if necessary also manual play instructions (fingering, which hand, etc.), whereby in an optional extension for learning programming, the manual game instructions in connection with an editing program can be subsequently entered and recorded. Furthermore, they can each form a rhythm, i.e. The time of the attack, the associated parameters of the notes (ind. Chords) are each combined into a data block identified by a header address at the beginning of the data block, the individual parameters then being marked either by their sequence or by control codes or bits. b) Alternative 2: a synchronous signal is provided that the rhythm to be generated corresponds to the notes to be played; c) Alternative 3: instead of or in addition to the coding of the respective tone duration of a note, or instead of the mentioned synchronous signal, the tone data are stored in real time according to the rhythm of the notes to be played as addresses on the sound preserve and are played while the instrument is played (so to speak ON-Line), in the control electronics of the display elements of the player, directly or via RAM, temporarily stored, read, or reproduced accordingly by the control electronics. Different playback speeds then result simply from the recording speed of the sound carrier or also from the read clock rate of an interposed semi-conductor FIFO memory, which is then reloaded in corresponding blocks from the sound preserve in the start-stop mode. For an ON-Line version, a semiconductor memory is then not required to save the note sequence program; a sequential decoding of the frequency-coded signals on tape is sufficient, with this decoding of the frequency-coded signals, e.g. According to the start-stop principle, then, for example, addressable latches are activated, which switch the LEDs on and off as described for FIG. 6b, the LEDs then proceeding with the addresses stored on the tape, their palpation but with the TON signal to ensure the sequence shown in Fig. 6b and not to irritate the musicians, d) alternative 4: the sound parameters are instead of the Abbeicharung in a RAM or in addition, in a non-volatile semiconductor memory e.g. . EPROM received: whereby two alternatives are provided for the continuation of the note progression program: either this progression takes place when appropriate tones are triggered (cf. in the following TON signal with a substitute signal provided by rhythm beat if the TON signal is absent), or the note sequence orogram is created by a fixed timing or rhythm signal and only the visual display of the Soielführer is controlled by the TON signal so as not to irritate the player. The first-mentioned alternative using a rhythm signal has the advantage that if there is a lack of playability, the rhythm display is program-driven only after a selectable number of successively omitted notes is displayed again in a rhythmic manner, in order to give the musician a lot of time for a correction, and of course, that the rhythm time generated in the start-stop mode is also determined by the sound triggering of the musician (start = TON, see Fig. 6b), which in conjunction with the number of notes to be skipped by the program, until the synchronous correction of the note sequence takes place according to the invention, in the case of fast passages, the music student is granted greater space, so it is more advantageous than the second alternative. The second alternative, in which only the visualization of the display is synchronized with the TON signal, requires a little less technical effort, e) Example: the alternatives described can be combined as desired, such as the following preferred embodiment using a standard sound medium as a sound preserve ( (e.g. record, CD, tape cassette): The audio data are recorded in sync with a certain background music, the audio data being recorded synchronously, for example in such a way that the audio music is recorded on a first track and the audio data is coded on a second track are or freuenzcodiert in the second labeling channel of the accompanying music, the bandwidth z. For example, is limited upwards for the purpose of filtering out the sound data, the sound data are recorded, i.e. in both cases sterosignaiton carriers are used and the sound data contain the following parameters: At any point in time that has a rhythm beat (see signals (29) and (30) in following description), the following data words can be separated from each other by a decoding rule, e.g. encoded by frequency coding or a forced sequence of words within a block with the respective start-end word of the block, by serial RS232 or by synchronous method, etc., recorded: start word, piece of music address, start address of a piece of music or certain part thereof, pitch, which in the following is called TONCODE is designated; Tone duration, which is referred to as R-CODE in the following, stroke intensity, which is referred to as INTENSITIY- CODE below, and possibly various game instructions such as fingerings and color codes for switching the display color of the optical display means, an optional GATESIGNAL-CODE, its use will be explained in the following, furthermore optional damping addresses for damping played swinging tongues of the instrument as well as playing addresses for playing a second voice of the instrument and finally the end coding of a block; the rhythm is then either contained in the start or end coding of a block, or as its own address coding. Own address coding for the rhythm cycle enables above all the coding of different rhythm cycles for several players of different abilities with different reaction times; this preferred embodiment of the invention is described in more detail in FIG. 6b. A preferred embodiment deliberately places the technical effort on the manufacturer's side of the sound carrier in order to obtain the cheapest possible arrangement for the learning instrument, all the signals necessary for playing a piece of music already being contained in the data carrier are. To save bandwidth, the data words used can be abbreviated in such a way that a packet is first loaded into the RAM of the display control in a double load and then only reference addresses for this RAM content, partly incremental, partly as absolute start addresses, on the tape which are to be incremented are stored. A further preferred measure is to provide an instrument-specific address coding in which only pairs of sound preserves or storage preserves that belong together in each case and musical instruments provided according to the invention can be used. The selection of the preferred embodiment described with a cassette recorder takes place in such a way that, for example, only the tape has to be rewound to an arbitrary point and the captain display is immediately ready for operation from this point, since all the signals required for the captain's note sequence program are stored in the correct time for the accompanying music played by the sound preserve f) as a further example for the synchronization of a large number of music guides or instruments, the instrument-specific coding, for example by data words or frequencies of the rhythm signal to a sound carrier, which then take place, for example, in a so-called "party line" "Operation is supplied to all instruments, and decode them according to their device addressing the respective sync signals valid for the relaying of the note sequence program. How can the actual note sequence program be downloaded in a download from a stored memory to the RAmS of the devices, for example also in party-line mode, of the devices connected to a bus to the stored memory, z. For example, the different coding of the rhythm signals mentioned for different devices can already be included in the search run of a tape, despite the higher playback frequency, the piece codes recognized (e.g. by pause ratio detection) and the track code can therefore be used to display the pieces on the LEDs of the player guide display can. e.g. 1 encoded from n, a different color being used for the piece display or this being switchable from the sound display by means of a key or a separate numerical piece display being provided; ditto for a piece display during playback (e.g. by further evaluation of signals coded with pause ratios or frequency coding) can be used, g) another particularly preferred exemplary embodiment is the musician's note down program including rhythm, which in the end is yes for the continuation of the note down program is always responsible (whether synchronized directly or via TON signal or implicitly contained in the TON data), not to save a recorded audio record on the audio record itself, but in its own douwnload program, so that the captain program, e.g. can be stored on any data carrier (e.g. tape or semiconductor memory) and can be played on any commercially available CD. For this special purpose, a frequency coding circuit is preferably provided, for example in the simplest case. according to Fig7. or e.g. Analyzer by signal processor, which filters out different sequences of sound images as temporal code marks for the piece of music being played, in the simplest case note by note, in further training strings of note images, both according to their note values and according to their temporal sequence within a predetermined reproduction tolerance by the signal processor are decoded and compared according to predetermined code samples of the note sequence program. The actual rhythm beat is then generated by a sequence of rhythm codes (see R-CODE), each of which loads a timer one after the other, the timings of which, for each instrument, for example, music guides operated in party-line, advance the rhythmic progression of the note sequence program , as is described in detail below for Fig. 2b to Fig. 6b. Each device then has two rhythm timers, one that starts at the start time of a respective TON release and converts the R-CODE value loaded immediately before this point in time (until the relevant LEDs go out), and one that Monitoring the progression of the note sequence program (cf. (30) with (29) in FIG. 6b), this generation taking place in such a way that, for example, in a pulse generator formed by a signal processor, the code is stored moderately at successive times to be generated , whereby in addition to certain values of these code times, by playing a respective sound preserve (e.g. CD), using the filter devices used in the game guides, code sequences found in a learning process during the program creation of the note sequence program form the synchronization bases of this pulse generator; in such a way that these synchronization support points set the pulse generator on the synchronization corresponding time values by the synchronization support points taken from the Tonerverve (CD) either either the synchronization time, i.e. correspond directly to the set time values of the pulse generator or correspond to a rhythm cycle time to be generated in the program with a stored time difference. In order to avoid gross errors, a limitation of the maximum time deviation can also be made before the respective setting of the pulse generator by the synchronization support points, in order to avoid sampling errors when taking the marking samples from the sound preserve. This limitation can also be carried out by means of a calculation operation temporal gate signal, as is also the case in Fig. 6b (32), ie the OR-linked timer charge control of the pulse generator load program: either internally by stored time, or by an external reference point mark, if this is within the timed gate period falls. It is evident that the number of synchronization bases required depends, on the one hand, on the synchronism of the sound preserve, on the other hand, on the length of the piece of music, that is to say in special cases also a single synchronization base at the start of the Device is sufficient. As preferred code elements for the formation of these synchronization points, at the same time, occurring frequencies of the sound preserve being played back are analyzed by Fourier analysis, which is carried out, for example, with a signal processor, and queried for their presence within a predetermined amplitude tolerance. The respective comparison parameters, that is to say frequency values, amplitude values and, if appropriate, time window values, are then pre-coded or specified in the note sequence program which runs synchronously with this sound preserve. In the practical implementation of the synchronization method explained, the sound preserve then has a tap on the audio signal reproduction which is fed into the base point recognition of the signal processor. The rhythm code of the described rhythm timer is then included in the note sequence program, e.g. from a cheap cassette recorder in a download to the selected pieces or parts, into which the RAN of the sequential control system or signal processor can be loaded. Furthermore, it is evident that with the described method the Gieichlauf of a note sequence program with the playing of an instrument, e.g. E.g. Piano playing can be synchronized, for protocol purposes, or to promote the interaction of the hands, as has already been explained at the beginning. *** Fig. 2, a, b, c relate to explanatory features. the continuation of the note sequence program of the captain according to the invention. Fig. 2b illustrates this principle: the switch to the next RAM address for starting the sound data takes place at the time of the increment signal INCR. For a simplified mode of operation for merely learning a melody or reading out a fingering step by step, the incrementing signal is only generated at the time at which a tone or chord of the instrument is played (see signal: TON). In the case of keyboard instruments which have an electronic contact for triggering the sound, the generation of the INCR signal is problem-free and can be carried out by digital decoding. For instruments that do not have such a keyboard, in addition to the use of a pickup to be used for each tone generating element (for example for string pickups for guitar), the following low-cost alternatives are preferred, in particular for the exemplary embodiment of the glockenspiel described: With a microphone ( 1) the struck tones are deducted, whereby in a simplified evaluation only the respective stop time of a tone is used as an INCR signal (described in FIGS. 2a and 2c), but in a further development of this solution also one corresponding to the tones played in each case Sound detection to derive the INCR signal can be made, as described for Fig.7. For the particularly preferred rhythm-correct playing style, in addition to the TON signal, the preferred signal INTern (FIGS. 4, 5, 6a, 6b) is provided, which, in an OR function, generates the INCR signal in addition to the TON signal when the TON- signal fails. This is the case when the musician can no longer follow the note sequence program or the announcements of the captain and therefore omits notes to be played. Generation variants for the INTern signal are described for FIGS. 4 to 6b. Another variant, in particular in connection with the above-mentioned simplified evaluation for detecting the respective point in time at which the notes are struck, is to use monostable time functions to integrate TONE signals that follow one another too quickly, so that sloppy chords are recognized as the only tone step. In order to be able to use an economical storage solution, the audio data or parameters already explained above are stored in successive words, with decoding of control words, e.g. are indicated by one or more marker bits (cf. STH in FIG. 3) of a word (as is also common in processors in the OPCODE design), each corresponding to the number of address steps of a data block for a note stroke Reading out the number of parameters (including chords) associated with a note is also stored at the beginning of such a data block, or at least can be calculated, including a recognition rule determined by compulsory sequence or addressing, which parameters are involved. In the illustration according to FIG. 2b, the step shown comprises: "next RAM address" in each case an entire data block associated with a rhythm cycle, ditto in the illustration according to FIG. 4. FIG. 2a illustrates the low-cost decoding of the attack time of the tongues preferred glockenspiel application for the detection of the amplitude increase in the attack phase (attack phase) of the struck tone in relation to a reference voltage (us) shown in the time diagram (35). .Microphone voltage, (8) amplifier, (uv) ... amplified voltage, (9) described stop detector with a downstream comparator for generating the TON signal. Furthermore: (14) sequence control with explained RAM and UART for loading the note sequence program, (25a) display decoder for controlling the LEDs (2). FIG. 2c relates to an improved variant of the stop detector (9) according to FIG. 2a, in which the response threshold for detecting the signal increase of the respectively struck tongues in the attack phase is carried out independently of the game amplitude. Here, the amplified microphone voltage uv is fed via a envelope demodulator (10) to a resettable (reset) maximum value memory (11), the output of which is fed via a voltage divider to the input of an output comparator (13) for generating the TON signal with which the reset of the Maximum value memory is made when the output voltage of the envelope demodulator supplied directly to the second comparator input drops below the value tapped at the voltage divider (12), as a result of which the falling edge is decoded according to diagram (35) of the attack phase, but no longer absolutely to a reference voltage, but instead relative, the divider ratio of the voltage divider determines the trigger time for the TON signal generation. The reset input of the maximum value memory is edge-differentiating, so that the maximum value memory is always already after the reset.Furthermore, a monostable function, e.g. with a retriggerable mono function to avoid the generation of false pulses when detecting chords, can also be built into this line. The envelope demodulator can e.g. be designed as an integrator, which is dimensioned such that it still integrates the LF oscillation of the microphone voltage, but follows the envelope of the attack phase of the reed application. 3 relates to a programmable logic circuit which can alternatively also be designed as a microprocessor for controlling the display elements of the game guide according to the invention; When implemented as a logic circuit, a state machine design is preferred, with which the flow diagrams illustrated in FIGS. 4 to 6b are implemented, for example; Particularly preferred and outstandingly illustrated features are a timer function for key debouncing (26); an adjustable (28) timer function for adjusting the reaction time (27); it also shows: a further adjustable (23) timer function (22) for generating the smallest time unit for the program-based generation of multiples of these time units, according to the note values to be played as rhythm beat (29) or (30) in FIG. 6b; an optional external clock feed (SYNC. internal) for this rhythm cycle, or an external synchronization of this cycle; the decoupling of the rhythm, or a corresponding synchronous signal (SYNC. external), which, in conjunction with the SYNC input, internally synchronizes the captains with orchestral interplay on other musical instruments. Instead of simple synchronization lines, an entire bus can of course also be provided, which connects several instruments with one master device, which e.g. is connected to said sound preserve, is connected to one another, the data required for the soiel leaders of the other instruments being exchanged via a bus protocol. The circuit has a large number of switches (17, 18, 19, 20, 21), which can optionally be replaced by decoded tone signals from the instrument (cf., Fig. 7) and, for example, carry out the following operating modes: Searches stored in the EPROM Piece of music, marking certain music parts of the music sequence program with a start-end marker as learning programming during the game, whereby these marked parts can be repeated periodically when the end is reached by jumping to the marked start address of the note sequence program, for practice purposes, and the backward keying by Learning entered note sequence programs, step-by-step retrieval, switching of explained modes, etc Switch 16 e.g. switches the visual display off, foot pedal 15 e.g. again temporarily. (25a) ... is already explained decoder circuit with integrated latch for spawning (25c) the TONCODE according to which the LEB display elements (2) are addressed. The input latch of the decoder is an optional RAM, in which all the LED addresses to be displayed at the same time (for chords) are written in consecutively addressed words and a constantly repeated dynamic addressing of all these words is multiplexed within, but for the eye as At the same time, there is a sensible display of the relevant LEDs, whereby this RAM can of course also be part of the stepping mechanism called RAM (FIG. 2a) or instead of the multiplexed display, the successive ablatching of LED signals to be displayed at the outputs takes place at the same time. A further option is the serial addressing of the LEDs by means of shift registers, as shown in the example according to FIG. 17b. The R-CODE belonging to a TONE CODE in one sequentially adjacent data value is also latched off, in the rhythm values corresponding to the respective time values running in the R-CODE , e.g. as feedback in a counter of the programmable logic circuit, which is fed to the Stats machines used for sequence control as an input variable. The INTENSITIY-CODE, which is also stored sequentially with the TONE CODE, effects a pulse duty factor modulation of the ENABLE / INTENSITIY signal (25d), which on the one hand predetermines the brightness measurement of the LEDs, and on the other hand also completely blanks them out according to the rhythm display method according to the invention. The memory module, which is connected to the programmable logic circuit or microprocessor as an external module, for the banknote program, can e.g. consist in part of a RAM area and the other part of an EPROM and has e.g. an expansion interface according to the invention to (EXPAN), furthermore the voltage supply of the EPROM can be clocked synchronously with the respectively read out data word in order to reduce the power consumption. Features also shown are: the direct decoupling of control bits (STM) for the previously described marking of data words (STM), and further (CLK) the operating cycle of the processor or state machine. FIG. 4 illustrates the memory address forwarding of the note sequence program according to the invention: after the start of the operating program section concerned, the address of the RAM or EPROM in which the emergency sequence program is stored runs to the start position of the desired piece of music, for example. is entered via the sound generator or a certain address address code is read from a sound preserve, which immediately shows the sound to be played (e.g. as a subset of a piece designation code), which is why the start position of the note sequence program can be determined directly via the address signals reproduced by the sound preserve . After the beginning has been addressed, which is done, for example, by lighting up the LEDs used as display elements of the captain, is followed by a key, or immediately with the first pitch of the piece of music (GO) the described addressing of the note sequence program is initiated. if rhythm timing is not desired, then the note sequence program is switched on exclusively with the TON signal (see Fig. 2b), if the rhythm timer is switched on, then the note sequence program is switched on with the OR function already described: TON or INTern, with the representation of Fig. 4 as many address steps are combined to form an address step as tone signal parameters for the note (or notes, in the case of a chord) must be read out successively from the memory, that is to say they each have a common R-CODE. For the sake of easy understanding, the presentation is limited to TONCODE and R-CODE. The correction note "if INTern then ADD = ADD + 2, however, refers to an entire packet of address steps belonging to a TONCODE and means that when using the INTern signal, the next TONCODE address instead of the subsequent address packet ADD + 1 refers to the next but one" Address packet ADD + 2 is to be set. The generation of the INTern signal is described in Fig. 6a, ** Fig. 5 illustrates the light-dark keying of the display means addressed by means of TONCODE, if it is agreed that game positions that are not to be played have expired. After the rhythm timer (R-CODE) has expired, the LED previously addressed with TONCODE is switched off again, or the LED of the note to be played is switched on with the signal INCR = TON or INTern. when the tone (or tone on chords) whose LED was previously turned off has been played. The through. R-CODE defined point in time of the rhythm timer corresponds to a counter reading of the rhythm timer that has reached the actually ideal rhythm beat, whereby the rhythm beat can in principle be formed from the summation of the R-CODEs stored for the notes, taking into account the relevant advance to the ideal rhythm beat or or by one the note progression program correspondingly generated clock (see signal (30) in Fig. 6b). Fig. 6a shows the event monitoring according to the invention, in order to maintain the synchronism of the note sequence program, in the event that the musician cannot follow the program in his playing and the TON signal for the timely advancement of the program fails to appear, that is to say the INTern signal this forwarding must alternatively plan. To generate this INTern signal, for example, a counter set to zero is decremented with the TON signal and a rhythm cycle corresponding to the game rhythm to be adhered to, which corresponds in time to the target game times of the emergency sequence program, is incremented and, on the one hand, when the counter status (overflow status OVS) is exceeded required INTern signal is generated, on the other hand the counter is reset. In the example according to FIG. 6a, this is the case with a counter reading greater than 1, with regard to the example in the specified counting direction, whereby the counting direction, the initial value of the counter and the decoded OVS status can in principle be chosen to remain. The number of excess rhythm steps after which the overflow status is generated determines the number of notes that can be read out until the synchronization of the note sequence program and the display of the captain is given again. If the sequence of notes is played quickly, it may well be the case that this is only the case after a large number of omitted notes, in order to give the player a greater reaction time for the rhythmic re-entry of the game, then larger for the generation of INTs, for example OVS 2 and the associated packet address correction of address steps belonging to a TONCODE according to FIG. 4 with "if INTern then ADD = ADD + 3", ditto ADD = ADD + 4 for an OVH larger than 3, etc In preferred training, the response value of the overflow status (DVM) depends on the note sequence program, the rhythm duration of successively played notes controlled, ditto the address correction explained in adaptation to it. FIG. 6b illustrates the method procedures explained according to the invention during the game with the notes to be played in succession; (tn-1), (tn), (tn + 1), (tn + 2), (tn + 3), (tn + 4), (tn + 5), whereby the addressing of the displayed (34) LEDs occur at the time of the played note (with INCR = TON + INTern), for the first three notes shown with the TON signal, whereby the third note was played a little early (corresponds to time (42d)). For all displayed game positions or notes, the rhythm timer is reset or loaded with a new rhythm time practically at the time of the display change of the game positions (34) represented by LEDs, i.e. at the time of the INCR signal for a TONCODE address of the note (tn + X) displayed after the arrival of the TON signal with the rhythm code (R-CODE) of the note (tn + X-1), ie the previously displayed note, since the previously displayed note Note when an LED display lights up, it is already in the played state and is ended when the LED display goes out by playing the relevant tones. This also corresponds to the address progression of the note sequence program according to FIG. 4, which is shown in detail to illustrate this process, where the associated R code of the note just played is addressed to a TON signal and after address increase the LED addressing of the note to be played is already displayed . The signals shown mean: (29) ... IDEAL rhythm beat coinciding with the target playing time of the note sequence program; (30) .., called rhythm rhythm leading to the reaction time of the musician, leading rhythm rhythm, which relates to the times when the LEDs go out. Rhythm display after the respective R-CODE times have elapsed; (31) ... called TON signal. In the simplest case, the named IDEAL rhythm cycle (29) can be generated by simply delaying the leading rhythm cycle (30), with a simple measure resulting in an individually adjustable response from the musician (see timer (27) in FIG. 3), but it can also be decoded out of a signal packet which contains different rhythm cycles with different reaction times for group music. As can be seen from the example in FIG. 6b, after playing the third note prematurely (at time 42d), the husicant could no longer follow the announcement of the captain, which means that after the note display (tn + 2) has gone out according to the program, the musician with a timely display of the beat Noteitn + 4), the game resumes when this display goes out. R-CODE (tn + 3) is called not used because the note in question has not been played. In order to achieve an even better synchronization possibility when playing fast, an optional GATE signal (32) is provided, the duration of which can also be controlled by the note sequence program, in which case only TON signals falling within this state signal effect the program progression according to the invention. As a further alternative, e.g. the generation of the TON signal must be made dependent on the correct sequence of the notes expected in each case from the note program, in most cases by the circuit arrangement described in FIG. 7, or for more complex arrangements by string recognition of notes to be played in succession. However, with the simple version, consisting of the aforementioned GATE signal use together with the circuit according to FIG. 7, there is already a good possibility of improvising the musician both in rhythmic and in melodic terms, since the note sequence program is due to the undetected or blanked out TON signal during improvisation is timely advanced by the INTern signal. Another preferred alternative is for a large number of notes or tones present in the note sequence program, which are rhythmic for a piece of music. For example accompanying chords of the left hand while playing the piano relate to a time measurement of the played rhythm of these tones and to calculate or generate the rhythm beat from this time measurement, whereby the interplay of left hand and right hand or of related melody combinations can be trained regardless of the tempo of the musician. In a simpler version, for the same purpose, e.g. the rhythm cycle is calculated by adding up the R-CODE values, the rhythm timer relating to the R-CODE values then simply being multiplied by any value in order to determine the tempo, for example is indicated by a metronome, arbitrary. The metronome beat is then generated from a multiple beat of the rhythm beat, the times associated with the respective beat strings being coded for the corresponding notes in the note sequence program and all the required clock signals being generated in accordance with the rhythm by a corresponding number of timers or even software that is moderately simulated multiple timers. Due to the display method according to the invention, in which the musician is to be given the notes to be played in advance in accordance with a permissible reaction time, the duration of the last played note or chord is not displayed, which can be done, for example, by completing a piece of music all display elements briefly have the inverse characteristic state to the characteristic state of not played notes, in this example, the LEDs of all tones light up briefly, indicating the end of the game. Another option is the signal (42c), which is obtained from the time difference between the TON signal and the associated IDEAL rhythm cycle (29) and whose pulse width therefore corresponds to the time of sounds played too early. With this signal you can e.g. 8, or with a version according to FIGS. 12, 14, 15a, 15b, is reproduced in a distorted manner in addition to the possibility of damping, in order to indicate to the musician the rhythm error in the manner already explained. FIG. 7 relates to a tone converter circuit as it can be used for converting tones played in each case into an emergency sequence program generated by learning, which is written into the RAM (FIG. 2a) of the circuit for the purpose of later playback for the captain display; consisting of a frequency-frequency converter circuit, FU, (37) with a downstream A / D converter, the converter characteristics of which are designed such that it changes in its digital display (39) during the transitions from one quarter tone to the next semitone step, whereby e.g. by simple addition. or subtracting these code values transpomer operations performed in it can. This tone converter circuit can, however, if the time-determining components of the frequency converter are switched appropriately by the northern sequence program and the on / off switch. Outputs can also be used as a filter circuit for filtering the TONE display signal (see explanations to Fig. 2a and Fig. 6b), the output of the VCO, or in the case of digital processing, the output of the A / D converter, then is queried by a downstream comparator circuit to the frequency that corresponds to the note of the program to be played, and only if the comparator signal indicates the expected note for a generated TON signal, the TON signal is used in the manner described, otherwise it will Note program switched on with the INTern signal. Another important function of this tone converter circuit is the decoding of tones, for switching operation modes, or for the selection of pieces, so that even small children can handle the instrument easily, e.g. after a universal key is pressed, the sound subsequently played is a piece input, etc; Furthermore, a changeover switch (36) is shown, which can carry out an external signal feed instead of the feed via the microphone (1) of the instrument. *** Fig. 8 relates to a version of the carillon in which the reeds (3) in in the middle each have a hole (40) into which the respective light-emitting diode (2) is embedded, furthermore a small lifting magnet is provided for each reed, which pushes the reeds with a felt covering from below, which creates the following variants of influencing the game: first, leg fluffing of the sound when swinging or preventing swinging when e.g. a tone is struck too early, which tone can subsequently also be triggered in time by this lifting magnet magnet; second, playing a second part of the program; and thirdly, as a preferred expansion function of the invention, damping the note values played in each case, the time for this damping, depending on the desired operating mode, which can also be switched over by the note sequence program, being determined either tonally by the note program, for example tones should be stopped over the duration of further tones, or after striking a respective tone, the previously targeted tone is damped, the actuation of the solenoids e.g. with intelligent decoder (25b), e.g. with a PAL circuit, which can be controlled by the TONCODE signal, and is thus controlled by the note sequence program, or in conjunction with the circuit according to FIG. 7, the tone address of each tone played is converted into addressing signals for controlling the solenoids, to dampen previously played tones, i.e. the duration of the tone is determined or co-determined not only by the note sequence program, but by the game itself; As a further option, the control circuit of the solenoids has a keyboard interface, e.g. a MIDI interface via which the solenoids can be operated, e.g. by means of a keyboard, the key actuation of which is supported by the game guide in the manner described. FIG. 9 relates to the side view of the light-emitting diode display of the example shown in FIG. 1, the light-emitting diode row projecting over the sound tongue with a strip (43). *** Fig.10a u. 10b relates to an exemplary embodiment in which the light-emitting diode display (2) of the example shown in FIG. 1 is accommodated in a separate wooden housing, which, by milling out a cavity (89) on the underside along the bar, has space for a printed circuit board on which the light-emitting diode rows are arranged (LDH, LDG) are fitted directly and pushed through the holes in the bar. This bar is then placed, for example, directly between the semitone and whole tone boxes of the glockenspiel (see (2a) in Fig. 1). Fig. 10 b shows the side view. The rows of LEDs of the whole tones (LDG) are offset from those of the semitones (LDH) according to their playing positions. FIG. 11 shows the application of the invention on a guitar: the LED displays

(2) are embedded in the immediate vicinity of the frets, whereby the same design can also be carried out on a violin; it means: (45) strings, (46) guitar neck. In an extended version, the LED display is available in so many different colors that fingers are required to grasp the instrument with matching color rings that can be attached to the fingers to indicate fingering, whereby, of course, the fingernails could also be painted in a different color. In addition to the illustrated picture, an LED control according to the coordinates is shown. For use on a violin, the LED display can then also be designed to be displaceable on the displaceable fingerboard (46). FIG. 12 shows a variant of the version according to FIG. 8, but with the following further properties that are particularly suitable for the use according to the invention: The reed

(3) can not only be struck by an electromagnetic system (41a, 42a), but can be damped or excited in terms of its oscillation frequency by means of an electromagnetic oscillation system (41b, 42b). For frequency ranges that allow this, the reed can be made magnetizable and can be deflected directly by a coil underneath or at higher frequencies or when not used magnetizable reeds, e.g. made of aluminum, a core (41b) or an anchor made of material with low spine loss can be glued on the reed (52) and electromagnetically vibrated by the coil (42b), whereby the reed frequency of the reed can be damped in the same or opposite way, especially in the Frequency range from harmonics to this frequency. The circuit shown in FIG. 12 allows both an excitation current (iL) to be fed into the field coil (42b) and, on the other hand, the decoupling of the electromagnetic voltage induced in the field coil, the electromagnetic circuit of the coil (shell core, not shown) being used for this purpose. is pre-magnetized accordingly. The above-mentioned feed and decoupling alternate in a multiplex process (separated by FET switches with gate1, gate2, gate n control), and each feeder circuit of the field coils can also have a sample & hold circuit to reduce the cost of the feed Cyclical selection of all sample &. Hold circuits, which temporarily store analog voltage fed in by a common analog input, a multiplexer query is therefore provided for the signal decoupling of combined multiplexer units (MUX1, MUX2, MUX n). The circuit shown in FIG. 12 is very inexpensive because a large number of such electromagnetic circuits can be combined to form multiplexer units. However, the principle used is not only suitable to support the captain according to the invention, but above all also for sound enhancement, in which case, for example. Disturbing harmonic frequencies of the reed are antiphase and insufficient harmonic frequencies are coupled in in phase with the natural frequency of the reed, whereby this coupling is preferably controlled by a signal processor in such a way that it scans the momentary vibration of the reed and the electromagnetic influence on the vibration in the desired manner, e.g. . for the purpose of sound embellishment or marking. Furthermore, the described signal decoupling is of course also particularly suitable for the described digital decoding of the tone generation signal, or for the described query as to whether a tone played in each case corresponds to the tone sequence of the note sequence program, the TON signal generation to advance the note sequence program depending on the result of this query. FIG. 13 shows a string blocking or tonau release with a magnetizable core or anchor surface (47b) pushed onto the instrument string which is attracted or repelled by the end face of the shell core pulse (42b), whereby (42b) can also be arranged such that the string does not is only moving in height, but also strings. Between the two anchor surfaces (47b) the same core arrangements (42b, only 1 core drawn) is the playing point for electromagnetic plucking or blocking of the string 45. FIG. 14 shows an alternative to the arrangement according to FIG. 12, in which the reed (3) is coupled via oscillating thread to an electromagnetic oscillation system operated in push-pull operation, with the oscillating thread (54a, 54b with cores 41b1, 41b2) being kept constantly under tension by push-pull operation. The cores are secured against falling out by stops or by pre-tensioning spring 49, the tension of the pre-tensioning spring can be adjusted by adjusting screw (50) and the oscillation system can thus be influenced in its oscillation frequency. FIG. 15a shows the arrangement described in FIG. 14 with a top view of the reed, the sinking groove (54c) of the vibrating thread being visible (with holes (53a) for passing the vibrating thread through. FIG. 15b shows an alternative 15a, in addition to the two side holes (53a) there is also a central hole (53b) for passing the thread through in order to achieve better centering and good producibility. The guidance of the two threads (upper thread (54a) and lower thread (54b) is shown laterally to the structure of the arrangement shown. The electromagnetic Beaufechla Tongue of the reeds, be it by additional, electromagnetically controlled felt hammers (51, see also 41a in Fig. 8) or by excitation of the electromagnetic vibration system itself, gives the possibility to connect an external keyboard in addition to the already mentioned possibility of playing a second voice , e.g. via a MIDI interface, which can then also have the features mentioned according to the invention. *** Fig. 15c shows the possibility of combining described sound generation for reeds with piano mechanics. In addition to a locking pad of the reeds against lateral displacement (4), with pin and hole (see also Fig. 1), a further locking or felt pad against horizontal displacement (4a) is provided, the structure shown being good for a standard wing mechanism is suitable and the coil arrangement shown can also carry out sound finishing. Further preferred features are the cutout in the center of the felt hammer (51) with its rope stop faces (51a) and the optional centering springs 49b and 49a already explained. Fig. 16 shows a proposal for the two-color LED control mentioned: The TONCODE address is supplied with latch inputs of both decoders (25a1 and 25a2), the colors are switched to the colors via the selection inputs by inverters (25a1), the two-color LEDs in Controlled by the decoder outputs. By connecting several such LED combinations in parallel in a common LED housing, even more colors can be displayed according to the program if necessary. As an alternative to the previously described RAM version of the decoder input latches, addressable spawns can also be provided as LED decoders, the outputs of which can then be switched on or off practically simultaneously by successive addressing for the eye, the visualization of the display according to (34 ) Fig.6b is controlled. 17a relates to the exemplary embodiment of a 2x5-digit fingerprint display for a keyboard, which has already been explained at the beginning; The following example is shown: the left display (55b) has the color of the right hand, the left has a triad on the piano player, the right display (55a) shows an overlap to the right with the color of the left hand, the left Hand should start the game with the 3rd finger. Which tones both hands should grip then results from the two-row LED display (2a), one row for whole tones (LD6) and one at a short distance above and to those of the whole tones correspondingly staggered, for semitones (LDH). 17b shows a preferred practical installation of the light-emitting diode display (LDH, LDS) of the keyboard according to FIG. 17a into the cover strip, with which, in the case of standard pianos, the keys are covered at the end of their coating and into a cavity provided for accommodating the light-emitting diodes (B9). , with a printed circuit board 86, for example to save space, all flexible printed circuit (86) and light-emitting diodes soldered directly, directly controlled by serial shift register chip (85) with integrated driver. FIG. 18 relates to a means for blocking the keys according to the invention, the part denoted and marked with (66) being part of a piano mechanism, and when using the keyboard as an electronic keyboard, in particular for emulating a real piano keyboard, for independent protection is sought, then can be omitted. Advantageously, the part or stroke that is moved by the key lever end (64) of a standard piano mechanism, that is, as a rule, the movement coupling that is loose due to the pushing movement between the adjusting screw (63) of the key lever (64) and the stop felt (64xz) of the acceleration anvil (65) , a movement resistance controlled by electromagnetic force action, which is given by the magnetizability of the material used as movement resistance, is provided. In the embodiment shown, this resistance to movement consists of a solenoid (59), which is guided in a solenoid (2c1) (not shown in the shell core housing) e.g. is firmly pressed onto a non-electrically and non-magnetically conductive plate rod (plastic or wood), which has at its upper end a plate (62) for abutting the abutment surface, which in principle is a replica of the plate surface called adjustment screw (63), and further from a further electromangeable core (60) separated by an electrically and non-magnetically conductive intermediate piece (61) from the first core, pressed onto said rod, which is immersed in a further solenoid (2c2), which is used together with this core as a stroke length measuring system, which either according to the principle of a differential choke or because of the larger air gap according to the measuring principle of inductance detuning of a coil, e.g. by evaluating a oscillator frequency and converting it into a stroke-proportional control voltage. With the movement resistance according to the invention, on the one hand, the program can now be carried out according to the activated key blocking (with excitation current ip), e.g. via multiplexer circuit with sample &. 12, or the query required for the control, for example, by evaluating the oscillator frequency (us) of an inductively detunable oscillator formed with the length measuring inductor, ditto for evaluating the TON signal mentioned. In addition to the tutorial application explained at the beginning, I use the exact same technical principle to use the simulation behavior of a real piano keyboard, in which case the cheapest plastic keys can be used, the possible mechanical differences of which can be calibrated by a key-selective keystroke program, with the voltage given by the length measuring system is a measure of the touch intensity and in Prinizp the touch behavior of any piano make can be made. The same naturally also applies to the improvement of the touch mechanism on a standard piano, or the installation of the arrangement according to the invention in a standard piano. Fig. 19 shows the preferred embodiment of the arrangement according to Fig. 18 for subsequent installation in a Siandart piano. The main difference is that the resistance to movement according to the invention between said adjusting screw of the key lever and the aforementioned felt stop surface is so narrow that it does not change the structural conditions of the piano. As in the execution of Fig. 18, the bestanö part of the arrangement, which belongs to the standard piano (66), can also be omitted, in order to only get an electronic replica of the response of an original piano door, e.g. in connection with a midi interface, which is provided by the Stroke length measuring system of the arrangement is fed. Described advantage results from the use of a narrow lever, e.g. Made of hardened steel sheet, which is inserted between the adjusting screw of the pedal lever and the felt stop surface of the amposs, by screwing the adjusting screw into the lever of the piano key, this slight change in stroke length of the amposs can be compensated again, so that the piano mechanics are practically unchanged. As a result, the arrangement is suitable, on the one hand, for the problem-free installation of the learning device according to the invention in the most expensive branded pianos, since, as will be shown below, this arrangement can be removed from a piano in a few simple steps, on the other hand the piano technology is not unduly worn out due to the key blocking. Furthermore, it is of course evident that the application mentioned is ideally suited for improving the playing mechanics of old pianos, since the key can be supported or weakened with a defined force as required, and when the key is released, this movement is recognized by the stroke length measuring system of the arrangement and can be accelerated accordingly, which also results in a faster damping of the strings if the strings are still reasonably in tact. Narrow lever (62) mentioned for the movement drive Its deflection (axis 67, bearing sleeve 68) is provided, this deflection either being effected by levers (69a) drawn by tension thread (70) or directly by fastening an electromagnetically actuated anchor surface (69), as shown in FIG. In the case of the tensioning thread solution, the tensioning thread is suspended, for example, by a long slot guide (81) between two balls (80). The embodiment shown in FIG. 19 preferably for the electromagnetic actuation of the tension thread (70) and thus the lever movement called the narrow lever (62) counter-clock-controlled cores (59A, 59B) which are guided in cylindrical shell core coils (2c1A, 2c1B). The embodiment shown in FIG. 20 moves the narrow lever (62) called electromagnetically actuated armature surface (69) by mutually tightening, preferably also repelling, between the pole surfaces of two shell cores (2c1A, 2c1B) between which the armature surface moves in a movement, that corresponds to the stop actuation called Amposses (65) is arranged. It means: (75) ... Standard lowering of the key levers, in which the electromagnetic key actuation is preferably housed, (71) ... Cover the keyboard with side parts (73), on the inside of which the guide rods (67) are attached with on the guide rods pushed on bearing sleeves (68) called lever deflections. (82) .. angle of rotation called lever deflection. Fan ... generated impact force, FG + Fzs accelerated restoring force by eliminating the moment of inertia of the key reset, which is electromagnetically accelerated. *** Fig. 20 .. already explained in Fig. 19. FIG. 21 shows a side view of the embodiment according to FIG. 20, in which the side parts of the piano cover (73) have been removed in order to have guide rails (67), (79) fully equipped with side parts (73a) for receiving the the bearings assigned to the keys to be replaced. (78) ... carrier material for shell cores (2c1B), same (2dA) for actuating the armature (69), cf. Fig.20., (76) bolt. *** Fig.22 .. already explained in Fig.21. Fig. 23.. illustrates the preferred differential control of said armature surface (69) between the pole surfaces of said shell cores (2c1A, 2c1B), movement of the armature being generated for both directions of movement so that the preferably magnetically polarized armature surface of one pole surface of the Shell core is repelled and is attracted to the other pole face. The polarization in brackets denotes the movement (82b), the one not given in brackets, that according to 82a. *** Fig. 24 ... shows a time diagram of the coil currents iL for the actuation explained in relation to Fig. 23, the respectively de-energized coil (in this example 2c1B) during its de-energized phase for the angle measurement (82) after the armature movement the inductance measurement principle is used, the inductance measurement e.g. takes place in a frequency range that does not hinder the electromagnetic control of the coils (by means of suitable filter measures); see. also circuit according to Fig.12. FIG. 25 shows the use of plates which can be shifted according to the coordinate system through elongated holes (90a), (91a), which are screwed one above the other and are fastened to a keyboard cover of the piano, each of which relates to a side part (73). Between the inner plates (in each example (91a) there are then the rods for fastening the actuating levers and coil holders mentioned, on which the coil holders and lever bearings can then still be displaceable. The preferred arrangement allows different fitting into a large number of existing piano mechanisms and can also can be easily removed again or reassembled if, for example, the above-mentioned rods are inserted into the plate arrangement in a closed frame A particularly preferred embodiment of the invention is the following combination of the instrument parts described: the width of the reeds in FIG The glockenspiel instrument shown is in each case dimensioned such that in the case of an embodiment according to FIG. 8, that is to say on the underside of the The lifting magnet (41a) provided for each reed, there is a pitch that corresponds to the key spacing of a piano keyboard, whereby for example the semitones do not necessarily have to be embedded in the whole tones, but can be located in a semitone box part of the instrument located behind the whole-tone box. The stop pin of the reed shown in Fig. 8 then corresponds to the lifting plate (62xz) shown in Fig. 19. # In preferred dimensioning of the actuation stroke, when the button (57) is fully depressed, the lifting plate (62xz) is just pushed upwards so far that the reed (3) (e.g. covered with felt) can still swing freely . The stop of the reed then results from the electromagnetic actuation of the lifting plate (64 xz), by feeding the coil current (ip), the size of which is determined by the stroke length measuring system in the lifting measuring coil (u), or z .For example, frequency with inductive evaluation, is made dependent on what the stop generated on the reed corresponds to the keystroke made. The preferred keyboard version described is housed in a housing which has a plug-on device (for example) guide pin for plugging the bell resonance box, so that the lifting plates of the keys are passed through guide holes in the base plate of the glockenspiel resonance box at the intended locations, so the resonance box is optional is attached to the framed part (66) of Fig. 18. It is evident that the low-rise version described for Fig. 19 and Fig. 20 has the same expansion option as the one described above, but can also be made so universal that it can be retrofitted into any piano. In a further preferred embodiment, the version shown in FIG. 18 makes use of the possibility of simultaneously influencing the sound of the reed generated by means of an electromagnetic vibration system, as explained for example in FIG. 12. The electromagnetically controlled oscillating core (47a) is designed as a circular ring, through the central hole of which the felt-covered stop pin (41a, Fig. 8, or, for the preferred combination version, its equivalent (64xz) is passed, and the end face of the actuating coil (2c1, Fig .18) is brought so close to the circular ring (47a) which is attached to the tune at the point that an electromagnetic force field can act on the circular ring of the reed. As can be seen from FIG. However, this is not absolutely necessary, since any phase position of injected harmonic frequencies can also influence the timbre of the reed to the desired extent by pulse modulation. Furthermore, due to the inertia of the stop pin, the alternating field impressed to improve the sound is ineffective for striking the reed, in particular if For example the H ubmagnetkern the stop pin (59 in Fig.18) is also polarized. Conversely, the electromagnetic pulse when striking or damping a reed has hardly any disturbing effect on the reed frequency, since it is far from the resonance frequency of the reed. A return spring is provided, for example, for damping the reed, which can of course also be done by the stop element (64xz), in order to bring back the stop elements with a low control current. Another variant is to feed the dedicated keystroke signals from the keyboard (us) to a MIDI interface so that, for example, instead of the chimes. to play a "sampled" electronic piano, whereby of course both can take place simultaneously and the loudspeakers of the "sampled" piano can be located in the resonance box of the instrument below the reeds. Finally, the express usability of the game guide according to the invention language training should be given, then for example use is made of the experience that foreign languages are easiest to learn in a relaxed state, e.g. the case of singing along or repeating song lyrics stored in memory or in the instrument's RAM, the rhythm or luminous intensity indicated by the LEDs corresponding to the pronunciations of the pronunciation. In further training, the spoken text from the RAM is displayed on a ticker display.

Claims

1. Music facility, comprising the following features:

a) a musical instrument of any kind, according to which the player plays or, for example, playing positions (e.g. pressing keys, gripping strings and string frets, plucking strings, striking with bells, pressing valves, etc.) with hands or fingers must be reached

b) a storage means with a program which is advanced in rhythm with the notes played in each case and which stores and reproduces at least one or more of the following optional parameters for each note and / or records them during playing and / or compares the playback with the recording and processes it as a log and / or records the log data after an immediate real-time comparison: 1. sound to be generated, 2. sound duration to be generated and / or the associated attack time, 3. associated attack intensity, 4. manual game instructions (fingering, which hand, etc.), said manual game instructions only saved and not recorded,

c) a decoder circuit tapped at any point on the instrument and / or on a further sound-generating device connected to the music device by means of synchronous signals in order to generate a status signal which indicates that and / or which notes of a piece of music played (by musicians) are in each case being played is murdered and with which the forwarding of said program for displaying the notes to be played is controlled or at least also controlled and / or with which the display of the notes to be played is controlled or at least also controlled,

d) an optical display provided for each playing position of the instrument for the purpose of use as a game guide for displaying the respective notes to be played according to the program,

e) the following control rule or control method for a control program corresponding to the notes to be played or a sequence control which controls the display means according to this program: the respective game positions to be played simultaneously, whether single tones or chords, and during the playing time of the note played immediately before, or Notes with chord, displayed at the same time in such a way that they have different characteristic states for all game positions that are not to be played (e.g. LED lights up or does not light up) and that they are to be generated at the time at which the tones associated with the game positions are to be generated ( e.g. by striking a key or reed or plucking a string), each have a characteristic state that corresponds to the playing positions not to be played, which indicates the rhythm of the music to be played,

f) a timing generator associated with the sequence control associated with each note to be played, the time generated corresponds to the rhythm of the notes played in each case and carries out the aforementioned change of characteristic of the display means to the mentioned rhythm display.

2. music device according to claim 1,

characterized by the following features (A) and (B):

Feature A), the following control steps for the sequence control mentioned:

a) within a predetermined number of notes to be played according to the relevant note sequence program according to a predetermined rhythm, the actual number of notes actually played is compared, the following control measure being provided depending on this comparison:

b) depending on the result of this event measurement, the following switching operations, which are noticeable on the display means mentioned, are carried out:

I. for a result of the aforementioned event measurement, in which it is determined that no grade has been left out, the regular progression of the program existing according to feature (b) of claim 1 takes place with the status signal generated according to feature (c) of claim 1,

II. For a result of the aforementioned event measurement, in which it is determined that a grade has been left out, the program according to feature (b) of claim 1 is advanced by the timing cycle of said rhythm beat or feature (f) of claim 1 a measure related to this measure in time.

Feature B):

Feature (s) from claim 1 is not absolutely necessary.

3. music device according to claim 1 or 2,

characterized by the following features (A) and (B):

Feature A):

a) said decoder circuit according to feature (c) in claim 1 has a filter formwork which compares the tones played with the rhythmically associated notes of the program according to feature (b) from claim 1, the filter circuit by switching the filter characteristic of the respectively played Tones or by means of digital comparison of parameters assigned to one another and carrying out said real-time comparison from feature (b) according to claim 1,

b) at least one of the parameters specified in feature (b) of claim 1 is used as the filter parameter, with the exception of non-dedicated manual game instructions (such as the information on the Fingering),

c) the output signal of the filter circuit referred to is used for the immediate display of the game guide or for a log display which is advanced according to the program by means of said storage means for the notes to be played in each case or for the control of the progression of the note dumping program.

Feature (B): the features (e) and (f) from claim 1 are not absolutely necessary.

4. music-making device according to one of claims 1 to 3,

in particular with a musical instrument in which there is no electronic contact tapping of the sounds played,

characterized by the following features (A) and (B):

Characteristic (A):

that said decoder circuit is designed as a pickup circuit which decodes the acoustic touch dynamics which occur when a tone is struck to generate the status signals mentioned,

and / or that a pickup circuit is provided which generates said status signal by decoding the change in the sound frequency of the instrument.

5. music-making device according to one of claims 1 to 4,

characterized by the following features:

a) as a musical instrument a reed instrument is used (such as xylophone, glockenspiel, etc,

b) The visual display of the captain is a display element (such as light-emitting diodes, etc.) provided for each tongue, which is arranged in the immediate area of vision of the respective tongue, whereby this is next to the tongues (e.g. lined up on the front) can take place or the display elements can also be embedded in the tongues,

c) a microphone for recording sound or noise of the tones generated with the instrument.

6. music device according to one of claims 1 to 4, characterized by the following features:

a) a string instrument is used as the musical instrument, in which the aforementioned optical display for showing the playing positions is embedded in the grip bed, in the immediate vicinity of the places where the strings have to be gripped,

7. music-making device according to claim 5, characterized in that a two-color display is used, each color being assigned to a playing stick, and the playing sticks have the same color coding.

8. music-making device according to one of claims 1 to 7, characterized in that a multicolored display is used, which light up in accordance with the colored marking on the fingers and thus indicates the fingerings.

9. Music device according to one of claims 1 to 8, characterized in that said program-controlled captain display is carried out by blocking the sound triggering directly at the point where the instrument is played, the following blocking means being provided for the following instruments:

a) for a keyboard instrument, the control of the pressing force for the keys concerned,

b) for toning instruments, blocking the start-up process of the tongues,

c) for stringed instruments blocking the start-up process of the strings,

d) in an optional mode of operation, the blocking means can also be used as acceleration means and thus for striking the tones,

10. music device according to claim 9 using a keyboard, characterized by attached in the key path electromagnetically controlled drive element for optionally blocking or accelerating the stop, which comprises at least one of the following functions: 1. prevention or control of the keystroke, 2. delivery of a measured variable, which Keystroke indicates a downstream control electronics, 3. Play a second voice instead of the keystroke.

11. music device according to claim 10, characterized in that said electromagnetically controlled drive element between the key lever pressure point of an otherwise concerned Key moving piano mechanics part and this piano mechanics part is arranged.

12. Music-making device according to claim 11, characterized in that a lifting rod moved by a field coil or a lever part moved by a field coil, in particular a narrow lever part, is used as the electromagnetic drive element.

13. Musikiereinrichrung according to one of claims 10 to 12, characterized in that said keyboard is optionally used as an electronic replica of a piano keyboard or to improve a standard piano mechanics.

13. music device according to claim 9 or 10 with the use of a reeds or string instrument, characterized by an electronic magnetic oscillation system which performs a vibration modulation of the reeds or strings by changing the harmonic content of preferred frequencies such that certain harmonics are damped and certain harmonics are amplified to the natural frequency of the vibrating tongue .

14. Music device according to one of claims 1 to 13 with a keyboard instrument, characterized in that numerical numerical displays are provided which indicate the hands with the respective display color with which the relevant fingering display is to be played.

15. Music device according to one of claims 1 to 14, characterized by the following features:

a synchronizing arrangement is provided which is preferably used for the following synchronizing variants:

a) the progression of the note sequence program and the captain display takes place in connection with the synchronizing arrangement in such a way that the captain display is rhythmically correct from a large number of musicians with corresponding captains following a common sheet of notes,

b) and / or the continuation of the note sequence program as well as the captain display takes place in connection with the synchronization arrangement in such a way that a tone code or synchronous signals affecting the captain and a rhythmically correct progression of the captain display are recorded on the used audio preserve,

c) and / or the progression of the note sequence program as well as the captain display takes place in connection with the synchronization arrangement in such a way that a detection circuit is provided which performs a pattern decoding of the audio signal (LF) signal of a sound preserve which corresponds to the generation of the rhythm synchronization of the captain in conjunction with the captain's note sequence program, which generates synchronous signals.

16. music device according to one of claim 15 feature (b), characterized in that the recording of synchronous or tone code signals in question together to form an NF (e.g. music signal) signals via the second stereo track of the sound preserve or via frequency coding in a frequency range that is filtered out for the LF signal.

17. music device according to claim 15 feature (c), characterized in that the pattern decoding is recognized by measuring the frequency component of the LF signal of the sound preserve, the filter parameters being predetermined by the note sequence program and the synchronization of the rhythm display of the captain and the pattern code values obtained Advance the note sequence program by assigning codes assigned to the pattern recognition in the note sequence program.