WO2004059594A1

WO2004059594A1 - Set of templates for the a-440 music notation system

Info

Publication number: WO2004059594A1
Application number: PCT/ES2002/000623
Authority: WO
Inventors: Justo Manuel GONZÁLEZ SÁNCHEZ-FABRES
Original assignee: Gonzalez Sanchez-Fabres Justo
Priority date: 2002-12-30
Filing date: 2002-12-30
Publication date: 2004-07-15

Abstract

The invention relates to a set of templates for the A-440 music notation system. The inventive templates are characterised in that they comprise a transparent background and a series of lines for music notation, which are formed by three lines that are provided with clefs and associated with another group of inversely-coloured screen-printed lines. Once placed on the standard score, the templates will cancel out certain lines of the stave and, on the basis of the novel alignment, transpose the notation to an alternative music notation system. Said system, developed using the templates, offers identical notation segments at octave intervals, regardless of the key or pitch represented.

Description

"SET OF PLATULAS OF THE MUSICAL NOTATION SYSTEM A- 440"

Set of templates with a transparent background that allows the development of a new musical notation system, based on a succession of linear series that offers identical sections of notation at an octave distance, so that once applied to the conventional score, they will have the effect of transposing the notation to the new alignment of the system, being relocated homogeneously in all series. TECHNICAL PROBLEMS raised in the CONVENTIONAL SYSTEM

1. The notes of the staff have different locations at octave intervals, so that the one that appeared on a line will later appear on a space, and vice versa.

2. In order to indicate the height of the sound, various keys are applied to the staff, but with this the notation positions are doubled.

3. The notes of extreme tessitura are outside the staff and as this distance increases, the reading becomes confused with the profusion of additional lines, lines that in turn affect the effect of increasing the diversity of the notation points. ADVANTAGES of "A-440 Musical Notation System Template Set"

They effectively solve the technical problems posed in the conventional system (named in the same order) as follows:

1. Each note has a constant position regardless of the octave or series in which it appears.

2. The keys and series of the system make up identical sections of notation at an octave distance.

SUBSTITUTE SHEET (RULE 26) 3. All the notes are inserted in the corresponding series or templates without adding different notation positions for extreme scores. Additional lines are removed.

TYPES OF TEMPLATES of the "System Templates Set

Musical Notation A -440 "

By the number of series that compose them they are classified into single or compound series templates.

UNIQUE SERIES or trigram template. It is formed by a group of three parallel lines, equidistant from each other. The distance between two consecutive lines of a series will be made to coincide with the distance between two other consecutive lines on the staff.

BY THE HEIGHT OF THE SOUND or eighth to which they refer, the following are also distinguished, applicable to the staff under any key: "CENTRAL SERIES or SERIES 440 Template" (figure number 1.a)

It consists of a trigram to which a tessellation key is added in the left margin at the height of the last space, which occupies the note "LA". This key is called the "440" central key. The resulting series will have the particularity of maintaining unchanged the section of notation that in the stave and under the treble clef includes the notes do, re mi, fa, sol, la, si, named in the ascending direction from the lower additional line to the third staff line.

For its application on the staff under the treble clef, the bottom line of the staff will be made to coincide with the bottom line of the series. For its application on the staff under the key of f a, the lower line of the trigram will be made to coincide with the second additional upper line of the staff.

SUBSTITUTE SHEET (RULE 26 "SHARP FIRST SERIES template", (figure number 2.a) It is formed by adding to a trigram, a pitch code consisting of an arrow to the right, which will be located on the left margin at the height of the last space, occupied by the note "LA". It offers a section of notation identical to the central one, but in its case at an interval of one octave higher.

For its application on the staff under the treble clef, the lower line of the trigram will be made to coincide on the note "mi" corresponding to the last space of the staff, and will be associated with another group of lines other than the trigram, screen-printed in reverse color or in light color, whose application will have the effect of canceling others of the staff on which they are established. (Example, the lines represented with ellipsis, in figure 2.a.) In this way, the resulting section of notation will have the following peculiarities: the note "do" corresponding to the third space of the pentagram will now be at the same distance from the existing one in the central series between said note and the lower line of the trigram. The note "re" corresponding to the fourth line of the staff will now be in a space, below the lower line of the trigram. The note "my" corresponding to the last upper space of the staff will now be on the first line of the trigram. The note "fa" corresponding to the fifth line of the staff will be in the first space of the trigram. The note "sol" corresponding to the first upper space outside the staff will be on the second line of the trigram. The note "la" corresponding to the first additional line of the staff will be in the second space of the trigram. V the note "if" corresponding to the space above the first additional line of the staff will be on the third line of the trigram.

SUBSTITUTE SHEET NR "SECOND SERIES ACUTE template", (figure number 3.a). It is formed when adding to a trigram, a tessitura key consisting of two arrows to the right, which will be located on the left margin at the height of the last space, occupied by the note "LA". It offers a section of notation identical to the central one, but in its case at an interval of two octaves higher.

For its application on the staff under the treble clef, the lower line of the trigram will be made to coincide on the note "mi" corresponding to the third additional line above. The resulting stretch of notation is taken here as reproduced to avoid unnecessary repetition.

"THIRD SERIES AΘUbA template". (figure number 4.a) It is formed when adding to a trigram, a tessitura key consisting of three arrows to the right that will be located on the left margin at the height of the last space, occupied by the note "LA".

It offers a section of notation identical to the central one, but in its case at an interval of three octaves higher.

For its application on the staff under the treble clef, the lower line of the trigram will be made to coincide on the note "mi" corresponding to the upper space following the sixth additional additional line, and will be associated with another group of lines outside the trigram, screen-printed in inverse color or in light color, whose application will have the effect of canceling others of the staff on which they are established. (Lines represented with ellipsis in figure 4.a.) "SERIOUS FIRST SERIES template", (figure number 5.a)

SUBSTITUTE SHEET It is formed when adding to a trigram, a tessitura key consisting of an arrow to the left that will be located on the left margin at the height of the last space, occupied by the note "LA".

It offers a section of notation identical to the central one, but in its case at an interval of one octave lower.

For its application on the pentagram under the key of fa, it will be associated with another group of lines outside the trigram, serigraphed in inverse color or in light color, whose application will have the effect of canceling others of the pentagram on which they are established. (Lines represented with ellipsis in figure 5.a.).

"SECOND SERIOUS SERIES Template", (figure number 6.a) It is formed when adding to a trigram, a tessitura key consisting of two arrows to the left that will be located on the left margin at the height of the last space, occupied by the note "LA". It offers a section of notation identical to the central one, but in its case at an interval of two lower octaves.

"THIRD SERIES SERIOUS Template", (figure number 7.a) It is formed by adding to a trigram, a pitch code consisting of three arrows to the left that will be located on the left margin at the height of the last space, occupied by the note "LA".

It offers a section of notation identical to the central one, but in its case at an interval of three lower octaves.

For its application on the pentagram under the key of fa, it will be associated with another group of lines outside the trigram, serigraphed in inverse color or in light color, whose application will have the effect of canceling others of the pentagram on which they are established. (Lines represented with ellipsis in figure 7.a.).

SUBSTITUTE SHEET RE COMPOSITE SERIES TEMPLATES. They consist of more than one series.

To mark the passage from one series to another, the band or space between the top line of one trigram and the bottom line of the next may appear slightly colored. DOUBLE SERIES insole (double trigram). It is formed with two successive series, such as the following:

• Melodic template, (figure 8.a) It consists of a central series and first acute series. It has the particularity of covering in its entirety the section of notation corresponding to the pentagram under the treble clef, and some of its additional lines, as shown in comparative notation, (Figures 8.b and 8.c)

• Harmonic or accompaniment template, (figure 9.a) It consists of first and second serious series. It has the particularity of covering in its entirety the section of notation corresponding to the pentagram under the key of F, and of some of its additional lines, as shown in comparative notation, (Figures 9.b and 9.c)

TRIPLE SERIES insole. It comprises three successive series in any range. Figure n ° lO.c reflects the application of a triple series composed of central series and first and second acute series (f ig. 10.a), over a section of notation in the conventional system (f ig.lO.b) .

QUADRUPLE SERIES template, It consists of four successive series in any range, etc.

Polyphonic template, (figure 11.a) It is a template composed of acute first series, central series, first serious series and second serious series. It has the particularity of encompassing in its entirety two sections of notation corresponding to the pentagram under the treble clef and F, and one of its

SUBSTITUTE SHEET RE L additional lines, as shown in comparative notation, (figures ll.b and nc)

According to the provision on the scores, they are classified into BACKGROUND TEMPLATES or BOTTOM LAYER (figures 12.1 and 12.2) They comprise one or more series. They are characterized by being designed on a plane of transparency that offers, on the one hand, any of the series defined above or a succession of them, with their range keys and associated lines of inverse color, where appropriate, and on the other hand, in addition, extended to the appropriate height to the left margin of the template, some range keys from other series more serious or acute than the previous ones, but without trigrams to the margins. It has the peculiarity of serving as a base to apply another template or top layer to it.

SURFACE TEMPLATES or TOP LAYER (Ex. Figure 13). They integrate trigrams without pitch keys, specifically designed to be superimposed on the background template, so that by moving it vertically on top of it you can enlarge or adjust the height of the templates to the pitch required by the composition. To do this, simply match the trigram of the upper layer with the keys arranged for this purpose in the background template. They can also be accompanied by lines associated with the effect of canceling others on the staff. Figures 14-a indicate the resulting overlapping positions of both templates. Figure 14.C.1 reflects the combination of templates 12.1 and 13 (with the position of fig. 14.al) applied on a compass of "33 Variations on a Waltz by Antón Diabelli", opus 120 by Beethoven ( f ig.l4.bl). Figure 14. _C .2 reflects the application of the template fig.12.2 on the upper ruler of the last bars of Prelude No. 18 by F. Chopin. (f ¡g.l4.b.2).

SUBSTITUTE SHEET RULE 26 Figure 14.C.3 reflects the application of templates 12.2 and 13 (with the position of Fig. 14.a.4) on the lower ruler of the last bars of Prelude No. 18 by F. Chopin, ( f ig.l4.b.3).

Common Features of A -440 Musical Notation System Template Set

• The described templates are combinable with each other.

• They may be self-adhesive.

• Do not exclude the use of the conventional "octave" sign from the conventional score in any series. • They are applicable to the stave under any key -even a do key- for which, it will be enough to match the tessitura key proper to the system of a certain series with the correlative place that the note "la" occupies in the stave, or line or corresponding additional space, if applicable. • The range keys indicated for the templates of this system can be replaced by other keys of the same type with similar effects. Thus, instead of naming the position of the note la, the position of the G note could have been indicated, or any other.

• The A-440 system also offers the possibility of transposing the compositions to any tone, modifying the location of your range keys to any other notation point in the trigram, depending on the tone chosen.

• For the best identification of the note C, which according to the A-440 system is positioned on an additional lower line, the user will only need to draw said line, which can be deleted if the template is used on another musical composition.

SUBSTITUTE SHEET NR • The associated lines to cancel others of the staff can be arranged indistinctly in the bottom or top layers next to the corresponding series, or even in another independent layer. Description of figures

• Figures designated by the letter A represent series or templates of the system.

• Figures designated with the letter B represent sections of notation or compositions in the conventional system. • The figures designated with the letter C represent the result of applying the series or templates of the A-440 system over the notation sections or compositions in the conventional system (A + B = C)

• Figure 15 indicates the scope of the series on the piano. Zone "5-440" refers to the central series; to his right S + 1, the first acute series, S + 2 the second acute series, S + 3 the third acute series; To the left of the central series, S-l or the first serious series appears, S-2 the second serious series, S-3 the third serious series. Area "M" corresponds to the melodic template; area "A" corresponds to the harmonic template; area "P" corresponds to the polyphonic template.

SUBSTITUTE SHEET RULE 26

Claims

1.-) Set of templates of the "Musical Notation System A-440", characterized by developing a new musical notation system with a series of linear series or trigrams provided with testament keys that offer the same notation section at an octave distance, associated with another group of serigraphized lines in reverse color whose application will have the effect of canceling certain lines of the staff on which they are established, said transparent background templates being combinable with each other, applicable in different layers, or in a single plane, even self-adhesive, and that, once they are superimposed on the conventional score, will provide the notes with an identical location in each series, whatever the key of the staff and the height of the sound they represent.

2.-) Template set of the "Musical Notation System A-440" according to the preceding claim, characterized by allowing a combination thereof to be made in a single layer or plane adapted or designed specifically for a particular musical composition, so that applied directly on that, based on the new alignment and at once, transpose each page of the conventional score one by one to the new system, relocating the notation in its series.

3.-) Set of templates of the A-440 musical notation system according to the preceding claims, characterized by allowing the industrial edition of specifically designed musical templates, page by page, to be applied to conventional score albums, transcribing or converting from the traditional system to the A-440 system itself, relocating the notation in its series, based on the new alignment or succession of trigrams, on any graphic medium.

SUBSTITUTE SHEET (RULE 26)