WO2008155201A1

WO2008155201A1 - Method, keyboard and system for typing music

Info

Publication number: WO2008155201A1
Application number: PCT/EP2008/056576
Authority: WO
Inventors: Marco Aragona
Original assignee: Marco Aragona
Priority date: 2007-06-21
Filing date: 2008-05-29
Publication date: 2008-12-24
Also published as: EP2162878A1; ITRM20070346A1

Abstract

There is described a method, keyboard and system for typing music, including a computer, a display device, traditional input systems, and characterized in that it also includes a keyboard for typing music and a relative computer program for managing and interfacing with the keyboard. Said keyboard is in turn characterized in that it has note-keys associated with notes and function-keys associated with functions that alter the pitch and duration of the notes associated with the note-keys.

Description

METHOD, KEYBOARD AND SYSTEM FOR TYPING MUSIC Field of the invention

This invention relates to a method, keyboard and system for typing music. State of the art At present, writing music is rather a laborious task due to the extremely large number of symbols that can be represented in the staff.

Considering that an octave is formed of twelve semitones, that a piano has a range of more than seven octaves, and that each note can have nine rhythmic representations, it will be appreciated that to create a bi-unique association between each note that can be expressed on the staff and every key on the keyboard would require just under eight hundred keys. If we then add the common symbols used in musical notation, the resulting number of keys required would be extremely high. The known art provides several commercial software programs developed to assist in the writing of musical scores. These programs typically use the computer's alphanumeric keyboard and a pointing device: the mouse. It will be appreciated that, to represent such a high number of musical symbols, traditional computer keyboards with eighty-eight keys are inadequate unless the keys are used in particular combinations. Another solution offered by the known art consists of connecting a music keyboard to a computer with appropriate software by means of a special communication interface. In this case, there is a direct relationship between each key on the keyboard and the relative note on the staff, but the duration of each note depends on how long the key is pressed, which makes it extremely difficult to ensure the correct interval between each bar. Furthermore, all musical symbols and notation used have to be added or completed later, by means of a mouse, for example.

It is clear that the methods for writing musical scores offered by the known art require the operator to carry out a large number of laborious operations. Furthermore, the operator must also have an in-depth knowledge of the subject, and must: play the musical phrase to be written on a music keyboard; monitor system alterations and melodic alterations (sharp, double-sharp, flat, double flat, natural sign).

Therefore, means offered by the known art are not very suitable for writing scores and sheet music because they use computer input and pointing means or combinations of these means with a music keyboard. This results in long writing times at considerable economic expense, and also requires a high degree of expertise from the operator. Summary of the invention

The object of the present invention is to provide a method for typing music that solves the problems described above, allowing scores and sheet music to be written simply and quickly.

A further object of the invention is to provide a keyboard that allows sheet music to be written without having to use other means of input to complete it. Therefore, the present invention achieves the above disclosed objects by providing a method for writing sheet music and scores that, according to claim 1 , includes the following steps: restricting the tone range to one octave only; associating a note-key (I) with C, a note-key (II) with D, a note-key (III) with E, a note-key (IV) with F, a note-key (V) with G, a note-key (Vl) with

A and another note-key (VII) with B; - associating two function-keys (TTO1 and TTO2) with a function that converts the current octave, to which the previous phrase refers, to a higher or lower octave; so that with at least nine basic associations it is possible to represent every note of every octave. According to another aspect of the present invention, according to claim 7, it is suggested to achieve the above described objects by providing a keyboard for typing music, formed of at least nine keys, characterized in that seven thereof are associated with the notes from C to B of the current octave, and two function-keys (TTO1 and TTO2) are used to create a re-association with another octave above or below the current octave.

According to another aspect of the present invention, according to claim 15 it is suggested to provide a system including a computer, a display device, traditional input systems, and characterized in that it also includes a keyboard for typing music and a relative computer program for managing and interfacing with the keyboard.

According to another aspect of the invention, each key, as well as being related to a note as far as the pitch is concerned, also represents that note as far as rhythmic duration is concerned, therefore, similarly to the above-disclosure relating to the shift between octaves, a key is introduced that represents the pause, and additional two function-keys (TTR1 and TTR2) that serve to re- associate the keys with rhythmic representations of a longer or shorter duration than the current one. Advantageously, the object keyboard also features additional keys for entering all those symbols, such as ornaments, ties etc., that are normally present on a musical score.

The dependent claims describe preferred embodiments of the invention. Brief description of figures Other features and advantages of the invention will become more apparent from the following detailed, though not exclusive, description of a preferred embodiment of a method and keyboard for typing music, which is illustrated by way of non-limitative example in the accompanying drawings, in which: Figure 1 shows the flow diagram relating to a method for managing a keyboard for typing music;

Figure 2 shows a preferred embodiment of a keyboard for typing music, formed of three rows of keys associated with notes, plus a pause key, each associated with a different rhythmic representation, and four function keys for shifting octave and rhythmic representation; Figure 3 shows an example of how to use said keyboard for typing music, showing the sequence of operations for the given musical phrase, and in particular, the letters for the various steps correspond to those placed below the melody; Figure 4 shows an example of a keyboard for typing music that also includes keys for the punctuation and symbols typically used in musical notation. Detailed description of a preferred embodiment of the invention

The method object of the present invention is formed by a step in which the tonal range, corresponding more or less to the 88 white keys on a piano, is restricted, e.g. to a single octave. If the alterations of the tonal system are managed in another manner, then only seven associations between the notes in an octave and the corresponding keys are enough. Therefore, in order to cover all the octaves in the range, another step involves another two associations, i.e. between two TTO1 and TTO2 keys and two functions, which are used, respectively, to shift the reference octave of the previous step, to an octave above or below the current one. In other words, if key I currently refers to middle C (for bass and treble clefs), pressing key TTO1 causes key I to refer to the C of the third interval of the treble clef. On the other hand, pressing key TTO2 again, for example, causes key Il to refer to D of the middle octave.

Since in musical notation, each note represents both the pitch of the note and its duration, keys TTR1 (TTR2) double (or half) the value of note duration, so that, if the current value is a minim, pressing TTR2 causes all the following notes to become crotchets; in particular, a key between III and IV only has a time value, representing a pause of a duration consistent with the current setting.

In this manner, with at least eleven associations it is possible to represent every note of every octave and duration, and with a further association, also rhythmic pauses of any duration. In order to reduce the use of function-keys TTR1 and TTR2, in the example shown in figure 2, the note keys are replicated on three rows, so that the top row, for example, represents a rhythmic duration that is twice that of the middle row, and four times the lower row.

If nine rows of note-keys were used, there would no longer be any use for keys TTR1 and TTR2, since sufficient keys would be available for all possible rhythmic representations.

According to another aspect of the invention, key I does not refer statically to C, but may rather be associated with the first degree of the current tonal system, e.g. G - if the tonal system is G major (or minor), the seventh (or third and sixth) degree is automatically altered by the software for managing and interfacing the keyboard with a computer.

It nevertheless remains at the operator's discretion whether to associate I to the tonic or to C.

In figure 3, to write the score shown, the following steps are carried out: a. Shifting to the higher octave, fig.3. a; b. G crotchet, fig.3.b; c. E quaver, fig.3.c; d. C quaver, fig.3. d; e. Shifting to lower octave, fig.3.e; f. G quaver, fig.3.f; g. G quaver, fig.3.g; h. G quaver, fig.3. h; i. Shifting to the higher octave, fig.3.i; j. G crotchet, fig.3.j; k. E quaver, fig.3.k;

I. Downward shift of the values, fig.3.1; m. C semiquaver, fig.3.m; n. D semiquaver, fig.3. n; o. E semiquaver, fig.3. o; p. F semiquaver, fig.3.p; q. G semiquaver, fig.3.q; r. A semiquaver, fig.3.r; s. B semiquaver, fig.3.s; t. Shifting to the higher octave, fig.3.t; u. C semiquaver, fig.3.u; v. Shifting to lower octave, fig.3.v; w. B quaver, fig.3.w.

The typing fingers are the 2nd, 3rd and 4th fingers of each hand. The 5th finger of the right hand shifts up an octave from the insertion of the next note, while the 5th finger of the left hand shifts down an octave from the insertion of next note. The 4th finger of the left hand presses the first degree, the 3rd finger presses the second degree, and the 2nd finger presses both the third degree and the pause; continuing, the 2nd finger on the right hand presses the fourth and fifth degree, the 3rd finger on the right hand presses the sixth degree and the 4th finger the seventh degree. The thumb of the right hand doubles note duration from the next note typed, while the thumb of the left hand halves note duration from the next note typed. When a shift key t is pressed at the same time as a key associated to a note of the row of note-keys above or below, it doubles the note duration multiplication factor, which is normally 2 for the top row and ^Λh for the lower row, with respect to the current value of the middle row: for example, if the middle row is set to represent quavers, the top row, rather than referring to crotchets, refers to minims, while the lower row, rather than referring to semiquavers, refers to demisemiquavers.

Similarly, the double-shift key tt quadruples the above-mentioned multiplication factor. In the preferred embodiment of the keyboard, there are also additional keys for entering dots, ties, staccato dots and the various other symbols typical of musical notation, including clefs, tempo, polyphony and expression marks. Other keys allow triplets, chords, arpeggios, etc. to be added easily. Additional function keys may also be present, which perform their function only as long as they are pressed, so that a further symbol may be associated with a key in addition to the usual one; there is also a key for deleting the last symbol entered and/or the last setting applied.

With reference to the flow diagram in fig. 1 , the steps included in the method for managing and interfacing with said keyboard are disclosed below: At step 1 , the program is started; at step 2, the system waits for a key to be pressed; at step 3, the system determines which key was pressed using a decoding code, an operation commonly called Scan Code; at step 4, the system identifies whether the key refers to a symbol, then at step 5, the position and duration of the symbol on the staff are calculated, so that, at step 6, the successful insertion of the symbol is shown on a display device, such as a monitor. Then at step 15 it is decided whether to interrupt the insertion of symbols by going to the END, or to insert another symbol by returning to step 2. If the key does not refer to a symbol, then the system goes directly to step 7, where it is determined whether the key function represents a rhythmic shift (TTR) or an octave shift (TTO). If it is an octave shift, at step 9 it is decided whether to go to step 10, and shift to the higher octave starting from the current insertion position, or to go to step 1 1 , and shift to the lower octave. If it is a rhythmic shift, at step 12 it is decided whether to go to step 13, increasing note duration starting from the current insertion position, or to go to step 14, decreasing said note duration. Steps 10, 1 1 , 13 and 14 lead back to step 2, waiting for another key to be pressed. The advantages of using a system for typing music based on the present invention are clear. In particular, with just a few operations it is possible to enter notes, although the number of keys involved is rather limited. This greatly reduces learning and working times and allows to employ operators who are not particularly expert in the musical field, or expensive.

Said keyboard may be made with real membrane, micro-switch keys, or it can be made using optical-reading systems that can detect the position of the fingers and all possible variants; more generally, it may be made using typing recognition means.

The specific embodiments described above in no way limit the scope of this application, which covers all the variants of the invention defined by the claims.

Claims

1. A method for typing music including the following steps: restricting the tonal range to a single octave; associating a note-key (I) with C, a note-key (II) with D, a note-key with E, a note-key (IV) with F, a note-key (V) with G, a note-key (Vl) with

A and another note-key (VII) with B; associating two function-keys (TTO1 and TTO2) with a function that shifts the current octave, to which the previous step refers, to a higher or lower octave; so that with at least nine basic associations it is possible to represent every note of every octave.

2. A method according to claim 1 , wherein two additional function-keys (TTR1 and TTR2) are associated with as many functions that serve to re-associate the note-keys with rhythmic representations of a longer or shorter duration than the current one, in order to allow to vary the rhythmic notation of all the notes entered starting from the next note following the pressing of said function-keys, so that with at least eleven associations it is possible to represent every note of every octave and duration.

3. A method according to claim 2, wherein a key is introduced that represents the duration pause consistent with the current setting, so that with said further association rhythmic pauses of any duration are also represented.

4. A method, according to claim 2, wherein various rhythmic durations are associated with further groups of seven note-keys, replicated on several rows, so as to limit the use of the function keys (TTR1 and TTR2).

5. A method, according to claim 1 , wherein the note-keys (from I to VII) may be associated with the degrees of the tonal system, i.e. from the tonic to the subtonic.

6. A method for managing and interfacing said keyboard with a computer software, characterized in that it involves the following steps: - (step 1 ) the program is started;

- (step 2) the system waits for a key to be pressed;

- (step 3) the system determines which key was pressed using a decoding code;

- (step 4) the system identifies whether the key refers to a symbol; - if it does, (step 5) the position and duration of the symbol on the staff are calculated;

- so that (step 6) the successful insertion of the symbol is shown on a display device, e.g. a monitor; - then (step 15) it is decided whether to interrupt the insertion of symbols by going to the END;

- or to insert another symbol by returning to the waiting step (step 2);

- if the key pressed does not refer to a symbol (step 4 NO), then it is determined (step 7) whether the key function represents a rhythmic shift (TTR) or an octave shift (TTO);

- if it is an octave shift (step 7 NO) it is determined (step 9) whether it involves shifting to the higher octave (step 10) starting from the current insertion position, or whether (step 9 NO) to shift to the lower octave (step 1 1 ).

- if, instead, it is a rhythmic shift (step 7 YES), it is decided (step 12) whether to increase note duration (step 13) starting from the current insertion position, or whether to decrease (step 14) said note duration.

- after each step of shifting octave or rhythm (steps 10, 1 1 , 13 and 14), the system returns to the waiting position (step 2) to wait for another key to be pressed.

7. A keyboard for typing music including: - means for typing acquisition, keys;

- means for interfacing with a computer; characterized in that seven note-keys (from I to VII) are associated with the seven notes of an octave, while another two function-keys (TTO1 and TTO2) shift the current reference octave to another octave above or below the current one, so that with only nine keys it is possible to represent every note of every octave.

8. A keyboard, according to claim 7, wherein there are two additional keys (TTR1 and TTR2) that serve to re-associate the note-keys with rhythmic representations of a longer or shorter duration than the current one, in order to allow to vary the rhythmic notation of all the notes entered, starting from the next note following the pressing of said function-keys, so that with at least eleven associations it is possible to represent every note of every octave and duration.

9. A keyboard, according to claim 8, wherein there is a key that represents a pause of a duration consistent with the current setting, so that with said key rhythmic pauses of any duration may also be represented.

10. A keyboard, according to claim 8, wherein the note-keys are replicated on several rows differentiated by the rhythmic duration of the notes associated with each row, so as to limit the use of the function keys (TTR1 and TTR2).

11. A keyboard, according to claim 7, wherein there is a shift (t) function-key that, when pressed at the same time as a key associated with a note on the top or lower row of keys, with respect to the middle row, doubles the note duration multiplication factor, which is normally 2 for the top row and ^Λh for the lower row, with respect to the current value of the middle row.

12. A keyboard, according to claim 1 1 , wherein there is a double-shift (tt) function-key that further doubles the multiplication factor for the top row and further halves the multiplication factor of the lower row.

13. A keyboard, according to claim 7, on which there are keys for entering notation and symbols typically found on sheet music and musical scores, such as dots, ties, expression marks, ornaments, clefs, alterations, arpeggios, tempo and dynamics.

14. A keyboard, according to claim 13, wherein there are function-keys that, for as long as they are pressed, allow a further symbol to be associated with a key in addition to the usual one.

15. A system for typing music characterized in that it comprises:

- a computer;

- a display device (monitor) connected to said computer;

- a keyboard for typing music connected to said computer;

- a software for the management of said keyboard; allowing to quickly enter every note or pause, of any pitch and duration, using only twelve keys on said keyboard.