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EP0101327A2 - Clavier auxiliaire pour l'adaptation d'un clavier linéaire - Google Patents

Clavier auxiliaire pour l'adaptation d'un clavier linéaire Download PDF

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Publication number
EP0101327A2
EP0101327A2 EP83304793A EP83304793A EP0101327A2 EP 0101327 A2 EP0101327 A2 EP 0101327A2 EP 83304793 A EP83304793 A EP 83304793A EP 83304793 A EP83304793 A EP 83304793A EP 0101327 A2 EP0101327 A2 EP 0101327A2
Authority
EP
European Patent Office
Prior art keywords
keys
key
piano
white
black
Prior art date
Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
Withdrawn
Application number
EP83304793A
Other languages
German (de)
English (en)
Other versions
EP0101327A3 (fr
Inventor
Maria Rosa Allen
Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.)
ALLEN, MARIA ROSA
Original Assignee
Individual
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Application filed by Individual filed Critical Individual
Publication of EP0101327A2 publication Critical patent/EP0101327A2/fr
Publication of EP0101327A3 publication Critical patent/EP0101327A3/fr
Withdrawn legal-status Critical Current

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Classifications

    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10C—PIANOS, HARPSICHORDS, SPINETS OR SIMILAR STRINGED MUSICAL INSTRUMENTS WITH ONE OR MORE KEYBOARDS
    • G10C3/00—Details or accessories
    • G10C3/12—Keyboards; Keys

Definitions

  • the invention relates to an adapter to overlie the keyboard of a piano or piano-like instrument so that the instrument no longer presents a conventional piano-like appearance, but instead presents an appearance which includes a series of keys of identical or substantially identical appearance.
  • the raw material in making music are sounds. Although man can in general hear sounds whose frequency ranges between 15 and 24,000 hertz, the frequency of the sounds which musicians use lie in a smaller range of about 20 to 10,000 hertz. Occasionally, other sounds are used, for example certain huge organs can produce sounds on the order of 16,000 hertz. Although man can hear sounds within the large range mentioned above, the human ear cannot distinguish between two sounds when their frequencies are too close together.
  • the arrangement of sounds in the ascending order of their frequencies which can be separately distinguished is a set of different sounds which comes to a total of about 1500.
  • musicians use a much smaller number of sounds, for example the 110 sounds in the range 21.8 hertz to 10,548 hertz, where each upper sound or tone has a frequency with a ratio of 1.06 to the next adjacent lower tone or sound.
  • a scale is the arrangement, in ascending order of their frequencies, of the tonic along with the subset of sounds which are in deep connection with the tonic. Since tonalities can be major or minor (major tonalities are described as affirmative and optimistic, minor tonalities as inquisitive and melancholy), we accordingly have major and minor scales. Any major scale, for instance, has seven sounds, the role names of these sounds and the size of intervals between them are shown in Figure 14. Since 12 different sounds can be taken as tonic, we therefore have 12 different major scales. As shown in Figure 15, the election of a given tonality produces a division of the whole set of sounds into two subsets, the subset of those that belong to the scale that is being used and the subset of sounds that do not belong.
  • This division does not mean that the election of a given tonality excludes the use of sounds outside the given scale, for with them it is possible to hide, camouflage, evade or make dissonant the presence of the tonic. They are often used in parts preceding a change of tonality. The more these "outside" sounds are used in a piece, the less firmly is the tonality established.
  • the conventional piano keyboard has 88 keys, 7 white keys and 5 black keys in each octave.
  • Non-conventional pianos may have more or less than 88 keys, but each have the same 7 white keys and 5 black keys per octave.
  • Other instruments both those that produce music mechanically as well as the newer instruments which produce music electronically
  • those keyboards will be referred to as a piano keyboard, regardless of whether or not the keyboard is part of a piano, so long as it has the conventional 7 white keys and 5 black keys per octave.
  • the invention meets these and other objects, by providing an adapter for piano keyboards which includes a series of adapter keys arranged parallel to each other including respective keys corresponding to black and white keys of a piano keyboard. While some adapter keys correspond to white keys of a piano keyboard and others correspond to black keys of a piano keyboard, all adapter keys may have the identical outward appearance.
  • the adapter keys are located in an order identical to the order of black and white keys of the piano keyboard, that is adopting the notation of W for a white corresponding key and B for a black corresponding key, in any octave the sequence, starting with C is WBWBWWBWBWBW, which is the same sequence as in the piano keyboard.
  • a frame is provided for supporting the adapter keys in a predetermined relation to a piano keyboard.
  • the frame supports the adapter keys for pivoting movement about an axis perpendicular to the longitudinal extent of the keys of the piano keyboard.
  • the black corresponding keys (B) have a width which is less than the width of a white piano key of the piano keyboard, an upper planar surface extending over a substantial extent and a black key engaging lower surface of length equal to or shorter than the length of a black piano key.
  • the white corresponding keys have a width less than the width of a white piano key, an upper planar surface extending over a substantial extent, and a white key engaging lower surface of length substantially equal to the length of a white piano key.
  • any white corresponding key engages one and only one white piano key and causes a production of the corresponding sound or tone from the piano (or other instrument actuated by the piano keyboard).
  • Depression of any black corresponding key (B) engages one and only one black piano key and no white piano key to thus produce the sound that is ordinarily produced by the engaged black piano key, by the instrument which the piano keyboard is a component of.
  • the invention provides:
  • the widths of the white and black corresponding piano keys are identical.
  • the different keys are merely threaded on a rail which is part of the frame means and which extends perpendicular to the longitudinal extent of the keys of the piano keyboard.
  • the keys can be made translucent, and a light source can be provided within each of the different keys which is separately energizable by a multi-element control device, with a single controlled element (or switch) for each different corresponding key of the adapter.
  • selected sets of the adapter keys can be illuminated to identify, for example, the tonic chord of a given composition, patterns of scales, etc.
  • the keys could, alternatively, be highlighted by other means as colored strips adhered to the key be adhesive, or magnetically, etc. It is also possible to provide some keys of a permanent distinguishment as a bump, ridge, etc., in order to give the user a clue or reference to the conventional keyboard.
  • the adapter is not limited to it.
  • the adaptor can be used to provide students with a device clearly illustrating musical patterns to facilitate the practice of composition, analysis, music theory, ear training and sight reading.
  • the adapter of the invention comprises two major components, a series of adapter keys, some white corresponding keys (W) and some black corresponding keys (B), and a second component which is a frame for supporting the series of adapter keys.
  • Figure 1 illustrates the frame 25, in the absence of the adapter keys.
  • the frame 25 includes a pair of generally C-shaped end elements 10 and 20 each of " which includes a threaded hole, which supports a piano engaging screw 21.
  • Located between the end elements 10 and 20 are a pair of generally parallel rails 15 and 16, for the purpose of supporting the end elements in their predetermined positions.
  • One of the rails 15 will serve to support the different adapter keys for pivotal movement, as will be described hereinafter.
  • the frame 25 can be fabricated from metal, wood, or various kinds of plastic. When in use, the frame 25 is an integral structure, although for ease of shipping and the like it can be fabricated so as to be readily disassembled in a manner known to those skilled in the art. Clearly the adaptor frame 25 is removably fastened to the piano as shown in Fig. 2.
  • Figure 2 illustrates the frame 25 secured to a conventional piano 30 which has a piano keyboard including white keys 35 and black keys 40.
  • a piano keyboard including white keys 35 and black keys 40.
  • the function of the piano engaging screws 21 can be performed by similar equivalent apparatus such as springs, suction, adhesive, etc. It should be emphasized that the showing of Figure 2 is merely illustrative, for in normal use, with the linear keyboard adapter installed on the piano 30, the piano keyboard keys 35 and 40 will not be visible.
  • Figures 3 and 4 provide a detailed illustration of the two different types of keys in the adapter.
  • Figure 3 is a detail of the white corresponding keys 135 (sometimes referred to as W) and
  • Figure 4 is a detail of the black corresponding keys 140 (sometimes referred to as B).
  • the key 135 has a width 100, which is preferably less than the width of the conventional white piano key.
  • the key 135 has an upper planar surface 137 extending over a substantial extent (which may be as long, or longer than a white piano key) and a white key engaging lower surface 136, having a length 131 which is substantially equal to the length of a white piano key, the length of a white piano key corresponding to that dimension of the piano key which is the largest visible dimension.
  • the key 135 also has a curved frontal surface 135 and pivots, when actuated, about axis 132.
  • key 140 has a planar surface 147 extending over a substantial extent, and a lower black key engaging surface 146 having a length 141, which is of a length equal to or shorter than the length of a black piano key.
  • the length of a black piano key is the largest visible dimension of a black piano key.
  • the key 140 has a width 105 which is preferably wider than the width of a black piano key, and in a preferred embodiment of the invention actually, the width 105 of the key 140 is identical to the width 100 of the key 135.
  • the key 140 pivots about axis 142 when activated.
  • the keys 135 and 140 can be fabricated out of any convenient material such as plastic and can be molded in a manner well known to those skilled in the art. In some embodiments of the invention, the keys 135 and 140 may actually be hollow and provided with a light source interior thereof along with power supplying leads to the respective light sources as illustrated in Figures 11-13. The purpose of this light source will become apparent further in this description.
  • Figures 5 and 6 are a cross-section of the linear keyboard adapter when located in predetermined relation to a piano keyboard, particularly illustrating a key 135 of the adapter in relation to a corresponding key 35 of the piano keyboard, under circumstances in which the key 135 is at rest ( Figure 5) and actuated ( Figure 6).
  • the key 135 engages the upper surface of the piano key 35 along its lower white piano key engaging surface 136, and this length is substantially equal to the length 131 of the white piano key 35.
  • Figure'6 is similar to Figure 5 except that it illustrates that when key 135 is actuated or depressed, so is the corresponding white piano key 35.
  • Figures 5 and 6 are cross-sections, they do not illustrate the relation between the key 135 and the piano keys adjacent the key 35 which is illustrated; that relationship is shown in Figure 9, referred to hereinafter. It should be apparent, however, from Figures 5 and 6 that when key 135 is actuated or depressed, so is the corresponding key 35 of the piano keyboard and accordingly whatever sound or tone is produced by actuation of key 35 by the instrument of which the piano keyboard is a component, the same sound or tone will be produced when the adapter is positioned over the piano keyboard and the key 135 is actuated.
  • Figures 7 and 8 are cross-sections of the adapter and the corresponding piano keyboard over which the adapter is installed, particularly illustrating a typical key 140 in both its rest ( Figure 7) and actuated ( Figure 8) conditions.
  • FIG. 7 when the key 140 is in its rest position, the key engages a black piano key 40 over its lower black piano key engaging surface 146.
  • This surface has a length 141 which is equal to or less than the length 241 of the black piano key 40.
  • Figure 7 is a cross-section, it shows, in addition to a black piano key 40, an adjacent white piano key 35, since the latter has a length which is longer than the length of the black piano key 40.
  • Figure 9 is a top plan view of a portion of the adapter overlying a piano keyboard.
  • the keys 50, 51, 52, 53, 54, 55, 56 and 57 are each identical to the key 135 except that they overlie different white piano keys 35, and those are identified as 35-1 through 35-8.
  • Each of the keys 35 extends between a pair of adjacent dashed lines or between a dashed line and a solid line, the dashed line representing a hidden intersection between two white keys 35.
  • Each of the keys 61-66 corresponds to a key 140 which engages and is associated with a different one of the black keys 40-1 through 40-6.
  • Each of the black keys 40-1 through 40-6 is entirely hidden and is thus shown in dashed line representation.
  • Figure 9 should make it apparent that because the width of the keys 50-57 is less than the width of a white piano key 35, that when any of the keys 50-57 is depressed or actuated, the corresponding white piano key 35 (one of 35-1 through 35-8) is depressed or actuated, and no other white key 35 or black key 40 is actuated.
  • the engaged black key (one of 40-1 through 40-6) is engaged and depressed, but no other black key 40 nor white key 35 is engaged or depressed.
  • Figure 10 shows the different adapter keys 135 and 140 mounted on the frame 25. More particularly, the axes 132 and 142 of the keys are aligned and coincide with rail 15. Thus, when the adapter is mounted on a typical piano keyboard, the adapter keys simply rest on the piano keys. Other mounting arrangements are available to those skilled in the art.
  • the rail 15 can be eliminated in favor of a short peg in end element 10 and a recess in end element 20.
  • Each key has on one side a peg and on the other side a recess, the peg in end element 10 fits into the recess of the adjaent key and the peg of the key adjacent the end element fits into its recess. When assembled, the several pegs perform the function of rail 15.
  • Figures 11 and 12 illustrate a detail of preferred embodiments of the white corresponding keys (W) 435 and black corresponding keys (B) 440; in which each of these keys 435 and 440 are actually hollow translucent keys.
  • the key 435 includes an enclosed volume 335 including a light source such as typical low voltage bulb 336 coupled to power conductors 235.
  • the key 440 includes an enclosed volume 340 housing a light source or low voltage bulb 346 which is conductively connected to conductors 240 for the supply of electrical energy.
  • the conductors 235 or 240 are coupled to a switching network 500 which itself derives power from any convenient source and includes a transformer (if necessary) to reduce the typical 110 volt AC supply to a form suitable to the low voltage light sources 336 and 346.
  • the switching network 500 includes a series of switches 501 through 588, each different switch corresponding to a different key 435 or 440.
  • Each of the switches 501-588 includes two positions, on and off.
  • the operator can conveniently select those keys 435 or 440 to be illuminated by merely throwing the corresponding switch 501-588 to its on position, leaving the switches 501-588 corresponding to those keys which are not to be illuminated, in their off position. Accordingly, the operator can conveniently select certain of the keys of the adapter for illumination.
  • the switches 501-588 could be mounted in other locations, e.g. on the frame 25.
  • the front face 143 or 133 has a slot into which colored strips are inserted or withdrawn.
  • translucent or transparent adapter keys they take on the color of the insert.
  • the strips could, alternatively, be secured magnetically.
  • Permanent distinguishment is effected by molding bumps or ridges into the surface of selected keys, e.g. C. These bumps or ridges can be almost totally invisible but readily felt by the fingers.

Landscapes

  • Physics & Mathematics (AREA)
  • Engineering & Computer Science (AREA)
  • Acoustics & Sound (AREA)
  • Multimedia (AREA)
  • Electrophonic Musical Instruments (AREA)
EP83304793A 1982-08-18 1983-08-18 Clavier auxiliaire pour l'adaptation d'un clavier linéaire Withdrawn EP0101327A3 (fr)

Applications Claiming Priority (2)

Application Number Priority Date Filing Date Title
US40925082A 1982-08-18 1982-08-18
US409250 1982-08-18

Publications (2)

Publication Number Publication Date
EP0101327A2 true EP0101327A2 (fr) 1984-02-22
EP0101327A3 EP0101327A3 (fr) 1984-12-27

Family

ID=23619707

Family Applications (2)

Application Number Title Priority Date Filing Date
EP19830902791 Withdrawn EP0116620A1 (fr) 1982-08-18 1983-08-17 Adapteur pour clavier lineaire
EP83304793A Withdrawn EP0101327A3 (fr) 1982-08-18 1983-08-18 Clavier auxiliaire pour l'adaptation d'un clavier linéaire

Family Applications Before (1)

Application Number Title Priority Date Filing Date
EP19830902791 Withdrawn EP0116620A1 (fr) 1982-08-18 1983-08-17 Adapteur pour clavier lineaire

Country Status (2)

Country Link
EP (2) EP0116620A1 (fr)
WO (1) WO1984000810A1 (fr)

Families Citing this family (1)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
ES2115516B1 (es) * 1996-01-18 1999-02-16 Urbano Baldomero Rojo Mejo9ras introducidas en teclados musicales.

Family Cites Families (9)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
FR759037A (fr) * 1932-08-01 1934-01-27 Dispositif pour l'enseignement de la musique
US2627777A (en) * 1949-11-03 1953-02-10 Robbins John Piano keyboard
US3022698A (en) * 1957-03-07 1962-02-27 James W Lucas Uniform piano keyboard
US3392620A (en) * 1966-06-30 1968-07-16 Willis H. Thompson Jr. Uniform keyboard adapter
US3616723A (en) * 1969-08-15 1971-11-02 Cecil F Gullickson Music system with clips
US3731582A (en) * 1970-07-14 1973-05-08 C Gullickson Sight and sound teaching aid for keyboard instruments
US3717065A (en) * 1971-09-02 1973-02-20 Jasper Electronics Mfg Corp Key indicating device
FR2188898A5 (fr) * 1972-06-06 1974-01-18 Le Potvin Miche
AU533606B2 (en) * 1979-03-30 1983-12-01 Anstis, Dorothy Isobel Keyboard with note indication

Also Published As

Publication number Publication date
EP0116620A1 (fr) 1984-08-29
WO1984000810A1 (fr) 1984-03-01
EP0101327A3 (fr) 1984-12-27

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Owner name: ALLEN, MARIA ROSA

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Effective date: 19850828