WO1987000952A1

WO1987000952A1 - Music teaching apparatus and method

Info

Publication number: WO1987000952A1
Application number: PCT/US1985/001507
Authority: WO
Inventors: John Robert Beattie
Original assignee: Individual
Current assignee: Individual
Priority date: 1985-08-08
Filing date: 1985-08-08
Publication date: 1987-02-12
Anticipated expiration: 1988-02-08
Also published as: EP0227665A1; JPS63500475A; EP0227665A4

Abstract

An apparatus and method for teaching writing and performing on keyboard instruments or stringed instruments (28) having fretted fingerboards (30). The apparatus includes a marker (14) or a series of markers adapted for use on the keyboard (10-12) or fretboard (30) of the instrument. Displayed upon the marker in register with each key (10-12) of the keyboard instrument or location on the fretboard of the stringed instrument is a chromatic semi-tone number (20) assigned to the pitch sounded by each key or fretboard location. Also displayed upon the marker, in register with appropriate keys (10) on the keyboard or locations on the fretboard, is the letter designation (18) of the C-major diatonic scale. The method, adapted for use in combination with the apparatus, comprises superimposing the assigned chromatic semi-tone numbers on the traditional diatonic note heads of a musical score, and utilizing the marker to correlate the keyboard or fretboard with the musical score, thereby enabling the user to read the musical score, and perform it upon the keyboard or fretboard, more easily and accurately.

Description

MUSIC TEACHING APPARATUS AND METHOD

Background of the Invention

1. Field of the Invention

This invention relates to an apparatus and method for teaching and reading music for keyboard instruments such as the piano or organ or stringed instruments such as the guitar, ukulele, or banjo, having a fretted fingerboard.

2. Discussion of the Prior Art

Since the Middle Ages, Western music has been based upon the diatonic major scale which contains seven pitches, the eighth pitch having twice the frequency of the first pitch. The first and eighth tones or pitches are commonly known as an octave. Many years ago the tones of the major dia¬ tonic scale were given names, i.e., do, re, mi, fa, sol, la, ti, and do. These tones have come to be known as the seven "scale degrees" of the major diatonic scale (the eighth tone being considered in this context merely a repetition of the first). By an evolutionary process the major diatonic scale has come to sound "right" to the Western ear though its intervals are neither equal nor rational — the inter¬ vals between "do" and "re," between "re" and "mi," between "fa" and "sol," between "sol" and "la," and between "la" and "ti" being a full step while the intervals between "mi" and "fa" and between "ti" and "do" constitute a half step. Because of this combi¬ nation of full and half step intervals, five addi¬ tional pitches are required to produce the remaining major diatonic scales. These pitches are the half steps between the full step intervals. With the provision of the five extra pitches, a chromatic scale of twelve tones resulted and, since about the time of J. S. Bach, this chromatic scale has been "tempered," so that each half. step interval is equal.

When "do" is the pitch designated by "C" so as to produce the key of C major, then the dia¬ tonic major scale comprises the pitches C, D, E, F, G, A, B and C and the additional five pitches to complete the chromatic scale are C sharp (or its "enharmonic equivalent!' D flat), D sharp (or E flat)^', F sharp (or G flat), G sharp (or A flat) and A sharp (or B flat). Conventionally, the sharp is designated by the symbol "#" while the flat is designated by the symbol ", ". Sharps and flats collectively are known as "accidentals." On the piano and organ as they have evolved up to the present time, the seven C major diatonic pitches C through B are represented by the white keys of the keyboard, while the five additional pitches are represented by the black keys. Unfortunately, the resulting white-and-black pattern is an asymmetrical one: white-black-white-black- white-white-black-white-black-white-black-white, that is to say, seven white keys punctuated by a group of two black keys and then another group of three black keys. This apparently uneven pattern can be a source of distress for students of music, who may feel intuitively that the pattern should be visibly sym¬ metrical. Also, the white-and-black arrangement seems to imply unequal status between the two types of keys. The white keys occur in smooth continuity, one next to the other, all the way up and down the keyboard, and extending all the way to the front of the keyboard — thereby seeming to enjoy primary status. The black keys, on the other hand, occur in discontinuous bunches of twos and threes, not in contact with one another, sandwiched among the white keys, fewer in number than the white keys, and shunted back away from the front of the keyboard — thereby appearing relegated to secondary status. In studying the keyboard and music in general, many students form the impression that the black keys, along with the pitches they represent, are problem-makers since they disrupt the apparent continuity and symmetry that would occur if they were absent. The system of pitch names reinforces this impression: for example, the black key which occurs between the two white keys D and E does not have its own unique name but instead has at least two different "hand-me-down" names both of which are borrowed from the adjacent white keys: D sharp (a "raised version of D") or E flat (a "lowered version of E" ) . Small wonder, then, that beginning students may develop a distaste for playing on the black keys and for dealing with the sharps and flats they represent.

The problem of a seven-tone structure having to accommodate twelve tones is carried over into the conventional notation system as it has evolved up to the present, wherein pitches are represented as round or oval spots positioned with respect to a series of five horizontal lines known as the staff, accompanied by a clef (usually the treble or bass), and a key signature for each of the twelve major and minor keys. This system is well adapted for representing the diatonic relationships in music. As one ascends the scale in the do-re-mi- fa-sol-la-ti(-do) sequence, the note heads fall evenly on alternating lines and spaces, just as a pianist wishing to play the scale of C major is able to do so entirely on the white keys. However, the notation performs more awkwardly when it comes to representing the equally important chromatic relationships in music. Since the twelve tones of the chromatic scale are not divided evenly among the seven tones of the diatonic scale, the^'chromatic scale as it is repre¬ sented on the staff has an asymmetrical pattern which, like the "uneven" arrangement of the white and black keys on the keyboard, can be perplexing to some students.

The modern notation system, like the modern keyboard, has many advantages and is not likely to be replaced in its entirety, but accommodation of all twelve pitches of the chromatic scale in the fundamentally diatonic structure of the staff intro¬ duces visual incongruities which have made this notation difficult, if not impossible, for some students- to read. These incongruities result from the fact that a given position on the staff may represent more than one pitch, e.g., a note head - positioned on a line or space so as' to represent "D" can also represent "D sharp" or "D flat", as deter¬ mined either by the key signature or by an accidental appearing locally. Moreover, the fact that certain pitches, such as D# and E. , have two names and two positions on the staff, though they sound the same, is difficult for some students to comprehend despite the fact that there are legitimate and necessary reasons musically for this practice.

The problems noted above have long plagued the student of music and a number of purported solu¬ tions have been suggested. These suggestions fre¬ quently involve the use of a numbering system for the keyboard, for the written notation, or for a combination thereof, which -may fall broadly into one of two classes: (a) a system following the diatonic seven tone scale or (b) a system following the chromatic twelve step semi-tone scale.

(a) Prior Art: The Seven Tone Approach

Typical of the seven tone approach is Clements-Kropp U.S. patent 429,841 which offers a music notation system wherein the note symbols are replaced by numbers the width of which are propor¬ tional to time together with sub- or super-script symbols to indicate the appropriate octave.

Walsh U.S. patent 1,947,686 discloses another seven tone approach for a notation system wherein the number of the note is written above the standard representation of the note. Two difficul¬ ties are immediately apparent with this system: (1) accidentals, i.e., sharps and flats, must be written out and (2) the note number may be confused with fingering notations. Such fingering notations are commonly involved in sheet music intended for use by students.

Hertz U.S. patent 3,707,897, for a keyboard marker, is another variation on the seven tone approach. Each note of the seven tone diatonic scale on the keyboard is given a separate number with the inter¬ vening semi-tones designated by a "+." Offset from the first series of numbers by one octave each on the keyboard are second and third series of numbers.

Cromleigh U.S. patent 3,741,066 discloses yet another seven tone approach, for a keyboard marking pattern wherein the keys C, E, and G in every octave are colored to give them a distinctive appearance, corresponding to a notation of three- lined staves with sharps and flats indicated by a triangular notehead having the apex directed respectively upwardly or downwardly. (b) Prior Art: The Twelve Tone Approach

The .twelve tone•approach appears in a series of patents including von Wedelstaedt U.S. patent 370,750 which discloses a notation system wherein each semi-tone is given a number or symbol and an apparatus is provided for transcribing standard music into the new notation. See also Guilford U.S. patent 608,771 which discloses a twelve tone notation system with octaves designated by ro an numerals and punctu¬ ation marks to denote timing.

Wencil U.S. patent 3,185,015 discloses still another variation of the twelve'tone approach for a marker-notation combination wherein each note of the keyboard is assigned a discrete number, 1 through 84. The numbers, when written in columnar form, become the sheet music. Transposition is accomplished by moving the marker, which is a long numbered strip, up or down the keyboard.

See also Glenn U.S. patent'3,331,271 which suggests a "six-six" approach, a variant of the twelve-tone approach wherein alternating semi-tones are placed in two sets: in the first set C, D, E, F*/G_b, G*/A_b, A*/-.^; and in the second set C^#/D_b, D /E. . F, G, A and B. An identifying means for the conventional keyboard provides it with a structural correlation to a notation of pitch incorporating the six-six concept: keys corresponding to one set of six semi-tones are colored white whereas keys corre¬ sponding to the other set of six semi-tones are colored black.

Although many of the .above patents disclose schemes designed to change substantially the appearance of the keyboard or the notation or both, it is apparent that none of them has found any significant acceptance and that none of them has solved completely the problem derived from the need to accommodate both a twelve tone chromatic scale and a seven tone diatonic scale. Summary of the Invention

The principal object of the present inven¬ tion is to provide.a merger of the seven tone and the twelve tone approaches permitting a synthesis and mutual reinforcement of the advantages inherent in each approach.

More specifically an object of the present invention is to provide an apparatus and method for teaching, writing and performing music that will enable individuals who have difficulty in relating the keyboard or fretboard of a musical instrument to musical notation to do so more easily and accurately. It is a corollary object of the present invention to maintain the characterizing features of the esta¬ blished keyboard, fretboard, and notation system so that persons competent in traditional approaches may use the present invention without difficulty. Finally, it is an object of the present invention to provide students with sufficient experience to enable them ultimately to perform music and to read music inde¬ pendently of the special apparatus and features of the present invention.

These objects are accomplished by assigning semi-tone numbers to the chromatic scale with all octaves bearing-the same number, while at the same time retaining the traditional letter names C, D, E, F, G, A and B for the diatonic scale. Preferably the numbers 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 and 11 are assigned respectively to the pitches C . C /D, , D,D^#/E_b, E, F, F^#/G_b, G, G^#/A_b, A, A* ^ and B. These numbers are chosen because they make it clear that C is the reference point. The numbers 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12 could be used for the same pitches respectively, but are less desirable because the 12 would have the same function as a 0 — just as 12 on a civilian clock corresponds to 0 on a military clock—making it seem as though B were the reference point. A specially designed marker is then provided for the keyboard of a keyboard instru¬ ment or the fretboard of a stringed instrument, exhibiting both the twelve semi-tone numbers and the seven scale-degree letters corresponding to the respective pitches on the instrument. The marker thereby gives expression to both the chromatic twelve pitch and the diatonic seven pitch structure of music as they relate to the keyboard and fretboard. The marker is used in combination with a method of display for the written music wherein the assigned chromatic semi-tone numbers appear superimposed upon the tradi¬ tional diatonic note heads. In this fashion the written music coordinates with the marker in that both exhibit the twelve pitch and the seven pitch structures simultaneously.

Description of the Drawings

Further objects -and advantages of the invention will become apparent from the following detailed description of the invention and the accompanying drawings in which:

Fig. 1 depicts a portion of the keyboard of a keyboard instrument showing the emplacement thereon of a keyboard marker for ^"one octave containing semi-tone numbers and corresponding letter note names formed in accordance with the present invention.

Fig. 2 depicts an extended portion of the keyboard of a keyboard instrument showing the emplace¬ ment thereon of keyboard markers containing semi-tone numbers and corresponding letter note names formed in accordance with the present invention and covering a plurality of octaves.

Fig. 3a depicts a portion of the fretboard of a stringed instrument showing the emplacement thereon of fretboard markers containing appropriate semi-tone numbers and corresponding letter note names in accordance with the present invention.

Fig. 3b shows an alternative form of a fretboard marker located on a stringed instrument.

Figs. 4a and 4b are two enharmonically equivalent chromatic semi-tone scales covering a complete octave commencing and terminating with the pitch "C" displayed as they appear in the method of display for the written music to be used in combination with the markers shown in Figures 1-3.

Fig. 5 is a diatonic scale in the key of C-major as it appears in the method of display in accordance with the present invention.

Figs. 6a and 6b are two enharmonically equivalent chords expressed respectively in the keys of D# minor and E_b minor as they appear in the method of display in accordance with the present invention.

Figs. 6c and 6d are two enharmonically equivalent chords expressed respectively in the keys of D# minor and E_b minor as they appear in a seven tone numerical system typical of the prior art..

Fig. 7 is a fragment of a version of the National Anthem displayed in accordance with the present invention.

Detailed Description of the Invention

The difficulties experienced by many students attempting to learn to play keyboard instruments or stringed instruments having fretboards such as the guitar, ukelele, or banjo, etc. include not only the problems of coordinating finger action but also problems in comprehending the meaning of standard musical notation and relating that meaning to the keyboard or fretboard of the musical instru¬ ment. The problems experienced by students in com¬ prehending musical notation arise in part because ^' the notation seeks to convey a large quantity and variety of objective and subjective information with a limited number of analog symbols. Superimposed upon this problem is the fundamental asymmetry between the twelve pitch chromatic scale and the seven pitch diatonic scale. Thus when analog con¬ cepts, such as note symbols placed on staves, are used to describe the pitches which are to be sounded, the appearance of the analog symbols is not entirely consistent with the appearance of the keyboard or fretboard. In accordance with the principles of the present invention these problems are ameliorated by provision of markers for the instrument which exhibit chromatic semi-tone enumeration along with traditional diatonic scale-degree nomenclature, combined with superimposition of the chromatic semi-tone enumeration upon the traditional diatonic note heads of the written music. These features ensure that the user will be aware of both the chromatic and the diatonic relation¬ ships simultaneously — instead-of perceiving only one set of relationships to the exclusion of the other — and that the appearance of the keyboard or fretboard via the markers will be directly related to the appearance of the written music, which is not the case when only analog symbols are used.

Fig. 1 shows one octave of the standard keyboard commonly employed for pianos or organs and having, for each octave, seven white keys 10 adapted to sound the C-major diatonic scale and five black keys 12 adapted to sound the remaining five pitches of the chromatic scale. In accordance with the present invention, a marker 14 is provided having a vertical body portion 16 the length of which is equal to one octave and is adapted to pass behind the upstanding portions of the black keys 12 and lie above the white keys 10. Horizontal tabs 18 extend forward from the lower edge of the body portion 16 of the marker 14 and lie on the white keys 10. Each tab 18 is marked with the letter designation, C, D, E, F, G, A or B, of the white key 10 upon which it lies. The body portion 16 of the marker 14 is divided into vertical sections 20 corresponding to each of the twelve keys on the keyboard, each of which sections displays the chromatic semi-tone number of the corresponding key, i.e., 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 and 11.

Through these features the marker — combining with the method of display of the music as will be described below — accommodates both the seven tone and the twelve tone approaches to music, while keeping them structurally separate in that the twelve numbers appear vertically while the seven letters appear horizontally. The twelve consecutive numbers imply equal status among all keys on the keyboard, white and black, as is proper when music is regarded from the standpoint of its' twelve pitch chromatic -structure, whereas the seven consecutive letters imply equal status only among the white keys of the keyboard, as is proper when music is regarded from the standpoint of its seven pitch diatonic structure. The fact that the seven letters appear on tabs lying horizontally, physically upon the white keys, provides a structural reinforcement for their white-key-only association, in contrast to the white-and-black-key association of the vertical numbers.

As stated earlier, it is preferable to let the numbers 0 through 11 correspond respectively to the letter note designations C,C*/D, , D, D*/E_b, E, F,F*/G_b, G,G*/A_b, A, A^#/B_b and B. In this hierarchy, the numbers describe the number of half-steps above the reference point and emphasize the twelve step character of the chromatic scale. It would be possible, of course, to use the far less desirable hierarchy 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12 on the marker so long as the same hierarchy was employed for the display of the music. The obvious benefits of standardization, however, dictate that only one hierarchy be selected, preferably the 0 through 11 hierarchy. It is also preferable for purposes of improved legibility to provide contrasting colors or shades e.g., black and white, for the verti¬ cal sections 20 so as to distinguish more clearly the black keys 12 from the white keys 10. In this event, a line 22 is provided between semi-tones 4 and 5 and lines 24, 26 are provided at the left and right ends respectively of the marker 14 to separate . semi-tone 0 from the preceding semiτtone 11 and to separate semi-tone 11 from the succeeding semi-tone 0. As shown in Fig. 1, it is desirable to locate the designations for semi-tones 1, 3, 6, 8 and 10 vertically above the designations for semi-tones 0, 2, 4, 5, 7, 9 and 11 as this still further reinforces the correlation between the semi-tone number and the keyboard.

The marker 14 may be formed from cardboard, plastic material or other flexible material, and need not be fastened permanently to the musical instrument. However, if desired, the body portion 16 of the marker 14 may be provided with a contact adhesive so that it may be adhered to the instrument. Of course, the marker can also be fastened to the instrument by common fasteners, e.g., nails or screws.

It will be understood that while the marker of Fig. 1 spans a single octave, a plurality of such markers may be placed in end-to-end relation¬ ship to identify as many octaves as may be desired. In this regard, it will be appreciated that the number of keys on the keyboard of a musical instru¬ ment may vary from as few as twenty-one for small portable organs to sixty for standard organs to eighty-eight for standard pianos. Generally, it is unnecessary to identify the keys at each extremity of the keyboard so that four or five markers 14 of the type illustrated in Fig. 1 are sufficient. The use of four such markers is shown in Fig. 2. If desired, two or more markers 14 may be fastened together or formed integrally as a marker spanning several octaves. Though in the usual instance the markers will be centered on middle C, they also may be offset. On shortened keyboards it is apparent that the markers necessarily will be offset from middle C.

Fig. 3a shows a portion of a stringed instrument 28 having a fretboard 30, six tuning keys 32 and six strings 34. Each string passes over and contacts the nut 36 which establishes the open or free length of the string. The precise pitch of the.string in its open or free vibrating mode is- determined by the Character of the string and the tension induced by the tuning key 32. The frets 38 are mounted in the fretboard 30 underneath and trans¬ verse to the strings 34. The frets 38 are positioned so that when the string is held against successive frets the length of the string is shortened so as to raise its pitch by a semi-tone or half step. Fig. 3a specifically represents a guitar having six strings which, conventionally, are tuned in ascending order to the open-string pitches E, A, D, G, B and E. In accordance with the present invention, a series of markers 40a, 40b, 40c, etc. is provided, each having a body portion 42 and one or more tabs 44. The body portion 42 has a length sufficient to span the six strings and is provided on its rear surface with a contact adhesive so that the marker may be adhered to the fretboard 30. Aligned with each of the strings is a designation of the semi-tone number of the pitch the string will sound when it contacts the nut or fret adjacent to the marker. The tabs 44 will be provided with the traditional letter names C, D, E, F, G, A and B where these occur. Alternatively, the marker may be of sufficient width, without separate tabs, to permit inclusion of these letter designations.

In contradistinction to the markers of Fig. 1 which are all alike and include, from left to right, the semi-tone hierarchy 0, 1, 2, 3 etc., the markers for the fretted string instruments are different for each fret. Thus, as shown in Fig. 3a, the marker 40a adjacent the nut contains the semi-tone desig¬ nations 4, 9, 2, 7, 11 and 4 corresponding to the standard tuning of the guitar. The marker 40b adjacent the first fret contains the designations 5, 10, 3, 8, 0 and 5 since use of the first fret raises the pitch of each string by a semi-tone. Similarly, the marker 40c adjacent the second fret contains the designations 6, 11, 4, 9, 1 and 6. Although markers may be provided for all frets, this is generally - unnecessary as frets beyond the seventh or eighth fret are infrequently used, particularly by students.

In lieu of special markers covering all six strings, it will be appreciated that individual markers 46, 48, 50, 52, 54, 56 for each string and semi-tone location may be provided, as suggested by Fig. 3b.

From the foregoing it will be apparent that the markers shown in Figs. 3a and 3b may be applied to other stringed instruments having fret- boards and varying numbers of strings, including ukeleles, banjos and mandolins.

Figures 4a and 4b show two enharmonically equivalent chromatic twelve-tone scales as they appear in the method of display for the written music to be used in combination with the markers shown in Figures 1-3. Thus, the staff 58 comprises five lines 60, 62, 64, 66 and 68 and, in this case, the staff is indicated to be a treble clef by the treble or G-clef sign 70 so that the lines 60, 62, 64, 66 and 68 respectively define the pitches E, G, B, D and F in the middle octave wherein middle C is designated by the first leger line 71 below the staff 58. In Fig. 4a, the chromatic scale beginning with middle C is shown by the note heads 78 and note stems 76. In Fig. 4a sharps 72 are used to denote the semi-tones of the chromatic scale which do not form a part of the C major diatonic scale. In Fig. 4b flats 74 are used to denote these same semi-tones. It will be noted that the staff 58, clef sign 70, sharps and flats 72 and 74 and notes 76, 78 are displayed in gray or half-tone so as to permit maximum contrast with the black semi-tone numbers which are superimposed upon the note heads 78. The semi-tone numbers 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 and 11 are assigned respectively to the chromatic scale notes C,C^#/D_b, D, D^#/E_b, E, F,D /G_b, G, G^#/A_b, A, A /B, and B.- For clarity, the letter names for the notes of the chromatic scale are shown below each note head 78 in Figs. 4a and 4b.

Although the chromatic sequence illustrated in Figs. 4a and 4b is absolutely uniform, the line formed by the note heads 78 is irregular or choppy due to the insertion of the five semi-tones into the diatonic scale — just as the smooth continuity of the white keys on a keyboard is interrupted by the asymmetrical pattern of the black keys.

This anomaly, however, is ameliorated by the numbers 0, 1, 2, 3, etc., as assigned in the present invention, which indicate clearly — both on the keyboard marker and in the method of display — that there is the uniform interval of a half step between each pair of adjacent notes. Reference to Figs. 4a and 4b reveals that the notes D#, 73 and E_b, 75, for example, look entirely different from each other and have separate and distinct signs and names. This is, of course, a source of confusion, particularly to a novice musician, but the confusion is minimized according to the present method of display since both notes carry the same chromatic semi-tone number, 3. While the use of the chromatic semi-tone number facilitates identification of the pitch with the correct key or fret of the musical instrument, the theoretical difference between the two notes is maintained. This concept may be expressed by the statement that while the tones are chromatically the same, they are diatonically different. The diatonic difference is significant to a student analyzing the harmonic structure of a composition, but the chromatic identity is sig¬ nificant to a student who simply wishes to play the correct note on the keyboard or fretboard.

Fig. 5 illustrates a diatonic sequence or scale in the key of C major as depicted on a treble clef like that used for Figs. 4a and 4b. In accordance with the present method of display the chromatic semi-tone numbers are superimposed upon the note heads 78. From these numbers the whole-step and half-step relationships within the diatonic scale become apparent while the scale itself is smooth, consistent with the aural impression of the diatonic scale. It is believed that repeated observation of the chromatic semi-tone number with the note head at the various possible locations on the staff and use of the enharmonic notation will enable the student eventually to recognize the note and play it correctly even when the semi-tone designation is omitted.

Figs. 6a through 6d further illustrate the above points by a comparison of the method of display in accordance with the present invention (Figs. 6a and 6b) with a prior approach using numbers to repre¬ sent a diatonic scale (Figs. 6c and 6d) . In these figures the comparison is made between a D# minor chord (Figs. 6a -and 6c) and an E_fe minor chord (Figs. 6b and 6d) which comprise chromatically identical pitches. The key signature 80 for the key of D# minor includes six sharps while the key signature 82 for the key of E_b minor includes six flats. As shown by Fig. 6a, the minor chord 84 occupies the space below the staff plus the first two spaces while, as shown in Fig.^' 6b the enharmonic E_b minor chord 86 occupies the first three lines of the staff. This visual difference, however, is minimized by the use of the chromatic semi-tone numbers 3, 6 and 10 which are the same for both chords. This simple approach contrasts with prior- art suggestions such as are contained in U.S. patents 1,947,686 (Walsh) and 3,707,897 (Hertz). The notation suggested by U.S. patent 1,947,686..,. wherein C, D, E, F, G, A and B are designated by the numerals 1, 2, 3, 4, 5, 6 and 7 respectively, is represented in Figs. 6c and 6d by the D# minor chord 88 and the E, minor chord 90 which may be compared respectively with the chords 84 and 86 in Figs. 6a and 6b. First, it is noted that the key signature and the location of the notes on the staff are the same. However, because of the diatonic numbering system and the concomitant need for accidental signs the notation is complicated rather than simplified. Moreover, by comparing Figs. 6c and 6d which are enharmonically identical, it may be observed that the same pitch is identified by completely different nomenclature. Finally, the numbers and signs preceding the note might well confuse a competent musician who did not require assistance in order to read and to play the music.

Fig. 7, in which the top staff 58 is identified by the treble or G-clef 70 while the lower staff 92 is identified by the bass or F-clef 94, illustrates how the first phrase of the National Anthem appears in the method of display in accordance with the present invention. To help distinguish hollow note heads, which are conventionally used to designate half notes and whole notes, from solid note heads, which are conventionally used for quarter notes, eighth notes, etc., contrasting numerals are used, e.g., bold face roman for the solid note heads 96 and light face italic for the hollow note heads 98.

It may now be appreciated that the present invention provides a bridging means by which the anomalies and asymmetries inherent in the musical tonality to which we are accustomed may be minimized and the difficulties experienced by some students in relating the keyboard or fretboard of a musical instrument to musical notation may be overcome. Thus, the invention provides temporary support while the student is learning to coordinate the keyboard or fretboard with the music.

The terms and expressions which have been employed are used as terms of description and not of limitation and there is no intention in the use of such terms and expressions of excluding any equiva¬ lents of the features shown and described or portions thereof, but it is recognized that various modifi¬ cations are possible within the scope of the invention.

Claims

What is claimed is:

1. A marker adapted for use in a method for reading and playing music on a keyboard instrument having a standard keyboard, said marker comprising a body portion formed from a thin material and adapted to rest vertically behind the black keys and upon the white keys of said keyboard instrument, said body portion having displayed thereon in vertical register with each of said black keys and white keys a number corresponding to the chromatic semi-tone pitch sounded by each said black and white key, and tabs extending horizontally forward from the lower edge of said body portion and registering with each of said white keys, each of said horizontal tabs having displayed thereon the diatonic letter desig¬ nation C, D, E, F, G, A or B of the pitch sounded by the white key in register therewith, the said vertical series of chromatic semi-tone numbers juxtaposed with the said horizontal diatonic letter designations giving simultaneous expression to the chromatic semi¬ tone structure of the keyboard and of music and to the diatonic scale-degree structure of the keyboard and of music, said marker adapted to be used in com¬ bination with a method of display for written music which likewise exhibits chromatic and diatonic structure simultaneously through superimposition of the chromatic semi-tone numbers upon the traditional diatonic note heads.

2. A keyboard marker combined with a method of display for written music as described in claim 1 wherein the chromatic semi-tone numbers 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 and 11 correspond respectively to the pitches C, C A-k. - D, D*/E_b, E, F, F^#/G_b, G, G^#/A_b, A, A^#/B_b and B.

3. A keyboard marker combined with a method of display for written music as described in claim 1 wherein the chromatic semi-tone numbers 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12 correspond respectively to the pitches C, C /D_b, D, D*/E_b, E, F, F^#/G_b, G, G^#/A_b, A, A*^ and B.

4. A keyboard marker combined with a method of display for written music as described in claims 1, 2 or 3 wherein the portion of said marker body in register with each said black key is colored to contrast with the portion of said marker body which is in register with each said white key.

5. A keyboard marker combined with a method of display for written music as described in claims 1, 2 or 3 wherein the chromatic semi-tone designations on said marker corresponding to- said black keys are displaced upwardly from the chromatic semi-tone designations corresponding to said white keys.

6. A keyboard marker combined with a method of display for written music as described in claims'1, 2 or 3 wherein the portion of said marker body in register with each said black key is colored to contrast with the portion of said marker body which is in register with each said white- key, and the chromatic semi-tone designations on said marker corresponding to said black keys are displaced upwardly from the chromatic semi-tone designations corresponding to said white keys.

7. A marker adapted for use in a method for reading and playing music on a-musical instrument having a standard keyboard or fretboard, said marker having a body portion formed from thin material and registered with said keyboard or said fretboard, said body portion of said marker having displayed thereon in register with the keys of said keyboard or the frets of said fretboard a chromatic semi-tone number corresponding to the pitch sounded by said instrument when controlled by said key or fret, said body portion having extending therefrom at least one tab portion for each chromatic pitch which is also a pitch of the C-major diatonic scale, said tab portion having displayed thereon the letter name of said pitch of the C-major diatonic scale, whereby the chromatic semi-tone scale as exhibited on said marker is juxtaposed to the C-major diatonic scale as exhibited on said marker to correlate said chromatic semi-tone scale and said C-major diatonic scale, said marker adapted to be used in combination with a method of display for written music wherein the chromatic semi-tone numbers are superimposed upon the tradi¬ tional diatonic note heads.

8. A set of markers adapted for use in a method for reading and playing music on a stringed instrument having a fretboard and a plurality of strings, each of said markers having a body portion formed from thin material and adapted to be affixed to said fretboard adjacent a location on .each of .. said strings corresponding to a chromatic pitch •which is the free or open pitch of each said string or one of a multiple of semi-tones higher than the free or open pitch of each said string, said body portion of said markers having displayed thereon in register with each said string a chromatic semi-tone number corresponding to the pitch sounded by said string when depressed against the said fretboard adjacent the location of said marker, said body portion having extending therefrom at least one tab portion for each chromatic pitch which is also a pitch of the C-major diatonic scale, said tab portion having displayed thereon the letter name of said pitch of the C-major diatonic scale, whereby the chromatic semi-tone scale as exhibited on said markers is juxtaposed to the C-major diatonic scale as exhibited on said markers to correlate said chromatic semi-tone scale and said C-major diatonic scale, said markers adapted to be used in combination with a method of display for written music wherein the chromatic semi-tone numbers are superimposed upon the traditional diatonic note heads.

9. A fretboard marker combined with a method of display for written music as described in claim 8 wherein the chromatic semi-tone numbers 0,

1, 2, 3, 4, 5, 6, 7, 8, 9, 10 and 11 correspond respectively to the pitches C, C /D_b, D,D /E_b, E, F, F^#/G_b, G, G^#/A_b, A, A*/-^ and B.

10. A fretboard marker combined with a method of display for written music as described in claim 8 wherein the chromatic semi-tone numbers 1,

2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12 correspond respectively to the pitches C, C /O, _t D, D /E_b, E, F, F^#/G_b, G, G^#/A_b, A, A*^ and B.

11. A set of fretboard markers combined with a method of display for written music as described in claims 8,.9 or 10 wherein the body portion of each -said .marker has a length sufficient to span said plurality of strings.