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WO1987000952A1 - Appareil et methode pour l'enseignement de la musique - Google Patents

Appareil et methode pour l'enseignement de la musique Download PDF

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Publication number
WO1987000952A1
WO1987000952A1 PCT/US1985/001507 US8501507W WO8700952A1 WO 1987000952 A1 WO1987000952 A1 WO 1987000952A1 US 8501507 W US8501507 W US 8501507W WO 8700952 A1 WO8700952 A1 WO 8700952A1
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WO
WIPO (PCT)
Prior art keywords
marker
tone
keyboard
chromatic
semi
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.)
Ceased
Application number
PCT/US1985/001507
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English (en)
Inventor
John Robert Beattie
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.)
Individual
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
Priority to EP19850904189 priority Critical patent/EP0227665A4/fr
Priority to PCT/US1985/001507 priority patent/WO1987000952A1/fr
Priority to JP60503673A priority patent/JPS63500475A/ja
Publication of WO1987000952A1 publication Critical patent/WO1987000952A1/fr
Anticipated expiration legal-status Critical
Ceased legal-status Critical Current

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Classifications

    • G—PHYSICS
    • G09—EDUCATION; CRYPTOGRAPHY; DISPLAY; ADVERTISING; SEALS
    • G09B—EDUCATIONAL OR DEMONSTRATION APPLIANCES; APPLIANCES FOR TEACHING, OR COMMUNICATING WITH, THE BLIND, DEAF OR MUTE; MODELS; PLANETARIA; GLOBES; MAPS; DIAGRAMS
    • G09B15/00—Teaching music
    • G09B15/02—Boards or like means for providing an indication of notes

Definitions

  • 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.
  • 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).
  • the sharp is designated by the symbol “#” while the flat is designated by the symbol ", ".
  • 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.
  • 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 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 ⁇ quizzes 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.
  • pitches such as D# and E.
  • 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.
  • Prior Art The Twelve Tone Approach
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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 dictate that only one hierarchy be selected, preferably the 0 through 11 hierarchy.
  • 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 semi ⁇ tone 11 and to separate semi-tone 11 from the succeeding semi-tone 0.
  • 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.
  • a plurality of such markers may be placed in end-to-end relation ⁇ ship to identify as many octaves as may be desired.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • the marker may be of sufficient width, without separate tabs, to permit inclusion of these letter designations.
  • the markers for the fretted string instruments are different for each fret.
  • 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.
  • the marker 40c adjacent the second fret contains the designations 6, 11, 4, 9, 1 and 6.
  • 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.
  • 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.
  • the chromatic scale beginning with middle C is shown by the note heads 78 and note stems 76.
  • 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.
  • 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.-
  • the letter names for the notes of the chromatic scale are shown below each note head 78 in Figs. 4a and 4b.
  • 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.
  • 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) .
  • 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.
  • the minor chord 84 occupies the space below the staff plus the first two spaces while, as shown in Fig.
  • 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.
  • 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.
  • 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.
  • the invention provides temporary support while the student is learning to coordinate the keyboard or fretboard with the music.

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  • Engineering & Computer Science (AREA)
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  • Business, Economics & Management (AREA)
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  • Educational Technology (AREA)
  • General Physics & Mathematics (AREA)
  • Theoretical Computer Science (AREA)
  • Auxiliary Devices For Music (AREA)

Abstract

Appareil et méthode pour enseigner l'écriture et la production de musique sur des instruments à clavier ou à cordes (28) munis de touches et touchettes (30). L'appareil comporte un marqueur (14) ou une série de marqueurs adaptés à une utilisation sur les touches (10-12) ou sur les touchettes (30) de l'instrument. Sur le marqueur figure un numéro (20) représentant les semi-tons chromatiques correspondant à chaque touche de l'instrument à clavier ou à la position appropriée sur les touchettes, ce numéro étant attribué selon la hauteur du son de chaque touche ou la position sur les touchettes. Sur le marqueur est également visualisé, correspondant aux touches appropriées (10) du clavier ou positions sur les touchettes, la désignation sous forme de lettres (18) de la gamme diatonique d'ut majeur. La méthode, adaptée à une utilisation en combinaison avec l'appareil, consiste à superposer les numéros représentant les semi-tons chromatiques affectés sur les têtes des notes diatoniques d'une partition musicale, et à utiliser le marqueur pour établir une corrélation entre le clavier ou série de touchettes et la partition musicale, ce qui permet à l'utilisateur de lire la partition musicale, et de la jouer sur le clavier ou touchettes, avec plus de facilité et de précision.
PCT/US1985/001507 1985-08-08 1985-08-08 Appareil et methode pour l'enseignement de la musique Ceased WO1987000952A1 (fr)

Priority Applications (3)

Application Number Priority Date Filing Date Title
EP19850904189 EP0227665A4 (fr) 1985-08-08 1985-08-08 Appareil et methode pour l'enseignement de la musique.
PCT/US1985/001507 WO1987000952A1 (fr) 1985-08-08 1985-08-08 Appareil et methode pour l'enseignement de la musique
JP60503673A JPS63500475A (ja) 1985-08-08 1985-08-08 鍵盤または弦楽器の為の楽譜教育用並びに楽譜読み用の装置と方法

Applications Claiming Priority (1)

Application Number Priority Date Filing Date Title
PCT/US1985/001507 WO1987000952A1 (fr) 1985-08-08 1985-08-08 Appareil et methode pour l'enseignement de la musique

Publications (1)

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WO1987000952A1 true WO1987000952A1 (fr) 1987-02-12

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EP (1) EP0227665A4 (fr)
JP (1) JPS63500475A (fr)
WO (1) WO1987000952A1 (fr)

Cited By (1)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US20230306868A1 (en) * 2020-09-16 2023-09-28 Joseph Bourke A note playing guide template for a musical keyboard

Citations (7)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US357168A (en) * 1887-02-08 Musical instrument
GB189504854A (en) * 1895-03-07 1896-01-11 Henry Harker Nicholls Improvements in or appertaining to Violins, Violincellos, Guitars, and like Stringed Musical Instruments.
GB189720391A (en) * 1897-09-04 1898-02-05 Charles Curtis Guilford An Improved System of Musical Notation.
US656917A (en) * 1899-07-11 1900-08-28 William Wicht Finger-guide for musical instruments.
US1293997A (en) * 1915-12-15 1919-02-11 Alfred H Von Bornstedt Indicator for piano-keyboards.
US1725844A (en) * 1925-09-04 1929-08-27 Barnes Irving Musical-instruction device
US3978756A (en) * 1975-08-25 1976-09-07 Hi-Tech Industries, Incorporated Guitar instruction system

Patent Citations (7)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US357168A (en) * 1887-02-08 Musical instrument
GB189504854A (en) * 1895-03-07 1896-01-11 Henry Harker Nicholls Improvements in or appertaining to Violins, Violincellos, Guitars, and like Stringed Musical Instruments.
GB189720391A (en) * 1897-09-04 1898-02-05 Charles Curtis Guilford An Improved System of Musical Notation.
US656917A (en) * 1899-07-11 1900-08-28 William Wicht Finger-guide for musical instruments.
US1293997A (en) * 1915-12-15 1919-02-11 Alfred H Von Bornstedt Indicator for piano-keyboards.
US1725844A (en) * 1925-09-04 1929-08-27 Barnes Irving Musical-instruction device
US3978756A (en) * 1975-08-25 1976-09-07 Hi-Tech Industries, Incorporated Guitar instruction system

Non-Patent Citations (1)

* Cited by examiner, † Cited by third party
Title
See also references of EP0227665A4 *

Cited By (2)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US20230306868A1 (en) * 2020-09-16 2023-09-28 Joseph Bourke A note playing guide template for a musical keyboard
US12217618B2 (en) * 2020-09-16 2025-02-04 Joseph Bourke Note playing guide template for a musical keyboard

Also Published As

Publication number Publication date
EP0227665A1 (fr) 1987-07-08
JPS63500475A (ja) 1988-02-18
EP0227665A4 (fr) 1987-11-23

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