EP2297726A1 - Dispositif et procédé de production d'un signal de note en fonction d'une entrée manuelle - Google Patents

Dispositif et procédé de production d'un signal de note en fonction d'une entrée manuelle

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Publication number
EP2297726A1
EP2297726A1 EP09761418A EP09761418A EP2297726A1 EP 2297726 A1 EP2297726 A1 EP 2297726A1 EP 09761418 A EP09761418 A EP 09761418A EP 09761418 A EP09761418 A EP 09761418A EP 2297726 A1 EP2297726 A1 EP 2297726A1
Authority
EP
European Patent Office
Prior art keywords
tone
points
axis
frequency
point
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.)
Granted
Application number
EP09761418A
Other languages
German (de)
English (en)
Other versions
EP2297726B1 (fr
Inventor
Gabriel Gatzche
Markus Mehnert
David Gatzsche
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.)
Technische Universitaet Ilmenau
Fraunhofer Gesellschaft zur Foerderung der Angewandten Forschung eV
Original Assignee
Technische Universitaet Ilmenau
Fraunhofer Gesellschaft zur Foerderung der Angewandten Forschung eV
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Filing date
Publication date
Application filed by Technische Universitaet Ilmenau, Fraunhofer Gesellschaft zur Foerderung der Angewandten Forschung eV filed Critical Technische Universitaet Ilmenau
Publication of EP2297726A1 publication Critical patent/EP2297726A1/fr
Application granted granted Critical
Publication of EP2297726B1 publication Critical patent/EP2297726B1/fr
Not-in-force legal-status Critical Current
Anticipated expiration legal-status Critical

Links

Classifications

    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/0008—Associated control or indicating means
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/36—Accompaniment arrangements
    • G10H1/38—Chord
    • G10H1/383—Chord detection and/or recognition, e.g. for correction, or automatic bass generation
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/091—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith
    • G10H2220/096—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith using a touch screen
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/091—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith
    • G10H2220/101—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith for graphical creation, edition or control of musical data or parameters
    • G10H2220/106—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith for graphical creation, edition or control of musical data or parameters using icons, e.g. selecting, moving or linking icons, on-screen symbols, screen regions or segments representing musical elements or parameters
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/155—User input interfaces for electrophonic musical instruments
    • G10H2220/265—Key design details; Special characteristics of individual keys of a keyboard; Key-like musical input devices, e.g. finger sensors, pedals, potentiometers, selectors
    • G10H2220/275—Switching mechanism or sensor details of individual keys, e.g. details of key contacts, hall effect or piezoelectric sensors used for key position or movement sensing purposes; Mounting thereof
    • G10H2220/295—Switch matrix, e.g. contact array common to several keys, the actuated keys being identified by the rows and columns in contact

Definitions

  • Embodiments of the present invention relate to apparatus and methods for generating a note signal upon manual input, such as an electronic musical instrument.
  • the DE 10 2006 008 260 Al and WO 2007/096035 Al describe an apparatus and a method for analyzing an audio datum, in which an audio data of a Halbtonana ⁇ lyseseized is supplied to be analyzed with respect to a phonetic strength information distribution. Via a vector calculation device, a sum vector and an analysis signal based thereon are generated based on the volume information distribution via two-dimensional intermediate vectors.
  • DE 10 2006 008 298 A1 and WO 2007/096152 A1 relate to an apparatus and a method for generating a note signal, and to a device and a method for outputting a tone quality indicating output signal.
  • a device for generating a note signal such a signal is generated on the basis of an input angle or an input angle range input by the user.
  • the object of the present invention is to provide an apparatus and a method which enables a user of the same to generate a note signal in a simpler, faster and more intuitive way.
  • An embodiment of an apparatus for generating a note signal upon manual input includes an operator configured to allow a user thereof as an input to define one or more points as an input signal. It further comprises a control device configured to receive the input signal and to base a note signal on the input signal and an assignment function.
  • the assignment function assigns a single or no tone to each point of a two-dimensional definition set with an affine coordinate system having a pitch axis and a frequency axis, the definition set having a plurality of base points, each of the base points having exactly one tone assigned thereto a tone quality and a frequency or a pitch and a pitch information is uniquely determinable, and wherein each of the base points with a coordinate on the Tontechniksachse is associated with a tone having a Tonmaschine, all the other tones also having the base points associated with the same coordinate on the Tontechniksachse are.
  • a frequency such as a fundamental frequency
  • a tone may already be determined by the frequency.
  • each point of the definition set being no base point assigned either no sound or a tone associated with a base point, and if one Point, which is not a base point, and to which a tone is assigned, this sound belongs to a simply connected area of the definition set, in which there is also a base point and in which the same tone is assigned to all points.
  • Another embodiment of the present invention in the form of an apparatus for generating a note signal upon manual input comprises an operator configured to be a user of the same as an input to define an area with one or more points as an input signal. It further comprises a controller configured to receive the input signal and generate a note signal based on the input signal and a mapping function.
  • the mapping function assigns a single or no tone to each point of a two-dimensional definition set having a pitch axis and a frequency axis, the definition set having a plurality of base points, each of the base points having exactly one tone associated therewith, unique by a tone quality and a frequency is determinable.
  • Each of the base points with a coordinate on the tonal axis is assigned a tone with a tone quality that also includes all other tones that are assigned to base points with the same coordinate.
  • Each point of the definition set which is not a base point is assigned either no sound or a sound assigned to a base point, and if there is a point which is not a base point and to which a sound is assigned, that sound is a simply connected region of the sound
  • a definition set belongs, in which further lies a base point and in which the same tone is assigned to all points.
  • the operating device is in this case further designed to allow a user of the same, a surface as
  • Embodiments of the present invention is based on the finding that a simple and rapid input of consonant-sounding tones and an output of a corresponding note signal can be achieved by a user defining one or more points with respect to an assignment function, with the base points and optionally with further points in one affine coordinate system with regard to their tonality with respect to one axis and with respect to their frequency with respect to the other axis of the two-dimensional affine coordinate system.
  • the base points and, if appropriate, further points are assigned to tones according to this assignment given by an assignment function.
  • the affine plotting on the one hand and the separation in terms of tonality and frequency on the other hand allow the user to produce more efficiently and simply related tones and tone combinations.
  • embodiments of the present invention may allow similar or related tone combinations to be generated very quickly using this arrangement, which is a potential advantage.
  • affinities "octave resemblance” and “similarity in tone” ie a consideration of chords with common tonalities as related, come into play. Rather, other relationships can be specifically exploited.
  • the octave similarity is perhaps the most important and the most fundamental since this principle is used in the music of all cultures, e.g. also of classical Indian music, is anchored. As a result, it is possible, if appropriate, to produce consonant-sounding sound combinations very simply.
  • the degrees of relationship can be specified more precisely.
  • third-degree affinities, quint relationships eg by Illustration of the symmetry circle model or the third-circle model on the tonality axis or melodic affinities by mapping a diatonic or other tonicity ladders on the tonality axis.
  • the affine coordinate system is a Cartesian coordinate system.
  • the pitch between a tonality of a point associated with a base point and a tone quality of a tone of a nearest neighboring base point relative to the Tone axis is a prim, a minor third, a major third, a fourth, or a fifth.
  • the user may be able to select an area such that the point or points are determined by the area. This area can be done, for example, by inputting an excellent point of the area, a tone quality interval and a frequency interval, or by selecting two excellent points which are characteristic of the area concerned relative to the underlying coordinate system.
  • the user may be able to generate a toggle signal such that the mappings function is modified to obtain a modified mapping function.
  • the modified mapping function may have a first point to which the mapping function assigns the same tone as the modified mapping function and a second point to which the modified mapping function assigns a tone having a tone quality other than a tone quality A point with the same coordinate on the Tone axis is differentiated by the Tone associated with the assignment function.
  • the note signal may also include volume information regarding one or more tones. This may be done, for example, by assigning to one, a plurality, a plurality or all of the contiguous areas of the definition set, volume information for the points included in the area based on the coordinates of the points with respect to the pitch axis and the frequency axis and a single-tone volume function ,
  • the operator may allow a user to define a surface having a tone quality interval, wherein the tone quality interval is dependent on a lowest frequency of all points of the surface.
  • the tone quality interval can thus be reduced from a first value above a cutoff frequency to a second value below the cutoff frequency, the second value being smaller than the first value.
  • the operating device may be a key field with a two-dimensional grid of keys, each key being assigned a dot, so that either at least one tone or no sound is assigned to the keys via the mapping function.
  • the raster of keys can emulate the assignment function here.
  • each key of the keypad may be associated with either no sound, one tone or a plurality of tones in a pre-stored manner such that at least each key associated with a plurality of tones is associated with such tones in that the assignment function assigns a plurality of points over a contiguous area, the point associated with the key being part of the area in question.
  • the note signal may be assigned in a pre-stored manner, that is, for example, by a pre-calculation and a permanent, non-volatile or volatile storage of a corresponding key.
  • FIG. 1 For purposes of this case, the operator is configured to enable a user of the same to define a surface having a tone quality interval, wherein the tone interval depends on a smallest frequency of all points of the surface.
  • the Tontechniksintervall can in this case from a first value above a cutoff frequency on a second value below the cutoff frequency, the second value being less than the first value.
  • Coordinate systems on which the assignment function is based can also be used other than Cartesian or affine coordinate systems, for example polar coordinate systems or other coordinate systems based on angles.
  • Fig. 1 shows a block diagram of an embodiment of a device for generating a note signal in response to a manual input
  • Fig. 2 illustrates a mapping function according to an embodiment of the present invention
  • Fig. 3a shows another assignment function according to an embodiment of the present invention
  • FIG. 3b shows two different single tone volume functions according to embodiments of the present invention
  • FIG. 4a shows different areas with respect to an up to 4c allocation function according to an exemplary embodiment of the present invention
  • Fig. 6 illustrates such a displacement of the Alloc ⁇ recording function according to embodiments of the present invention
  • Fig. 7 illustrates, by way of further example, shifting the mapping function to obtain a modified mapping function
  • Fig. 8a illustrate a key change by means of a through 8c device according to an embodiment of the present invention
  • FIG. Figures 9a illustrate controls for changing the and 9b key of devices according to one embodiment of the present invention
  • Fig. 10a illustrates controls for increasing or and 10b decreasing pitches
  • Fig. IIa illustrate the alienation of minor and to lld major chords by means of an embodiment according to the present invention
  • Fig. 12a illustrates distortion of the tonal space defined by the to 12c mapping function according to embodiments of the present invention
  • FIG. 13a illustrates a reduction of a tone pitch and a tone interval of a selected area as a function of a lowest frequency according to embodiments of the present invention
  • FIG. 14a illustrates reducing the pitch interval according to another embodiment of the present invention
  • FIG. Fig. 14b illustrates selecting multiple areas by means of an apparatus according to an embodiment of the present invention
  • Fig. 15a shows a possible implementation of an embodiment to 15c according to the present invention in the case of a small device
  • Fig. 16 illustrates another embodiment of the present invention.
  • Fig. 17 shows another embodiment according to the present invention.
  • summary reference symbols are used for objects that occur multiple times within an exemplary embodiment or within a figure. Summary references may also be used for identical or similar elements, objects, and structures when features or characteristics thereof are generally described. However, exceptions are also possible here. Thus be Useful reference numbers are used when describing general features and properties of the structures, elements and objects concerned. Only when a particular component is designated, described, or described in terms of its function and / or features, for example associated with or coupled to another component, will the particular reference be preferred to the summary.
  • two objects which are coupled to one another are to be understood as meaning those which are directly or indirectly directly connected to one another.
  • various objects, devices or components that are coupled to each other, directly or directly connected to each other via a wired connection or indirectly via a wired connection - such as a router, an exchange or other appropriate communication device.
  • the relevant components, structures and objects may also be coupled to one another optically or by radio link directly or indirectly.
  • the device 100 comprises an operating device 110, which is coupled to a control device 120.
  • the operating device 110 is now implemented so that it allows a user as an input to define one or more points and to transmit a corresponding input signal ES to the control device 120.
  • the operating device 110 for this purpose, for example, buttons, a Touch-sensitive surface, a touch screen, a joystick, a mouse, a trackball, a Lightpen, a knob (or switch) or other controls that allow interaction with the user of the device 100.
  • the control device 120 receives the input signal ES and, based on this input signal ES, generates a note signal NS, which can provide it at an optional output 130 of a subsequent component.
  • the note signal NS here is based not only on the input signal ES but additionally on an assignment function which assigns a single tone or no tone to each point of a two-dimensional definition set with a tone quality axis and a frequency axis.
  • control device 120 may include a corresponding memory in which, for the different values of the input signal ES, combinations of tones associated therewith are stored for the note signal NS. This can be done, for example, in the form of a table stored in the relevant memory. Depending on the precise implementation of the device 100, this may be a volatile, a non-volatile or a permanently programmed memory.
  • the optional output 130 may be various outputs that may be matched to the corresponding note signal NS.
  • the output 130 may be a corresponding connector for connecting a receiver of the MIDI signals.
  • synthesizer, sampler or other sound generator which are able to process MIDI signals and, where appropriate, produce corresponding tones as electrical, acoustic, optical or other signals.
  • OSC Open Sound Control
  • further proprietary or other standards for the transmission of the note signals can be used.
  • control device 120 for example, itself includes a corresponding sound generator in the form of a synthesizer, sampler or other sound generating device, it may be in the time domain home-based signal, so for example, a WAV signal or another in the note signal NS act corresponding audio signal.
  • the note signal NS can thus also be block-oriented with respect to temporal sections and / or coded and / or (pre-) processed, for example.
  • the control device 120 also includes an amplifier and / or one or more speakers
  • the note signal NS may also be acoustic oscillations which the user of the device 100 or his audience can hear directly.
  • the operating device 110 of the device 100 comprises a display device 140.
  • the display device 140 is in this case designed to perform at least one of the assignment function of the control device 120 within the scope of the definition set of the assignment function defined base points, the entered point or the entered points.
  • the display device 140 may be a screen, an LCD display, a field of light-emitting diodes, a field of optically selectable buttons or other optically distinguishable display elements.
  • the display device 140 thus comprises the actual imaging elements, whereas the control device also includes the touch-sensitive sensor elements and the associated circuit for determining one or more points based on the signals from the sensors. If the operating device 110 comprises individual keys or an entire keypad, each of which can be visually highlighted, for example, by illuminating them with one or more colors, then the display device 140 comprises the relevant lighting elements. These can be individual lamps, LED elements or other lighting elements.
  • the control device 120 generates the note signal NS on the one hand on the basis of the input signal ES and on the other hand on the basis of the assignment function.
  • the mapping function is defined by a two-dimensional definition set having a tone quality axis and a frequency axis or pitch information axis.
  • the assignment function assigns each point either a single or no sound.
  • the definition set here comprises a multiplicity of basis points, wherein each of the base points is assigned exactly one tone which can be unambiguously determined by a tone quality and a frequency.
  • a tone of frequency 440 Hz which by definition is the Chamber accent a (struck a or a 'acts) has the tonality a or a.
  • the frequency of 220 Hz which is the (uncoated) a, also has the pitch a or A.
  • the tone with the frequency 880 Hz, which is around the two level a (a ") is also the Tonig ⁇ a ness on.
  • a tone is therefore uniquely determined with respect to its frequency in the case of a pure tone (pure harmonic oscillation or wave) or via the frequency of its fundamental oscillation.
  • the indication of a pitch alone for a note is not unique. Rather, at least an indication of which octave the tone in question belongs to the tonality is missing here. This information is also referred to as octaving.
  • a tone can also be determined by its tonality and its octave.
  • the indication of the frequency and the indication of the octave are examples of pitch information.
  • tonality a or A there are 11 other tonalities originating from the chromatic scale, which are more specifically the tonalities c, c # / db, d, d #, eb, e, f, f # / gb, g , g # / ab, a # / bb and b.
  • the tonality a is sorted here between the two pitches g # / ab and a # / bb. It should be noted at this point that for the designation of pitches the English or American notation is used.
  • pitches may also be used that indicate corresponding kinship relationships between tones.
  • the assignment function is now set up in such a way that each of the base points with a coordinate on the tonality axis is assigned a tone with a tone quality that all other tones that are assigned to base points with the same coordinate also have.
  • all base points are assigned tones of the same tone quality having the same coordinate on the tone quality axis.
  • the assigned tones can therefore be one or more octaves apart, for example.
  • sounds may have a different interval than their respective pitches.
  • the notes c 'and e'' that is, the inserted c and the double-headed e, for example, have an interval of more than one octave. Due to the periodicity of the pitches with respect to the octave, however, the corresponding pitches c and e have a major third as an interval.
  • FIG. 2 shows a simplified representation of a mapping function of a device 100 according to an embodiment of the present invention. More specifically, Fig. 2 shows a schematic representation of a mapping function defined on the basis of a two-dimensional definition set determined by a Cartesian coordinate system. On a first axis 200, the pitches are displayed. The axis 200 is therefore the tonality axis 200 already explained above. In the representation selected in FIG. 2, this is the y-axis of the coordinate system. Of course, other mapping functions may also be the x-axis.
  • the assignment of the pitch qualities to a geometric position, that is to corresponding coordinates of the tonality axis, can hereby follow physical laws or other arrangements that are perceived as pleasant. However, this is far from a mandatory feature. Rather, the designer of such a tone space can in principle arrange any desired tonality at any point on the tone quality axis 200. Also, such an arrangement need not be unique. Instead, a tonality can be arranged several times on the tone quality axis 200.
  • the coordinate system on which the definition set is based also has a second axis 210 on which the tones are arranged. For this reason, this is also referred to as tone axis or frequency axis. In some embodiments, this axis may also be a pitch information axis on which a pitch is plotted.
  • the individual frequencies or tones can be arranged in an order corresponding to the pitch. Although such an arrangement may certainly prove to be very useful in some fields of application, any other tone selections, sequences and arrangements are conceivable and realizable in view of the desired application.
  • an arrangement of the relevant tones can also be performed on the frequency axis 210 such that they are arranged, for example, in descending order or in any order.
  • the distances that is to say the scaling of the frequency axis
  • an arbitrary arrangement of the frequencies or the tones is also possible. As the further description will show, not only linear or logarithmic arrangements of the frequencies and tones are possible, but also others.
  • FIG. 2 is a simplified representation of a mapping function, or the tone space defined by the mapping function.
  • FIG. 2 shows only a single tone quality which, starting from a fundamental frequency f, corresponds to the frequencies f, 2f, At 1 8f,.
  • this tone quality is plotted twice on the tone quality axis 200 at a first position 220-2 and a second position 220-2. These places are also called tone quality lines.
  • a second step is to determine the geometric positions of the (real) tones.
  • the frequencies corresponding to tones belonging to the two tone quality lines 220-1, 220-2 are determined for each of the two tone quality lines 220-1, 220-2.
  • the tone frequencies belonging to the pitches and their tone quality lines 220 are determined.
  • the frequency or tone axis 210 may thus be arranged, for example, linear, logarithmic or in some other deviating manner. It may also be advisable in many cases to arrange frequencies at least in an ordered manner, so that positions of three increasing frequencies on the frequency axis 210 are likewise arranged in rising or falling direction. However, it is not necessary for the individual frequencies to be based on a ratio or a difference of the underlying frequency values with regard to their distance from one another. It should be noted, however, that it may be advisable in embodiments of the present invention to deviate from this order. It is therefore not a mandatory feature.
  • a frequency line 230-1 is first drawn on the frequency axis 210 parallel to the tone quality axis 200 for the fundamental frequency f itself.
  • a further frequency line 230-2 is correspondingly drawn.
  • a corresponding tone line 240 Based on the frequency lines 230, that is to say the sound frequencies 230-1 to 230-4 thus found, these are indicated by a corresponding tone line 240, provided that the associated frequencies have frequencies of the corresponding tone quality lines. correspond to 220. Since with every change of the octave a doubling of the frequency of the relevant tone is involved, these are therefore the frequencies f, 2f, 4f, 8f, etc. Accordingly, of the frequency lines 230 drawn in FIG. 2, there are also three tone lines 240 -1, 240-2, 240-3, which correspond to the pitches assigned by tonicity lines 220.
  • the frequency line 230-1 thus corresponds to the tone line 240-1, the frequency line 230-2 to the tone line 240-2 and the frequency line 230-4 to the tone line 240-3. Only the frequency line 230-3, which corresponds to three times the fundamental frequency 3f, does not represent a tone line for the tone quality. This corresponds rather to a quint with respect to the tone line 240-2 (frequency 2f).
  • the basic tones of the definition set of the assignment function or its geometric position thus results as the intersection of the respective tonality lines 220 and the associated tone lines 240.
  • six base points 250 are drawn, each at the intersections of the tonality lines 220 with the tone lines 240 are arranged, which in turn reproduce frequencies belonging to this tone quality. More specifically, in Fig. 2, for example, a base point 250-1 at the interface of the tone quality line 220-1 and the tone line 240-1, and a second base point 250-2 at an intersection of the tone quality line 220-2 and the tone line 240-1 are designated.
  • embodiments of the present invention in the form of a device 100 based on a mapping function, as shown for example in FIG. 2, thus enables pitches and tones to be bound together, e.g. For example, by increasing or decreasing a tone, it is also possible to correspondingly increase or decrease all tones dependent thereon. For example, if one arranges the tones on the tone axis 210 in an order corresponding to the pitch and places an arbitrarily shaped selection area on the tone axis Thus created tonal space, this provides the ability to automatically form by a shift of this area along the sound axis 210, the reversals of the chord so selected.
  • the last effect has a particularly positive effect if, for example, the underlying tonal space is transformed into another key. In this case, very cheap and good-sounding chord combinations are formed automatically.
  • r ai ⁇ i + a 2 e 2 (1) to be discribed.
  • the two unit vectors ⁇ i and ⁇ 2 are constant for all points of the coordinate system.
  • the Cartesian coordinate system differs from the affine one in that, in the case of the Cartesian coordinate system, the two unit vectors are perpendicular to one another. This boundary condition is not necessary in the case of the affine coordinate system, so that the two unit vectors can, for example, also form a "skewed" coordinate system with angles of less than or more than 90 °.
  • the directions of the unit vectors and, if necessary, their length change in the case of a polar coordinate system.
  • one of the two unit vectors points radially away from the origin of the coordinate system, while the second unit vector, while perpendicular to the first in many cases may vary in length as a function of the distance of that point from the origin.
  • the lengths of the unit vectors ⁇ i and ⁇ 2 may not be constant.
  • the arrangement of the individual pitches on the tonality axis 200 in addition to a chromatic or diatonic arrangement, there is also an arrangement according to the circle of fifths, a symmetry circle arrangement (according to the symmetry circle model) or a third circle arrangement (according to the third-circle model).
  • the arrangement of the pitches is C - G - D - A - E - B - Gb / F #.
  • This arrangement corresponds to half the circle of fifths of the major keys in increasing the number of tally marks or crosses (#). Starting from C major (unsigned) increases so the number of crosses to Gb / F # -Dur on six crosses.
  • the so-called third circle model is based on a varying order of the pitch classes in major and minor thirds. This results in a combination of notes with adjacent pitches major or minor chords. Accordingly, major or minor chords alternately result according to the following listing of the pitches. For this reason, the respective pitches are marked with large or small letters and labels.
  • the associated tonality lines 220 can be arranged on the tone quality axis 200, for example according to one of the aforementioned tone sequence.
  • tone quality sequences such as a quartar arrangement or another arrangement, can also be used here.
  • these can be implemented equidistantly or else with a different spacing.
  • the system - depending on the specific implementation - can take into account the following properties.
  • psychoacoustic fundamentals of the "octave similarity" can be taken into account, and tones can also be arranged in such a way that Quintparallels are avoided by shifting a selection function in the form of a surface over the tonal space and possible “favorable chord connections" are formed.
  • embodiments may also be implemented such that inversions of arbitrary chords may be generated by simple geometric motions.
  • shifting such a selection surface it is possible to generate "favorable" chord connections as much as possible, ie two chords generated by shifting the selection surface occupy comparatively closely adjacent frequency ranges on the corresponding axis
  • a device according to an embodiment of the present invention may operate on the basis of arbitrary sound systems.
  • the flexibility afforded by the mapping function allows for a single tone to be incremented on a single tone.
  • FIG. 3a illustrates another assignment function based on an affine coordinate system.
  • the assignment function of FIG. 3a is based on a coordinate system in which the unit vectors on which they are based do not make a right angle.
  • Figure 3a shows a first unit vector 260 representing the direction and unit of the pitch axis 200, also designated T in Figure 3a.
  • the frequency axis 210 is in this case by a second unit vector 270 in terms of direction and Scaling set. Both unit vectors 260, 270 are not perpendicular to each other.
  • the tones c 'to e "of the diatonic C major scale are plotted equidistantly in the assignment function shown in FIG. 3a. It is precisely this plot of the frequency axis 210 that shows that both the tones with respect to the frequency axis 210 and, analogously, the pitches on the tone quality axis 200 can be arbitrarily spaced and arranged as desired. In particular, with regard to the frequency axis 210, no linear or logarithmic plot is absolutely necessary.
  • the distance between the tones e 'and f on the frequency axis 210 is identical to that of the tones c' and d ', although the pitch or the interval between the two latter sounds is a large second and that between the first two sounds one small second is.
  • Tonmaschinesachse 200 starting from Tonmaschine C according to the circle of fifths, a Tonmaschinesab merge also applied equidistant. This results in the previously mentioned sequence of tonality C - G - D - A - E - B.
  • tone lines 240 and tone quality lines 220 are corresponding tone lines 240 and tone quality lines 220, for better illustration only the tonality line of the tone quality D and the tone line of the tone d 'are designated as such. The others are shifted accordingly parallel.
  • the base points 250 are in turn arranged on the associated section lines of tone quality line 220 and tone line 240. Again, to simplify the illustration, only the base point 250 is provided with a reference numeral which is arranged at the intersection point of the tonality line for the tone quality D and the tone d '.
  • Figure 3a further illustrates that even non-base points 250 can be assigned tones. Thus, all base points 250 drawn as black dots of the definition set shown in FIG.
  • each point of the definition set which is not a base point is either not assigned a sound or assigned a sound assigned to a base point.
  • a point which is not a base point 250 and to which a tone is assigned belongs to the single-connected area 280, in which the base point 250 lies, which lies on the cut line tone line for the tone e "and the tonality line E of the tone quality.
  • the point 290 is assigned the tone e "with the tonality E.
  • there is exactly one base point 250 in each such simply contiguous area there is exactly one base point 250 in each such simply contiguous area.
  • there is exactly one base point 250 in each such simply contiguous area are only base points associated with the same tone quality and tone.
  • FIG. 3 a illustrates that possibly different base points 250 can also be assigned differently shaped or otherwise differing simply connected regions 280, 280 '.
  • the tones c '' and d '' are each optionally assigned a deviating singly contiguous region 280 ', which are very close to one another on a direct connecting line of the two base points 250, but overlap with respect to no point.
  • This variant of simply connected regions 280 ' illustrates that Points of the definition set may well also be assigned to tones which do not "match" their coordinate with respect to the tonal axis 200.
  • the intersection of the tone line of the tone c "with the tonicity G, where there is no base point 250 is due to its position within however, this is not inconsistent with the previous definition of the mapping function.
  • this note signal NS may also comprise volume information relating to one or more tones.
  • volume information relating to one or more tones.
  • 3b thus shows two possible single-tone volume functions 300, 300 ', which also assigns volume information I to a point r from a base point 250 to each point within the corresponding contiguous area 280 in addition to the tone.
  • weighting information it is also possible to assign weighting information to the selection area at each point. The actual total volume information then results from the product of the weighting information with the volume function associated with the corresponding point of the definition set.
  • the single tone volume information 300 is a rectangular function.
  • a size of the related simply related Areas 280 may thus be determined, for example, by an extension of the single-tone volume function 300.
  • a user may optionally switch on or off such a volume information distribution, freely define a plurality of corresponding selections or even one or more.
  • a delta or Dirac single tone volume function 300 or a punctual single tone volume function 300 may thus correspond to a "turn off" of the same.
  • simply contiguous regions 280 may be defined.
  • Such a simply connected region 280 " is shown in FIG. 3 a for the base point 250 assigned to the tone g '.
  • effective volume information for the relevant tone can be obtained by summation over all relevant selected points, by averaging, by maximum value determination or by a other appropriate calculation can be determined.
  • FIG. 4a shows a further illustration of an assignment function based on a two-dimensional Cartesian coordinate system. Also in this case, not all tone lines 240, tonality lines 220 and base points 250 are marked with corresponding reference numerals. More specifically, only the tonality line 220 associated with the tone quality b and the tone b 'tone line 240 are indicated.
  • the pitches are arranged on the pitch axis 200 for the diatonic C major scale according to the symmetry circle model. On the tone or frequency axis 210, the tones of the C major scale are frequency arranged in ascending order.
  • the plot on the frequency axis 210 is essentially logarithmic.
  • the geometric distances do not correspond to the real pitches, since half and whole tone steps have the same distance.
  • any other arrangement that is to say in particular a non-ordered arrangement, can likewise be implemented here.
  • the tonalities of the C major scale are also arranged on the pitch axis 200, but in the order of the symmetry circle model.
  • the tonality d which represents the symmetry tone of the C major scale, is twice present accordingly.
  • the associated tone quality lines 220 represent the beginning and the end of the tone quality set shown in FIG. 4a.
  • the circles represent the base points 250 of the assignment function, ie the real geometric pitch-space positions of the tones arranged on the sound axis 210. These in turn result from the intersections of the associated tone quality lines 220 and tone lines 240.
  • the operating device is designed to enable the user of the same to pass one or more points in the form of the input reference to the control device 120.
  • a direct selection of the relevant points for example by pressing keys, is as well as a transfer of multiple points in the form of Definiti ⁇ on a surface possible.
  • Such an area is also referred to as selection area, selection area or selection function.
  • the input signal thus includes information relating to all or outstanding points which lie within the relevant area.
  • a rectangular selection function or surface 310 has been defined and selected, which designates the chord C major in the first inversion (e '- g' - c '').
  • the control unit 120 precisely expands those sounds optionally by corresponding volume information as a note signal.
  • Fig. 4b shows the same assignment function, but in which, compared to the representation shown in Fig. 4a, the surface 310 has been displaced along the sound axis 210 to obtain the surface 310 '.
  • the next reversal of the previously defined chord is thereby automatically generated. More precisely, this is the second reversal of the C major chord with the notes g '- c' - e "
  • FIG. 4 c also shows the previously described assignment function, in which the selection area 310 'from FIG. 4 b has been moved in the direction of the tone quality axis 200. From the chord C major in the second inversion (g '- c''-e''), the nearest and most favorable A minor chord in the basic position was automatically generated (a' - c '' - e ''). ). The principle of the favorable chord connection automatically results for other tone spaces, for example, which also contain dissonant or very stress-loaded tone combinations. As illustrated by the representation of the different areas 310 in FIGS.
  • the arrangement of the tones over the base points 250 in an affine or Cartesian coordinate system results in a considerable simplification and improvement of the Playability of a musical instrument with a corresponding operating device 110.
  • Such an improvement can be realized, for example, in connection with touch-sensitive (touch-surface) based input media.
  • Tone intervals and frequency intervals or tone intervals thus become boundaries of a rectangular or an isosceles trapezoidal selection area 310.
  • a reference tonality for the current key which is also called scale, to the middle of the definition set on which the assignment function is based.
  • this is the fundamental tone or the fundamental tone C of the C major key.
  • the symmetry tones or symmetry frequencies d and D limit the illustrated set of definitions here.
  • the pitches can be distributed in any other arrangements on the Tonmaschinesachse.
  • the exact position of the base points 250 results as already described on the basis of the intersections of tone lines 240 and tone quality lines 220.
  • the two axes can be reversed.
  • the x-axis and the y-axis can be interchanged so that the tone axis or the frequency axis is used as the y-axis and the tone quality axis as the x-axis.
  • reflections can also be used here.
  • FIGS. 4a to 4c As the illustration of FIGS. 4a to 4c have shown, inversions, octave variation and transformations between different sounds are easily realizable for the user of a device 100 according to an exemplary embodiment of the present invention. Octave or tonal sounds are very easy to produce.
  • tone pitch compensation function it is also possible to optionally implement a tone pitch compensation function.
  • the spacing of the tones can thus be arranged on the surface of the operating device 110, provided that it has a display device 130, according to real interval intervals. However, it may be convenient "in the heat of battle", while playing, to have two adjacent notes or pitches equally spaced on the surface of the instrument, making the notes more accessible.
  • the next interval represents a major third.
  • the second tone does not "fall" into the previously defined selection area, so the second tone will not be overlined by the previously defined selection area, which can be very problematic in the game.
  • the entire tonal space is "rebuilt", so that the reference tone of the new key, so for example, the fundamental or Sym- metric tone of the relevant key, is positioned at the corresponding reference position on the touch surface, ie the center of the corresponding axes. Accordingly, all other tones and pitches can be repositioned with respect to this reference tone.
  • Such a relative change of key can be caused, for example, by the user by actuating corresponding control elements, which leads to a storage of the corresponding numerical value in the relative key memory.
  • the resulting key can then - as stated - be determined from the sum between the absolute and relative key.
  • the corresponding operating elements are therefore assigned relative key numerical values.
  • this can be done, for example, by implementing 13 controls, each of which represents one of the keys from Gb major (-6) to F # major (+6).
  • the order of the controls corresponds, for example, to the quint order of the circle of fifths.
  • Two adjacent controls represent two keys in the fifth-pitch. Even a chromatic order can basically be implemented problem-free. In this case, two adjacent controls would correspond to a key change, with the corresponding base tones arranged in semitone spacing.
  • a modulo 12 summation may be used as the basis for determining the target key from relative key and absolute key.
  • a linear arrangement in the form of 13 controls such as buttons or other buttons to which the numerical values ⁇ 6, ..., 0, ..., +6 are assigned, are possible.
  • Such an arrangement is shown in Fig. 5a, in which each key represents a key between Gb major and F # major.
  • Fig. 5a thus shows a key change operating device 320 with the previously designated 13 control surfaces 330 - (- 6), ..., 330-0, ... 330 - (+ 6).
  • FIG. 5 b shows a further embodiment of key change operating devices 320, in which a total of 14 operating surfaces 330 are arranged in two rows of seven.
  • the key in fifths increases according to the circle of fifths.
  • the respective key falls in fifths accordingly. Both rows start at the current key, so the two panels 330-0 and 330 '-0 correspond to the current key.
  • the key change operating devices 320 shown in FIGS. 5a and 5b can also be implemented in corresponding inverted variants and geometrically different arrangements.
  • the operating elements 330 can also be arranged semicircular or based on an ellipse or a section of an ellipse.
  • a curved, double-row arrangement can optionally also be implemented here.
  • Fig. 6 is again an assignment function with a Plurality of tonality lines 220 and tone lines 240, for the sake of clarity only the tonality line C and the tone line c are designated by reference numerals. At its intersection lies the base point 250 to which the corresponding tone C is assigned.
  • the pitch axis 200 which is not explicitly shown in FIG. 6, is arranged according to the third-circle model.
  • the frequency axis or sound axis 210 which is likewise not explicitly shown as such in FIG. 6, comprises the tones c - g '.
  • the definition set of the assignment function here has a raster with a plurality of raster lines parallel to the tone quality axis, ie a plurality of tone lines 240, and a plurality of raster lines parallel to the frequency axis or tone axis, ie a plurality of tone quality lines 220.
  • the base points are arranged at the intersections of the grid lines.
  • the grid is designed with respect to the Tontechniksachse and with respect to the frequency axis equidistant.
  • the definition set is such that the grid between the grid lines with respect to the Tontechniksachse, with respect to the frequency axis or with respect to the Tontechniksachse and the frequency axis has regular intervals.
  • a change to a new key is carried out in such a way that the symmetry tone of the new key on the user interface is positioned exactly in the same place as the symmetry tone of the old key -Tur- key to the Eb major key, so in the place of the former C major chord in the case of a corresponding selection then sounds an Eb major chord.
  • the initial position is represented by the surface 310.
  • the area 310 in this case extends in such a way that the tones C - e - G are selected on the basis of their corresponding base points 250.
  • the area 310 thus illustrates the situation that a C major chord based on the original key C major is selected.
  • the change of the key in the different variants is further explained on the basis of FIG. 6, the consequences of the change being represented by a displacement of the surface 310.
  • This representation has been chosen for better illustration only.
  • the surface 310 remains inherently defined by the operating device 110. Instead, there is no shift in the area 310, but rather a shift in the assignment function or the definition quantity on which it is based.
  • the displacement of the surface 310 described below can thus equivalently be understood as a displacement in the opposite direction by the same length of the assignment function or the definition quantity on which it is based.
  • the tonal space underlying the assignment function is manipulated in such a way that the symmetry tone or the symmetry tone of the key Eb major the place where the symmetry in question or the symmetry of the key in question was in C major.
  • the tone space can often only be shifted in the direction of the tone quality axis, so that the symmet-
  • the reverberation of the new key takes the place of the symmetry of the old key.
  • the positions of the symmetry tones can not be changed. This is done to avoid unfavorable quinto parallels.
  • the selection area can be made so large that it encloses three tones in each case. With a shift of Tonmaschines- and frequency axis so from c '- e' - g 'a triad eb' - g '- bb' result. In the case of a shift of the pitch axis alone, c '- e' - g 'can become b - eb' - g '.
  • this corresponds to a displacement of the surface 310 by a vector 340-1, so that the surface 310 is transferred into the surface 310 '.
  • this corresponds precisely to a shift of the assignment function or its underlying definition quantity in the opposite direction by the same amount.
  • the vector 340-1 would also point vertically downwards, but the tonalities Eb, g and Bb would be included.
  • the assignment function can thus be shifted both with regard to the pitch axis 200 and the pitch axis 210.
  • the assignment function is shifted along the tone axis 210 in accordance with the interval between the fundamental tones of the relevant scales.
  • the assignment function is shifted so that the tonality of the root of the new key comes to rest in place of the original tonality of the root of the original key.
  • the assignment function is shifted in such a way that the fundamental tone of the new key comes to rest at the point of the fundamental of the original key.
  • FIG. 6 also shows, Thus, by transition of surface 310 into surface 310 ', the chord Eb-major now sounds.
  • this corresponds to a displacement of the surface 310 by a second vector 340-2, so that the surface 310 merges into the surface 310 ".
  • the assignment function or its underlying definition quantity is thus again shifted in the opposite direction by the same amount.
  • the shift takes place in this case only along the Tonmaschinesachse 200, so that the assignment function at the point at which previously the Tonmaschinesline C was, now more the Tontechniksline c, ie the corresponding minor tonality line of the third circle model.
  • the underlying definition quantity may also only be shifted along the tonicity axis. It does not include the tonalities c - Eb - g but the tonalities Eb - g - Bb.
  • the operating device 110 is designed to allow the user to generate a corresponding switching signal.
  • the controller 120 in this case is able to receive the switching signal and to modify the mapping function so as to obtain a modified mapping function.
  • a modified assignment function is obtained as a modified assignment function with respect to the tone quality axis, the frequency axis or the tone quality axis and the frequency axis.
  • the foregoing embodiments may also be implemented in the case of an absolute key change.
  • By pressing appropriate controls can be written in the absolute key memory in this case, a certain key.
  • the controls are assigned to corresponding absolute key numerical values.
  • the absolute key change differs from the relative only in terms of the choice of source key. In the case of the absolute key change this is fixed, while in the case the relative key change this refers to the preceding gen key.
  • the device 100 comprises, for example, a display device 140
  • the entire tonal space that is to say the entire assignment function with its underlying definition quantity on the display surface or the surface of the display device 140.
  • the tonal space can be moved anywhere under the viewing window using conventional document scrolling techniques. For example, scrollbars or moving with a virtualized hand come into consideration, to name only two possible examples.
  • FIG. 7 shows a Cartesian mapping of the third circle model, which theoretically extends beyond the edges of the image indefinitely.
  • FIG. 7 also shows a viewing window 350-1 which describes the section of the tonal space which is mapped onto the input area via the display device 140.
  • the viewing window 350-1 in the context of the underlying tone space, defines the mapping function and its definition set.
  • a face or selection area 310-1 which describes a portion of the currently displayed tone space on the basis of which the note signal is generated by the device being played.
  • the area 310-1 corresponds to a C major chord.
  • a key change can now be performed by shifting the viewing window 350-1.
  • a key change is thus possible by a shift of thewaszan Schemes, in which the viewing window 350-1 passes into a modified viewing window 350-2, which corresponds to the situation shown in Fig. 7 of the key E major.
  • a new assignment function is thus again defined on the basis of the underlying tone space, namely the modified assignment function.
  • here again is a vector 340, which merges the underlying viewing windows 350 into each other.
  • a further selection surface or surface 310-2 is shown, which was moved relative to the respective viewing window 350-1, 350-2 parallel with.
  • the played chord will also change according to the underlying key.
  • the C major chord of the area 310-1 thus merges into an E major chord of the area 310-2.
  • a tonal space based on the key-related symmetry circle model and not repeating at the ends may be less suitable.
  • a tone space according to the third circle model or the circle of fifths has an arrangement of the pitches which ensures the corresponding periodicity. In this case, by correspondingly moving a viewing window 350, all the keys can be selected.
  • one advantage of such an embodiment of the present invention is that such a transmission of the definition of the mapping function over viewing windows 350 enables the use of known document scrolling techniques and zooming techniques on the tonal space.
  • the sound space can be scaled to give good playability depending on the input object.
  • the number of octaves along the horizontal direction (x direction) or the associated frequency range and the number of pitches in the - vertical direction (y direction) can be freely configured and scaled. For example, a configuration is possible, so that adjacent tones or octaves have the distance of a finger width.
  • the sound space can thus be adapted and configured on the surface of such a device to the size of the player's hand. If instead of a finger, however, a pen-like object is used, which typically has a smaller contact surface, correspondingly more pitches and tones can be reproduced on the user interface.
  • the viewing window 350 has not only been shifted so that a new key comes into the picture, but the viewing window has also been shifted in a horizontal dimension, which means an octave shift of the tonal space.
  • embodiments of the present invention may optionally allow chords to be played out of other keys quickly. Thereby, it is possible to consider different types of music theory.
  • an operating device 110 with a display device 140 is shown in FIG. 8 a.
  • the mapping function according to the symmetry circle model for the key C major is reproduced.
  • the operating device has a first row of control surfaces 330-0 to 330- (+6).
  • the operating device 110 has a second row of corresponding operating surfaces 330 '-0 to 330- (-6) which, together with the operating surfaces 330, a key change device 320 already described in connection with FIGS. 5a and 5b forms.
  • the operating device 110 furthermore has four operating surfaces 360 for each tone quality line 220 (not shown as such in FIG. 8a) reproduced on the display device 140.
  • a control surface 360 "-3" of the tonality G and a control surface 360 "+ 3 ⁇ of the tonality e are designated as such
  • the control surfaces 360 on the left and right of the display 140 form a tone change operator, whose functionality is described in connection with FIG. IIa to Hd is explained in more detail.
  • a surface 310 is shown that corresponds to a C major chord played by the device 100.
  • Fig. 8b shows the situation in which, starting from the situation shown in Fig. 8a, the relative key change key 330- (+4) "+4 %> is pressed. On the display device 140, this has, by the corresponding key change key is not yet reflected in the key change.
  • the system By releasing the key change key 330- (+4), the system is transposed to E major, as shown in Fig. 8c.
  • the assignment function is modified accordingly.
  • the modified mapping function is displayed on the display device 140.
  • the tonicity axis shown in Fig. 8c shows the tone arrangement according to the symmetry circle model of the diatonic key E major.
  • the system is additionally aligned to the new key, so that the symmetry axes of the old key (C major) and the new key (E major) are in the same place.
  • the points selected by the area 310 now result in the result that the previous and still playing chord C major directly transforms into an E major chord.
  • the chord By not changing the frequency axis, the chord is not transposed 1: 1 from C major to E major, but it automatically comes to forming the most favorable chord connection.
  • triggering events for the activation of the corresponding key transposition than the release of the respective control element 330 may also be implemented.
  • pressing or operating the corresponding control panel 330 can trigger the switching signal for modifying the assignment function.
  • Fig. 9a shows an embodiment of a so Constantrich ⁇ tung 110 with an input field 380, such as a touch screen.
  • the input field 380 represents both a part of the operating device 110 and a part of the display device 140 from FIG. 1.
  • control surfaces 330 of a key change operating device 320 are arranged above and below the input field 380.
  • the control surfaces 330 are also arranged above the input field 380 in such a way that the key is arranged in the same direction as the fifth circle in a clockwise direction, that is to say in the direction of an increasing number of tone increase signs (#).
  • the control surfaces 330 are also correspondingly arranged in the fifth circle, but counterclockwise, ie in the direction of increasing tone reduction symbols (b).
  • Fig. 9a the corresponding control surfaces 330 above the input field 380 with the numbers from 0 to +6 and below the input field 380 with the numbers 0 to -6 marked.
  • FIG. 9 b shows a further alternative of an exemplary embodiment of an operating device 110, which in turn has an input field 380 and a key change operating device 320.
  • the key change operating device 320 in the present case comprises 13 control surfaces 330, which are arranged vertically to the left of the input field.
  • the control surfaces 330 in turn, corresponding to the circle of fifths, are assigned the various keys in the manner already described. To illustrate this, the control surfaces 330 in Fig. 9b again show the numbers from -6 to +6.
  • control surfaces 330 shown in FIGS. 9a and 9b are also possible.
  • the key change operating device 320 as in FIG Fig. 9a disintegrate into two parts, which are arranged on the left and right of the input field 380.
  • chords can be meaningfully restricted in order to avoid incorrect conditions.
  • the above-explained implementation of the key change operating device provides the possibility of restricting musical freedom as little as possible.
  • the tonal-specific symmetry circle model can be applied to the tonality axis such that the tonal center or tonics are the center of the x-axis or y-axis, as appropriate Assignment and mapping is assigned.
  • the dominant can be selected to one side and the subdominant to the other side.
  • Other, rarely used non-key chords can be played through appropriate key change or pitch adjustment operations.
  • a function may be implemented to increase or decrease individual tone pitches by one or more semitone steps.
  • the predetermined major-minor tonal space can be quickly reconfigured into any other tonal space.
  • it may happen that the user is set to a tone quality grid. The player would be in this If necessary, limited to the chords predefined by the tone space concerned.
  • the player can now be given the opportunity to adapt the given pitching division.
  • Such alienation of chords and playing the chords can also be done here, if necessary, with the same hand and at the same time.
  • the respective controls for alienating the chords may be arranged in the vicinity of the actual operating unit for playing the chords. It may also be advisable to arrange them on the surface in such a way that they are positioned in an easily recognizable geometric relationship to the tonality that alienates the operating element and its position on the input field.
  • Fig. 10a shows an embodiment of an operating device 110 with a central input field 380, in which the Tontechniksachse is vertical and the pitches of the C major scale are arranged according to the symmetry circle model.
  • the symmetry tone or the symmetry tone d or D in this case delimit the input field 380 upwards and downwards.
  • Left and right of the input field 380 are control surfaces for each of the tonalities shown in the input field 380
  • Fig. 10a only two are provided with the reference numeral. It is the control surface of the
  • control surfaces 360 are disposed adjacent and adjacent to the respective positions of the pitches on the input field 380.
  • the total of 64 control surfaces 360 thus form two 32 control surfaces large rasters, which together form a Tonmaschinesver Sungsbedien issued 370.
  • control surfaces are labeled starting from the left and labeled with the numbers -3 to 0 ending on the right. Accordingly, on the right side of the input field 380, the control surfaces 360 are labeled with the numbers 0 to 3.
  • 10a thus shows an arrangement of operating elements 360 for increasing or decreasing the respective tonality in geometric proximity or optical affiliation with the respective tonality.
  • These control surfaces 360 can be implemented as increase and decrease buttons.
  • Each of the decrement keys 360 located to the left of the tonicity line represents a fixed decrement value indicated on the respective control surface 360.
  • each of the increase keys 360 arranged on the right of the input field 380 reflects a corresponding increment value.
  • These increase keys 360 are also positioned to the right of the associated tonicity line.
  • the specified increase or decrease values here refer to semitones, so small seconds.
  • FIG. 10 b shows a further embodiment of an operating device 110 with an input field 380 and a tone change operating device 370 with a corresponding arrangement of 64 control surfaces 360.
  • both the increase and decrease buttons are located on the same side of the input field 380.
  • on the left side of each tonality line is a double row of four each Associated with control surfaces 360, wherein the upper part of the double row series includes the increase keys and the lower row comprises the decrease keys.
  • a control element in addition to the corresponding tonality lines, which allows the operation for changing the tonality.
  • Such an operating device 110 can also be designed such that when the joystick is moved to the left or right, the line is changed by one whole or half tone step.
  • Another possibility is to offer a keypad for each tone, each key allowing for a fixed increase or decrease in tone quality.
  • Such a keypad could again be arranged in corresponding spatial directions, as described in connection with the joystick.
  • FIGS. 10a and 10b thus differ in that in the case of the embodiment shown in FIG. 10a, the increase as well as the decrease operating elements 360 are arranged on both sides of the respective tonality line of the input field 380.
  • the increase and decrease operators 360 are positioned on the same side next to the respective tonicity line. This gives rise to the possibility of realizing, for example, an increase or decrease in a tone quality by a semitone or whole tone during playing.
  • a variant formation so for example a change from e minor to e major for playing harmonic scales is possible.
  • chords in which, for example, a C major chord is first played and the tone G contained in the chord is increased to G #. In other words, the pitch G contained in the chord is increased to G #.
  • a seventh chord can be played in which, for example, starting from the aforementioned C major chord, the tone G is increased by three semitones.
  • FIG. IIa shows the already described in Fig. 8a operating device 110, in the context of the description of Fig. 8a just the Tonmaschinesver Sungsbedien Surprise 370 was touched with their control surfaces 360 only briefly. This is one of those already shown and described in FIG. 10a. It is precisely this exemplary embodiment of an operating device 110 shown in FIG. 11a that illustrates very nicely that various components of corresponding operating devices, as explained and illustrated in the context of the present description, can be combined very flexibly with one another.
  • the individual control surfaces 330 of the key change operating device 320 and the control surfaces 360 of the tone change operating device 370 are also designated here by reference symbols only in individual cases.
  • FIG. 11 a shows an area 310 of FIG. 11 a on the display device 140 shown there.
  • Fig. IIb shows the operating device 110 of Fig. IIa, but in which the operating element or the operating surface 360-1 is operated to increase the tone G by a semitone.
  • This is also shown on the display device 140 in that now the tonality g # is shown there.
  • the tonality g and thus all tones of the tonality g are increased by one semitone.
  • the original chord of E minor has thus become an E major chord.
  • FIGS. IIa and IIb thus illustrate the case in which the control device 120, based on the assignment function, generates a modified assignment function with a definition quantity associated therewith.
  • the modified assignment function currently has a first point to which the same tone is assigned via the assignment function as via the modified assignment function.
  • this is, for example, the tone e which lies within the area 310. This is not changed in the transition to the modified assignment function in Fig. IIb, thus maintaining its tonality.
  • the definition set of the modified mapping function also has a second point to which a tone having a tone quality different from a tone quality of a tone assigned to a point having the same coordinate on the tone quality axis via the mapping function is assigned through the modified mapping function.
  • the points of the pitch G in Fig. IIa and the pitch g # in Fig. IIb the same coordinate on the Tontechniksachse, so here the Y-axis. Due to the modification of the assignment function, at least one point becomes so with this Coordinate a tone associated with a different tone quality, here's the point with the tone g #.
  • the sound G was assigned.
  • the controller 120 may be configured so that tones having a common coordinate on the tonicity axis are assigned tones having a common tonality through the modified mapping function, but from one of the common coordinates on the tone quality axis the (original) assignment function deviating tonality are assigned.
  • the coordinate is the one on the tonality axis, that is, the two pitches G and g #.
  • 11c again shows the operating device 110, in which, however, the selection surface 310 has been shifted "downwards" by one tone on the tone quality axis, the displacement of the selection surface 310 'resulting in this way, taking account of the still pressed control surface 360-1
  • the area 310 ' is at the position where the C major chord of the unchanged pitch was originally located, but by increasing the pitch G to G #, the chord C sounds excessively.
  • Fig. Hd shows the previous situation in which, compared to Fig. Hc, the selection surface 310 'was transferred by an opposite displacement in the new surface 310''. This has the consequence that the selection area 310 '' comes to rest at the point where originally, so based on the unchanged Tonraum, the chord G major. By increasing the tonality G to G #, however, not the chord G major, but rather the chord G # is played diminished. In the case of such an implementation, for example, all tone changes can be taken over immediately. As a result, a selected chord on the associated surface 310 immediately audible changes when the chord section is changed.
  • all tones belonging to the respective tone quality are increased or decreased by a tone increase or decrease control element 360.
  • a corresponding increase or decrease may be limited to a smaller number, possibly even only to a single tone.
  • FIG. 12a shows a simplified representation of a mapping function and a selection area 310 in FIG. 12a. More specifically, FIG. 12a shows a chromatic scale 390 in which the tonalities contained in the assignment function are represented by horizontal lines 400. Further, Fig. 12a shows the already mentioned selection area 310 which is set to play the C major chord. The selection area 310 thus passes over the pitches C, e and G. This is also illustrated in FIG. 12a in that the horizontal lines 400-G, 400-e and 400-C intersect the area 310.
  • the tone G is increased to G # by actuating the corresponding increase in the tone value.
  • the assignment function modified in this way will no longer belong to the tonality G, but to the tonality G #. This is illustrated in FIG. 12b by the fact that it is no longer the horizontal line 400-G but the line 400-g # that is drawn.
  • a solution to this problem is to "bow" the chromatic scale 390 to obtain the modified chromatic scale 390 ', which differs from the chromatic scale 390 shown in Figures 12a and 12b in that in a region 410 the distance of the horizontal lines 400-b and 400-g # has been stretched such that the raised tone (g #) is geometrically represented at the position of the original tone G.
  • This procedure which may also involve shrinking a pitch between the tone lines 400-G # and 400-e has proved to be beneficial in playing.
  • auxiliary tone lines are automatically adapted as well. Between the tone e and the tone g # are three auxiliary tone lines, which still signal the real pitch.
  • a function may be implemented to increase or decrease individual tones of the tone space by one or more halftone steps.
  • the predetermined major-minor tonal space can be quickly reconfigured into any other tonal space.
  • Tontechniksraster which is fixed, the player is no longer limited only to the chords predefined by the tonal space.
  • Such a manual change of the given tonal space can be implemented, for example, temporarily or permanently.
  • the device 100 may be configured such that after a release of the corresponding operating element, the tone space is reconfigured to its original state. This allows for a short-term playing of a non-scale chord or sound. In the case of a permanent change of the sound space, this remains in its state, even after the corresponding control element has been released.
  • a function can be implemented which automatically reduces a selected tone quality interval when a start frequency, which can also be referred to as the relative reference position on the selection surface, and thus the octave position of the chord to be played falls below a certain threshold (cutoff frequency) ,
  • Embodiments of the present invention are by no means limited to Cartesian or affine coordinate systems.
  • Polar coordinate systems for example, in which, for example, the tonicity axis corresponds to an azimuthal direction, ie angles, can also be used.
  • the frequency or other pitch information such as an octave
  • the pitch information axis apart from the pitch axis, there is also a pitch information axis on which, in addition to a frequency or an arrangement of tones derived therefrom, octave information, that is to say the octave, may possibly also have.
  • a reduction in the pitch interval corresponds to a reduction in an opening angle.
  • Fig. 13a shows schematically a mapping function with a Tontechniksachse 200 and a
  • Frequency axis 210 To simplify the illustration is in
  • Tonicity line 220 shown.
  • Tonicity line 220 shown.
  • Fig. 13a for different frequencies or tones of tonality
  • the tone lines 240 drawn. These are the tones a, a ', a' ', a' "and a. ' ' ' .
  • Frequency axis 210 is plotted logarithmically.
  • Figure 13a shows an area 310 comprising the two tones a '''anda''.”
  • Tonmaschinen axis 210 is shifted to smaller frequencies, a surface 310' results, as soon as a minimum Frequency of the respective shifted surface 310 falls below a cutoff frequency 420.
  • the reduction of the Tontechniksintervalls is in this case carried out such that only a single Tonmaschine, namely in this case the Tonmaschine A, is played.
  • the operator 110 is configured to allow a user thereof to define the area 310 with a Tone Interval as an input signal, the Tone Interval depending on a smallest frequency of all points on the Area 310.
  • the tone quality interval is hereby reduced from a first value above the cutoff frequency 420 to a second value below the cutoff frequency 420, wherein the second value is smaller than the first value.
  • FIG. 13b illustrates an alternative implementation of such an automatic reduction of the tonal range in the bass range, which may optionally also be implemented in addition to the variant shown in FIG. 13a.
  • FIG. 13b again shows the previously described assignment function with the pitch A, the tone quality line 220 as well as the above-described tones a to a "'and the associated tone lines 240.
  • FIG. 13b also shows an area 310 that represents the base points the sounds a and a 'includes.
  • the tone quality interval is not reduced for the entire area 310 when the cutoff frequency 420 is undershot. In this case, only the tone quality interval for the portion of the surface 310 which lies below the cutoff frequency 420 is reduced.
  • Fig. 14a illustrates this in the case of a more complex or more completely drawn assignment function.
  • Fig. 14a shows the sound space already shown in Fig. 6, the description of which is hereby incorporated by reference.
  • the first alternative is described, in which the Tonkeits- interval of the entire surface 310 is reduced.
  • the pitch is configured so that as the coordinate on the frequency axis increases, so does the pitch of the selected pitches.
  • the tone quality interval used is a preset tone quality interval which here has a width of more than three adjacent pitches.
  • the cutoff frequency 420 is undershot.
  • the tone interval was automatically reduced so that only one tone is played. Annoying dissonance can be avoided.
  • the second alternative shown and explained in connection with FIG. 13b is now to divide, if appropriate, the selection area 310 ", which is also shown in FIG. 14a, into two partial selection areas, wherein one part covers higher frequency tones above the cutoff frequency 420 and another part tones of low frequency, below the cutoff frequency 420.
  • the first part of the surface 310 "retains its original tonal interval, while the second part is given a reduced value as the tonality interval.
  • An advantage of this variant is that only a single selection area 310 "can be used to define good-sounding chords that sweeps over a large frequency range, typically including a bass range. The frequency range often begins at very low tones and can be defined in such a case to very high tones.
  • FIG. 14a thus shows, in the form of the surface 310 '', one which has been automatically trimmed such that the tone quality interval is smaller in lower frequency ranges and thus no disturbing dissonances arise.
  • Embodiments of the present invention in which a reduction of the pitch interval at low frequencies is implemented are not limited to affine and Cartesian coordinate systems. Rather, polar coordinate systems can also be used.
  • an automatic reduction of the Tonig- keitsintervalls can of course be realized by two adjacent input fields 380. It is thus possible to assign a small tone quality interval to one input field 380 and a larger tone quality interval to the other input field.
  • the device may further comprise another operating device configured to allow a user thereof as an input to define one or more points as another input signal.
  • the operating device and the further operating device may in this case be designed to allow a user to select one area each having a tone quality interval and a frequency interval.
  • the Tonmaschinesintervall the surface which can be selected via the operating device is greater than the Tontechniksintervall the surface, which is selectable via the further operating device.
  • a smallest frequency for the area that can be selected via the operating device is greater than a smallest frequency of the area that can be selected on the further operating device.
  • embodiments of the present invention are not limited to reducing the pitching interval. Rather, if the cutoff frequency 420 is exceeded when the corresponding area 310 is moved, the relevant tone quality interval can be automatically increased.
  • FIG. 14 b illustrates, on the basis of the same assignment function, a further optional embodiment of all previously described and further described operating device 110 according to embodiments of the present invention. More specifically, this is the ability to define multiple selections 310-1, 310-2, ....
  • a surface 310 may include a plurality of faces that together do not form a continuous or simply contiguous area.
  • any mixing sounds can be generated.
  • the parameters of the individual selection areas 310 can be determined and defined independently or jointly. So far, if only the selection of a single selection surface 310 has been described so far, in many cases within the scope of other embodiments of the present invention, a selection or selection of multiple surfaces 310 is also possible. Technically, this can be realized, for example, by assigning the individual touched points to different selection surfaces 310 in the case of a touch-sensitive surface. The position of the individual points is thus assigned to a characteristic position of the relevant surface 310, that is to say a corner point in the case of a rectangular surface.
  • Fig. 14b first shows a surface 310-1 which results in a C major chord sounding. If now a second selection area 310-2 is selected, which corresponds to an e minor chord, this results in an overall sound impression of an e major chord. If, instead of the area 310-2, an area 310-3 is activated which begins below the cutoff frequency 420, in the present case an additional tone D is played in the bass, which if appropriate together with the C major chord of the area 310-1 sounds.
  • Embodiments of the present invention further enable training in music theory thinking while practicing the practical operation of the instrument.
  • a device according to an exemplary embodiment of the present invention for example an electronic instrument with an affine or Cartesian orientation of the operating device, can be combined with a circular display unit in order to precisely control the frequencyicity occurring in the closed circle, which is reflected in the closed circle To exploit understanding.
  • acceleration sensors such as game consoles, media players and other small devices today.
  • Such novel devices such as the Wiimote or the iPod touch contain such acceleration sensors.
  • these can also be implemented in other devices according to exemplary embodiments of the present invention as part of the operating device 110.
  • a device angle of inclination a parameter for defining the selection area 310 can be utilized, for example to determine a relative reference position on the selection area, ie, for example, a start tone, a start frequency, a tone quality interval or a frequency interval by the inclination of the device.
  • the acceleration output by the acceleration sensors can therefore be used, for example, to determine the velocity, which in turn may influence the note signal in the context of a volume information.
  • the iPod touch contains three accelerometer sensors that allow you to determine the room inclination of the device.
  • This device also makes it possible to interrogate two points of contact, such that, for example, the first point of contact for definition of a first relative reference position on the selection area, for example the start tone and the start frequency, and the second point of contact for defining a second relative reference position on the selection area, ie for example a corresponding Endtonmaschine and a corresponding end frequency for defining a surface 310 can be used.
  • movements of the device for influencing the generated note signal can be used in other ways. For example, by shaking the instrument, chords can be arpeggiated.
  • acceleration sensors for example, by tilting in a particular direction to open a context menu or display various auxiliary buttons.
  • auxiliary buttons For example, it is possible to show keys for changing the key or for increasing or decreasing pitches when a certain angle of inclination is exceeded.
  • FIG. 15 a shows a tonal space that can be reproduced, for example, on a touch-sensitive surface of a very small device, for example a PDA (personal data assistant) or the aforementioned iPod touch. Often, there is no space available for these devices to place additional key change keys, such as in 10
  • Fig. 11 is shown. On the corresponding screen of the display device 140, in this case, there is often only room to represent the input field shown in FIG. 15a.
  • the key change keys 330 of the key change operating device 320 can be superimposed above the input field 380.
  • Fig. 15b in which, after tilting the apparatus toward the front, the keys 330 for changing the key in the ascending direction are displayed clockwise according to the circle of fifths.
  • key change keys can also be displayed below the selection area or the input field 380, as shown in FIG. 15c.
  • keys 330 for changing the key in the descending direction are faded in the counterclockwise direction according to the circle of fifths.
  • These keys 330 are also part of a key change operating device 320.
  • pitching enhancement keys may be faded in by a pitch to the right, as well as tone decrease keys, when the corresponding apparatus is tilted to the left.
  • the further operating elements for example those shown in FIG. 11, arranged outside the actual input field 380, can also be superimposed above the input field 380.
  • shift key functionality can be activated, for example, by assigning various functions to different control surfaces or switches. More concrete examples thereof will be described in conjunction with FIG.
  • an entire chord can be played, depending on the pitch interval. Touched the If you now use a point A and then a closely adjacent point B, the following can happen. First, the chord belonging to A is played. Touching B will play those notes that are included in Chord B, but not in Chord A. Releasing the corresponding points results in the same situation for deactivating the tones.
  • chord A is held while chord B is reposted over and over again.
  • Corresponding notes of the chord B should be re-struck even if they also belong to chord A. For example, holding an A minor chord while playing a C major chord repeatedly.
  • repetition frequency volume and other parameters, such a function can, of course, be preprogrammed, influenceable or completely freely programmable. Also, rhythmic patterns can be taken into account when striking.
  • chord A for example, a different MIDI channel than chord B.
  • NoteOff commands are assigned to corresponding MIDI channels, so that the tone generator can know and recognize on the other side, which note must be disabled for a particular NoteOff command.
  • a recording device may be further included, which allows recording and editing of chord progressions based on the input of the user.
  • a tool for animating two-dimensional paths 2D Path Animation Tool
  • Paths are formed by the tonal space and used with acceleration and velocity information.
  • it may also be advisable to implement a function to mirror all axes. If, in the case of a Cartesian coordinate system, the representation, ie the arrangement of the axes, is rotated by 90 ° in the counterclockwise direction, then in the case of C major, the pitches are from left to right d - b - G - e - C - a - F - d.
  • FIGS. 16 and 17 are commercially applicable to, for example, the creative music market, the music education market, music schools, music therapy, and the toy industry and music software industry Outline possible applications.
  • FIG. 16 shows, as a further embodiment according to the present invention, a device with an operating device 110, which is also referred to as a "big touch screen.”
  • the operating device 110 thus comprises an input surface or input field 380 and a display unit for a relative reference position on the selection surface. Sound information can also be reproduced on the input field 380, which also represents a display device, in the present case this being the case Input field 380 multi-touch capable, so that multiple areas 310-1 and / or multiple points are selectable at the same time.
  • a tone e area 310-1
  • a C major chord in the upper frequency range area 310-2
  • the definition of the relative reference position on the selection surface is effected by touching the input field 380 at reference points 450-1, 450-2 linked to the respective selection surfaces 310.
  • tonality lines 220-1 to 220-8 are further shown according to the symmetry circle model.
  • the tonality line 220-1 is that of the tonality d.
  • markers of the major fundamental tones and fifth intervals can also be drawn in for better orientation.
  • Tonmaschinesintervalls 420 also drawn. The
  • Operating device 110 also has tinting keys or
  • the increase in tare keys 360 are each divided into blocks 460, each block always being associated with a tonicity line 220.
  • the block 460 marked in Fig. 16 is assigned to the tonicity line 220-4 (C).
  • Each of the blocks 460 is divided into an upper block 470 and a lower block 480, which are superimposed 14
  • the upper block 470 increases the pitches by one, two or three halftones, depending on which of the respective control surfaces 360 are pressed.
  • the lower block 480 correspondingly decreases the pitches by one, two or three semitones.
  • buttons 360 By the arrangement of the increase in tare buttons 360 to the left of the control surface 380 (touch surface 380), an operation can be performed with the thumb of the right hand while the other fingers of the same hand play the corresponding chord.
  • a mirrored arrangement or an order changed with regard to their order can be implemented.
  • the operating device 110 further includes an input and display element 490 for setting and displaying the absolute key.
  • This itself comprises a display 500 indicating the number of the sign (-6, ..., +6) or beyond or the key name (F # -dur, ..., Gb-major).
  • it also includes a knob or knob 510, via which the assignment of the keys can be done according to the circle of fifths. If the knob position is up, the key is C major or a- Mellow (0). If, however, the knob position is turned all the way to the left, the current key is Gb major or eb minor (-6). Similarly, when knob 510 is rotated in the opposite direction until it stops, the key is F # -dur or d-minor (+6). In the situation shown in Fig. 16, the key of C major (0) is currently selected.
  • the operating device 110 further comprises key change keys 330 of a key change operating device 320 for changing the key relative to one another.
  • the operating device 110 further comprises further configuration elements 520, more precisely a frequency interval controller 530, a frequency interval controller 540, and a cutoff frequency controller 420 for reducing the tone quality interval.
  • a value of 0.3 is set, whereby the value range allows the values between 0 and 1. If a start frequency is entered in the input field 380 which is smaller than 0.3 of a selected frequency band, the tone interval automatically decreases so that only one tone is selected.
  • the further configuration elements 520 include an input field 560 for defining the lowest tone of the selection.
  • the pitch indication is executed in the form of MIDI note numbers.
  • the tone 24 which is assigned to the start frequency 0.0 is thus set as the lowest tone. Accordingly, the operating device 110 comprises within the scope of the further configuration 16
  • On element 520 is another input field 570 for inputting the highest tone of the selection.
  • the tone 84 is again set as the highest tone, to which the previously designated value 1.0 is assigned.
  • the selected frequency band thus comprises the tones of the MIDI notes 24 to 84.
  • the default settings are made. That is, first, the key C major is performed as part of the operating element 490. Subsequently, a tone quality interval is adjusted by means of the regulator 530 so that three tones are selected. In addition, a corresponding, appropriate configuration of the settings 540 to 570 is performed.
  • Example 0 If a cadence C major, F major, G major, C major is subsequently played as the starting example (Example 0), first the input field 380 is touched on the tonality line for the tone C 220-4. The chord C major is played. Subsequently, the input field 380 is touched on the tone quality line 220-2 for the tone F. The chord F major is played.
  • the tonality line 220-6 for the tone G is touched on the input field 380, so that the chord G major is played.
  • the tonality line 220-4 of the input field 380 is again touched, so that the chord C major is played.
  • a C major chord is played with a third in the bass.
  • the tone e of the tone e touches this left of the marking of the cutoff frequency 420 (threshold mark). In this case, only the sound e is played.
  • the touch-sensitive surface 380 is released, the sound stops again.
  • Example 2 a sequence of C major, E major, A minor is played.
  • surface 380 will not be released.
  • the touch surface 380 remains touched and the chord C major sounds, the relative key change key 330-3 is depressed.
  • the C major key fixed in the input and display element 490 is transposed by +4 keys, i. brought to E major.
  • the chord E major is now positioned. The chord E major will sound immediately.
  • the key can be returned to the preset value, that is, the preset key of C major and a minor. Further, the touch surface 380 is touched on the tone quality line 220-3 (a).
  • a sequence in C major, E minor with b in the bass, C7 with Bb in the bass, and a7 (a-minor based seventh chord) is played.
  • the touch surface 380 is touched at the tonicity line 220-4 (C) in two places. This is done once to the left of the cut-off frequency mark 420 for playing the fundamental tone and to the right of the cut-off frequency line 420 for playing the chord.
  • the pitch C is lowered by half a tone by touching the down-button "-1" associated with the tonality C in the block 480.
  • the pitch C is lowered by one-half note to a B.
  • the tonality C is reduced by 2 semitones by touching the humbucking tone assigned to the tonality C.
  • te lowers "-2" of the same block 480 by two semitones, and the tone C is lowered to the notes Bb and B.
  • a chord Bb - e - g can be heard, which can be interpreted as C7 with B in the bass the tonality C is decremented by 3 semitones by touching the decrement button "-3" assigned to the tonality C to the same block 480 by 3 semitones.
  • the tone C is lowered to the tone a.
  • There is a chord a - e - g which can be interpreted as a7.
  • nxm keys may be replaced with a key matrix of nxm keys, where n and m are natural numbers, for example, powers of 2 or other natural numbers.
  • n and m can be both identical and different.
  • this is a 16 x 16-key key matrix.
  • the respective x and y coordinates or positions of the keys are assigned to corresponding points and thus start frequencies and start frequencies.
  • the corresponding x-y key index is mapped to the parameters of the selection area.
  • the corresponding note signal can be calculated promptly on the basis of the assignment function and the input signal, or it can be called up in a pre-stored manner.
  • the corresponding note signal can be stored in a table.
  • Fig. 17 shows a further embodiment according to the present invention with an operating device 110.
  • it is a device which is also referred to as a "small device”. 19
  • the operating device 110 thus includes an input field 380 for input and definition of the selection area or selection function. This can be done, for example, by entering the start frequencies and start frequencies. This too is multi-touch capable, so that multiple areas 310-1 and 310-2 or corresponding points can be selected simultaneously. In Fig. 17, two areas are selected, which corresponds to a C in the bass range and a chord in E minor above.
  • the tonality line 220-1 corresponds to the tone quality G
  • the tone quality line 220-2 corresponds to the tone quality e
  • the tone quality line 220-3 corresponds to the tone quality C
  • the major fundamental tones are emphasized for better orientation. Accordingly, the tonality lines G and C (220-1, 220-3) are optically highlighted.
  • the cutoff frequency is marked as such by means of a marking 420. which leads to a reduction of the Tonmaschinesintervalls.
  • the operating device 110 from FIG. 17 comprises a shift key or shift key 580 for switching over key functions.
  • the key control 510 already described in connection with FIG. 16 can also be realized as follows.
  • the functionality of the key change keys 320 can be changed by actuating the shift key 580 in such a way that the relative key is no longer assigned to it. but rather an absolute key.
  • a meaningful assignment could be realized here, for example, by assigning keys 330-13 (-6) over 330-7 (0) to 330-1 (+6) the keys Gb major with 6 reductants. be assigned to C major without sign up to F # major with 6 tic marks (or #). Of course, other assignments can be entered.
  • the operating device 110 further includes toning increase keys 360, which together form a tone change operation unit 370. This is arranged to the left of the input field 380.
  • a block 470 is always assigned to a tonality line.
  • the block 470 is associated with the tonicity line 220-3 (C) in Fig. 17. Depending on the button pressed or on the pressed control surface, this increases the tonality line by one, two or three semitones. In the case of a common pressing together with the shift key 580 so the corresponding tone quality on the same keys by one, two or three tones can be lowered.
  • the operating device 110 in turn comprises an input and display element 490 for setting and displaying the absolute key, as has already been described in connection with FIG. 16.
  • the operating device 110 also has key change keys 330, which together form a key change operating device 320. These are used to change the relative key and correspond substantially in terms of functionality of the embodiment shown in Fig. 16. However, in contrast to the embodiments described above, these are bent and have a different key size, which corresponds to the frequency of use of the keys.
  • the further configuration elements 520 correspond to those of the embodiment described above, but the display can optionally also be made on an extra screen.
  • the corresponding preferences are Positions made.
  • the touch surface 380 is on the tone quality line 220-3 the tonality C touches.
  • the chord C major is played.
  • the relative key change key 330-8 (-1) is touched, whereupon the chord F major sounds.
  • the relative key change key 330-6 (+1) is touched, whereupon the chord G major is played.
  • the relative key change key 330-7 (+/- 0 or 0) is touched, whereupon again the chord D major sounds.
  • Examples 1, 2, 3 do not differ with respect to the operation of the operating device 110 from the inputs described above.
  • a combination of acceleration sensors and Touchscreen be exploited.
  • such an embodiment can be realized on the basis of the embodiment shown in FIG. 17, taking into account a few additional functionalities. For example, if the device is tilted forwards, which is determined by the acceleration sensors, the sound space can be shifted clockwise by one fifth. For example, if the C major chord is currently being selected, it will be transformed into a F major by tilting the unit. When the A minor chord is selected, it is transformed into a chord in E minor.
  • an embodiment of a method may be implemented in hardware or in software.
  • the implementation may be on a digital storage medium, such as a floppy disk, CD, DVD, or memory card having electronically readable control signals that may interact with a programmable computer system to execute an embodiment of the method.
  • exemplary embodiments of the present invention thus also exist in a software program product or a computer program product or a program product with a program code stored on a machine-readable carrier for carrying out an exemplary embodiment of a method, if the software programmer Product expires on a computer or processor.
  • embodiments of the present invention can be realized as a computer program or software program or program with a program code for carrying out an embodiment of a method when the program runs on a processor.
  • the processor can in this case be a computer, a computer, a smart card, an application-specific integrated circuit (ASIC), a system on chip (SOC), a mobile phone (mobile phone). , a PDA, a media player, a small computer or another integrated circuit.

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Abstract

Un exemple de réalisation d'un dispositif (100) de production d'un signal de note en fonction d'une entrée manuelle comprend un équipement de commande (110), destiné à permettre à un utilisateur de fournir en entrée un ou plusieurs points constituant un signal d'entrée, et un équipement de commande (120) configuré pour recevoir le signal d'entrée et produire un signal de note sur la base du signal d'entrée et d'une fonction d'affectation. La fonction d'affectation affecte un son unique ou pas de son à chacun des points d'un ensemble bidimensionnel de définition, avec un axe de tonalité et un axe de fréquence. L'ensemble de définition possède une pluralité de points de base. À chacun des points de base (250) est associé exactement un son.
EP09761418A 2008-06-13 2009-06-03 Dispositif et procédé de production d'un signal de note en fonction d'une entrée manuelle Not-in-force EP2297726B1 (fr)

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DE102008028328A DE102008028328B4 (de) 2008-06-13 2008-06-13 Vorrichtung und Verfahren zum Erzeugen eines Notensignals auf eine manuelle Eingabe hin
PCT/EP2009/003975 WO2009149855A1 (fr) 2008-06-13 2009-06-03 Dispositif et procédé de production d'un signal de note en fonction d'une entrée manuelle

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EP2297726B1 EP2297726B1 (fr) 2012-09-19

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EP (1) EP2297726B1 (fr)
JP (1) JP5205512B2 (fr)
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WO (1) WO2009149855A1 (fr)

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US20110100198A1 (en) 2011-05-05
JP5205512B2 (ja) 2013-06-05
DE102008028328B4 (de) 2010-06-10
EP2297726B1 (fr) 2012-09-19
US8173884B2 (en) 2012-05-08
CN102119410B (zh) 2013-03-13
WO2009149855A1 (fr) 2009-12-17
JP2011523099A (ja) 2011-08-04
CN102119410A (zh) 2011-07-06

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