EP2297726B1 - 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 Download PDF

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Publication number
EP2297726B1
EP2297726B1 EP09761418A EP09761418A EP2297726B1 EP 2297726 B1 EP2297726 B1 EP 2297726B1 EP 09761418 A EP09761418 A EP 09761418A EP 09761418 A EP09761418 A EP 09761418A EP 2297726 B1 EP2297726 B1 EP 2297726B1
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EP
European Patent Office
Prior art keywords
tone
key
area
axis
frequency
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EP09761418A
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German (de)
English (en)
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EP2297726A1 (fr
Inventor
Gabriel Gatzche
Markus Mehnert
David Gatzsche
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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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    • 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 A1 as well as the WO 2007/096035 A1 describe an audio data analysis apparatus and method in which an audio data is fed to a halftone analyzer to be analyzed for a volume 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.
  • the DE 10 2006 008 298 A1 and the WO 2007/096152 A1 refer to an apparatus and method for generating a note signal, and an apparatus and 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 mapping 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 being assigned exactly one tone, which is given by a tone quality and a frequency or pitch and pitch information is uniquely determinable, and wherein each of the base points having a coordinate on the tonicity axis is assigned a tone having a tone quality which also includes all other tones associated with base points having the same coordinate on the tonicity axis.
  • a frequency such as a fundamental 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 uniquely determinable by a tone quality and a frequency ,
  • Each of the base points with a coordinate on the pitch 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 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 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.
  • the operator is further configured to allow a user thereof to define a surface as an input signal to define one or more points, the surface having a tone quality interval, and wherein the tone quality interval depends on a lowest frequency of all points of the surface , As a result, if necessary, a tone combination that is perceived as dissonant can be bypassed.
  • 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.
  • 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.
  • octave similarity and “tonality-similarity”
  • 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 pitch on the Tonmaschinesachse the kinship levels 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 Point with the same coordinate on the Tone axis via the mapping function assigned sound differentiates.
  • the note signal may also include volume information regarding one or more tones. This can 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, the tone quality interval depending on a lowest frequency of all points on 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 keypad with a two-dimensional grid of keys, each key being assigned a dot, so that either at least one tone or no sound is associated with 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.
  • exemplary embodiments of the present invention are based on the finding that dissonant, perceived, deep-sounding tone combinations which are not perceived as dissonant-sounding in the region of higher frequencies can be circumvented in that a lower tone quality interval of a surface is used in the low-frequency range is considered to be in the higher frequencies range.
  • the operator is configured to allow a user of the same to define a surface having a tone quality interval, wherein the tone quality interval depends on a smallest frequency of all points of the surface.
  • the Tonmaschinesintervall 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.
  • summary reference symbols are used for objects that occur multiple times within an exemplary embodiment or within a figure.
  • reference numerals may be used for identical or similar elements, objects, and structures when features or characteristics thereof are generally described. However, exceptions are also possible here.
  • 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.
  • Fig. 1 shows a block diagram of an apparatus 100 for generating a note signal to a manual input in accordance with an embodiment of the present invention.
  • 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 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 light pen, 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.
  • the controller 120 may include a corresponding memory; in which for the different values of the input signal ES combinations of these associated tones for the note signal NS is stored. 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 volatile, non-volatile or permanently programmed memory.
  • control device 120 In the case of implementation of a volatile or a non-volatile memory, it may also be advisable to implement a corresponding processor or other arithmetic unit in the context of the control device 120, which monitors and handles the preliminary calculations or even a communication with an external device.
  • 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.
  • These can optionally also be encoded or otherwise (pre) processed.
  • OSC Open Sound Control
  • 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.
  • control device 120 also includes an amplifier and / or one or more speakers
  • 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 is hereby designed to display at least one of the assignment function of the control device 120, the base points defined within the definition set of the assignment function, 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 highlightable 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.
  • 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. Accordingly, the frequency of 220 Hz, which is the (uncoated) a, also has the pitch a or A.
  • the 880 Hz frequency which is the double-headed a (a "), also has the tonality a.
  • 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 one 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 pitch classes c, c # / db, d, d #, eb, e, f, f # / gb, g, g # / ab, a # / bb and b are.
  • 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 to say the inserted c and the two-pointed e, have an interval of more than one octave, but because of the periodicity of the pitches with respect to the octave the corresponding pitches c and e have a major third as an interval Because of this periodicity, which ultimately leads to arbitrary numbers when considering tonicity intervals "whole octaves" may be added or subtracted, the two notes c 'and a' exhibit an interval of a major sixth.
  • the corresponding pitches also have this.
  • Fig. 2 a simplified representation of an assignment function of a device 100 according to an embodiment of the present invention. More specifically shows Fig. 2 a schematic representation of an assignment function, which is defined on the basis of a two-dimensional, determined by a Cartesian coordinate system definition set. On a first axis 200, the pitches are displayed. The axis 200 is therefore the previously explained Tonmaschinesachse 200. In the in Fig. 2 The selected representation is the y-axis of the coordinate system. Of course, other mapping functions may also be the x-axis.
  • 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 prove to be very useful in some applications, however, any other sound selections, sequences and arrangements are conceivable and feasible 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. Fig. 2 shows Fig. 2 only a single tone, which, starting from a fundamental frequency f, corresponds to the frequencies f, 2f, 4f, 8f,....
  • This tonality is at the in Fig. 2 shown assignment function twice on the Tontechniksachse 200 at a first location 220-2 and a second location 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 order, so that positions of three increasing frequencies on the frequency axis 210 are arranged correspondingly in increasing or decreasing 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.
  • Fig. 2 is starting from the fundamental frequency f first on the frequency axis 210 parallel to the tone quality axis 200 for the fundamental frequency f itself a frequency line 230-1 located.
  • a further frequency line 230-2 is correspondingly at three times the fundamental frequency 3f a frequency line 230-3 and at four times the fundamental frequency 4f a frequency line 230-4 in Fig. 2 located.
  • the tone frequencies 230-1 to 230-4 are indicated by a corresponding tone line 240 if the associated frequencies are frequencies of the corresponding tone quality lines 220 correspond. Since with each change of the octave a doubling of the frequency of the respective tone is involved, it concerns therefore the frequencies f, 2f, 4f, 8f etc.
  • the in Fig. 2 are also shown three tone lines 240-1, 240-2, 240-3 which correspond to the tonicities 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 tone quality lines 220 and the associated tone lines 240
  • Fig. 2 six base points 250 are shown, which are arranged in each case at the intersections of the tonicity lines 220 with the tone lines 240, which in turn reproduce frequencies belonging to this tone quality. More specifically, examples are in Fig. 2 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.
  • tonalities and tones can be bound together. so it is z.
  • a tone it is also possible to correspondingly increase or decrease all tones dependent thereon.
  • 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 automatically formed.
  • a Cartesian coordinate system in two dimensions is a special case of a two-dimensional affine coordinate system. Both the Cartesian coordinate system and the affine coordinate system can be defined in two dimensions based on two constant unit vectors e 1 and e 2 .
  • the two unit vectors e 1 and e 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 each other. 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 e 1 and e 2 may not be constant.
  • the arrangement of the individual pitches on the Tontechniksachse 200 next to a chromatic or diatonic arrangement also offer 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 ascending order 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 an alternating sequence of 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 tonal axis 200, for example according to one of the aforementioned tonic sequences.
  • different 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 bases of the "octave similarity" can be considered.
  • tones can be arranged so that Quintparallelen be avoided by moving a selection function in the form of a surface on the Tonraum Quintparallelen 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.
  • inversions of arbitrary chords may be generated by simple geometric motions.
  • respective systems may not only enable the raising of a single tone, but all octaves of the respective tone.
  • the flexibility afforded by the mapping function allows the device to operate based on any sound system in accordance with one embodiment of the present invention.
  • Fig. 3a illustrates another assignment function based on an affine coordinate system.
  • the mapping function is based off Fig. 3a on a coordinate system where the unit vectors that underlie them are not right angles. More specifically shows Fig. 3a a first unit vector 260 representing the direction and unit of the tonicity axis 200 that is in Fig. 3a also denoted by T represents.
  • 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.
  • this plot of the frequency axis 210 shows that both the tones with respect to the frequency axis 210 and, analogously, the pitches on the tone quality axis 200 are arbitrarily spaced and In particular, no linear or logarithmic plot is mandatory with respect to the frequency axis 210.
  • 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 last-mentioned tones is a large second and that between the first two sounds is a small second.
  • 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 to this plot on the pitch axis 200 and the frequency axis 210, 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 '.
  • Fig. 3a further illustrates that even non-base points 250 may be assigned tones.
  • all base points drawn as black dots 250 are the ones in Fig. 3a assigned to a simply contiguous area 280 within which each point is associated with the same tone, which is also associated with the corresponding, simply contiguous area 280 belonging base point 250.
  • 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.
  • Such a point belongs to the singly connected region 280, in which also lies the base point 250, which lies on the cut line tone line for the tone e "and the tonality line of the tone quality E. In other words is also the point 290 the tone e "associated with the Tonmaschine 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. 3a further illustrates that optionally different basis points 250 may also be associated with differently shaped or otherwise differing singly connected regions 280, 280 '. So is in Fig. 3a the tones c "and d" are each optionally assigned a deviating singly contiguous region 280 ', which are very close 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 be assigned sounds that do not "match" their coordinate with respect to the tonal axis 200.
  • this note signal NS may also comprise volume information relating to one or more tones.
  • volume information relating to one or more tones.
  • the corresponding volume information may, for example, take into account the hearing characteristics of the human ear, it is also possible to assign the corresponding volume information for the complete connected area 280, which is assigned to a base point 250.
  • FIG. 12 thus shows two possible single tone volume functions 300, 300 ', which also assigns a 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 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 can be implemented here. While the single sound volume information 300 has a bell shape, 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. Depending on the implementation, a user can optionally switch on or off such a volume information distribution, from a plurality of corresponding selections or even freely define one or more. A delta or Dirac shaped single tone volume function 300 or a punctual single tone volume function 300 may thus correspond to a "turn off" thereof.
  • contiguous regions 280 may be defined.
  • the mapping function shown in FIG. 1 illustrates the ability to define a single coherent region 280 "that extends in both directions by one unit vector or one or more other lengths in either direction from the respective base point 250.
  • Such a singly connected region 280" is shown in FIG Fig. 3a for the tone g 'associated base point 250 located.
  • 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 representation of an assignment function based on a two-dimensional Cartesian coordinate system.
  • tone lines 240 are tone quality lines 220 and base points 250 are labeled 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 arranged in frequency in increasing 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 tonicity lines 220 represent the beginning and the end of the in Fig. 4a shown Tonmaschinesmenge.
  • 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 allow the user of the same to pass one or more points in the form of the input signal to the control device 120.
  • a direct selection of the relevant points for example by pressing keys, is So also a transfer of several points in the form of the definition of 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 allocation function is only assigns the corresponding tones to the base points, exactly these tones optionally extended by corresponding volume information as a note signal.
  • Fig. 4b shows the same assignment function, but in comparison to the in Fig. 4a the surface 310 has been displaced along the axis of the sound 210 in order 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. 4c shows the previously explained assignment function, in which the selection area 310 'from Fig. 4b has been moved in the direction of the tonicity 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.
  • 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 a scale
  • the representation of the assignment function shown here 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 Tontechniksachse.
  • 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 sound 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.
  • Fig. 4a to 4c Inversions Like the representation of the Fig. 4a to 4c Inversions, octave variation and transformations between different sounds have been easily realized by the user of a device 100 according to one embodiment of the present invention. Octave or tonal sounds are very easy to produce.
  • tone pitch compensation function it is further 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 the battle", while playing, to have two adjacent tones or pitches equally spaced on the surface of the instrument. This makes the sounds easier to access.
  • tone-gap compensation function which quantizes the different interval intervals to an equidistant, equidistant raster.
  • the tone quality interval is set in this way . that it corresponds to an interval of a minor third, so in general, first, exactly the minor third will sound.
  • the selection area on the next interval in the context of a three-circle or symmetry circle arrangement, so only a single tone is played, since in these Tonmaschinesan isten example, the next interval represents a major third.
  • the second tone "does not fall" into the previously defined selection area. The second tone is therefore no longer covered by the previously defined selection area. This 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 the symmetry tone key is positioned at the corresponding reference position on the touch surface, ie the center of the respective axes. Accordingly, all other tones and pitches can be repositioned with respect to this reference tone.
  • any multiples of the number 12 can be subtracted or added.
  • a summation modulo-12 (mod 12) can be applied.
  • 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.
  • a chromatic order can also be implemented problem-free.
  • 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 shows Fig. 5a where each key represents a key between Gb major and F # major.
  • Fig. 5a thus, so shows a key change operating device 320 with the previously designated 13 control surfaces 330 - (- 6), ..., 330-0, ... 330 - (+ 6).
  • Fig. 5b shows a further embodiment of key change operating devices 320, in which a total of 14 control surfaces 330 are arranged in two rows of seven.
  • the key increases in fifths 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.
  • Fig. 5a and 5b Key change operating devices 320 shown are also 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.
  • the tonal axis 200 which in Fig. 6 is not explicitly shown, ordered according to the third circle model.
  • the frequency axis or sound axis 210 also as such in Fig. 6 is not explicitly drawn, includes 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 raster lines.
  • the grid is designed to be equidistant with respect to the Tontechniksachse and with respect to the frequency axis.
  • 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. So, for example, if the user changes from the C major key to the Eb major key, then in the place of the former C major chord, an Eb major chord will sound in the case of a corresponding selection.
  • the starting 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 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 be shifted only in the direction of the tone quality axis, so that the symmetry tone the new key takes the place of the symmetry tone 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.
  • this corresponds to a displacement of the surface 310 by a vector 340-1, so that the surface 310 is transferred to 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 down, but the pitches Eb, g and Bb would be included.
  • the assignment function can 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 place of the fundamental of the original key.
  • sounds Thus, by transition of the surface 310 in the area 310 'now the chord Eb major.
  • this corresponds to a shift of the area 310 by a second vector 340-2, so that the area 310 merges into the area 310 ", ie the assignment function or the definition quantity on which it is based again becomes in the opposite direction by the same amount
  • the shift takes place only along the pitch axis 200, so that the assignment function at the point at which the tone quality line C was previously lies now more the tone quality line c, ie the corresponding minor tone quality line of the third circle model sketched alternative
  • 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 previous 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 goes beyond the edges of the image infinitely.
  • Fig. 7 also shows a viewing window 350-1 which describes the section of the tonal space mapped to the input surface via the display 140.
  • the viewing window 350-1 in the context of the underlying tone space, defines the mapping function and its definition set.
  • an area or selection area 310-1 is shown which describes a section of the currently displayed pitch, on the basis of which the note signal is generated by the device that is currently being played.
  • the area 310-1 corresponds to a C major chord.
  • a key change can now be accomplished by the viewing window 350-1 is moved.
  • a key change is thus possible by a shift of the selection surface area, in which the viewing window 350-1 merges into a modified viewing window 350-2, which at the in Fig. 7 shown situation corresponds to the key of 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 drawn, which was moved parallel to the respective viewing window 350-1, 350-2.
  • the played chord will also change according to the underlying key.
  • the C major chord of the surface 310-1 transitions into an E major chord of the surface 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.
  • 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 pin-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.
  • FIG. 8a an operating device 110 with a display device 140 shown.
  • the assignment function according to the symmetry circle model for the key C major is reproduced.
  • the operating device has a first row of operating surfaces 330-0 to 330 - (+ 6).
  • the operating device 110 has a second row of corresponding control surfaces 330 '- 0 to 330 - (- 6), which together with the control surfaces 330 already in connection with the Fig. 5a and 5b described key change operating device 320 forms.
  • the operating device 110 furthermore has four operating surfaces 360 for each tonicity line 220 reproduced on the display device 140 (not shown as such in FIG Fig. 8a ) on.
  • 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 device 140 form a Tonmaschinesver Sungsbedien observed whose functionality in connection with Fig. 11a to 11d is explained in more detail.
  • a surface 310 is shown that corresponds to a C major chord played by the device 100.
  • Fig. 8b the situation is shown in which, starting from the in Fig. 8a shown situation, the relative key change key 330 - (+ 4) "+4" is pressed. On the display device 140 has this, by the corresponding Key change key 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 Fig. 8c is shown.
  • the assignment function is modified accordingly.
  • the modified mapping function is displayed on the display device 140. So shows the in Fig. 8c reproduced tonality axis the Tontechniksanssen 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 position.
  • 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.
  • the keys may be arranged to change the key adjacent to the actual operating unit for entering the chords.
  • Fig. 9a 1 shows an embodiment of an operating device 110 with an input field 380, for example a touchscreen.
  • the input field 380 displays both a part of the operating device 110 and a part of the display device 140 Fig. 1 represents.
  • control surfaces 330 of a key change operating device 320 are arranged above and below the input field 380.
  • the control surfaces 330 above the input field 380 are arranged so that the key of the fifth circle in accordance with clockwise, ie in the direction of an increasing number of Tonhöhungs Lake (#) arranged.
  • 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 are marked above the input field 380 with the numbers from 0 to +6 and below the input field 380 with the numbers 0 to -6.
  • Fig. 9b shows a further alternative of an 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 are in turn, according to the circle of fifths, assigned the different keys in the manner already described. To illustrate this, the control surfaces 330 in Fig. 9b again the numbers from -6 to +6.
  • the tonal-specific symmetry circle model may be applied to the tonicity axis such that the tonal center or tonic is assigned to the center of the x-axis or y-axis according to the mapping and mapping used.
  • the dominant can be selected to one side and the subdominant to the other side.
  • Other, rarely used non-key chords can be played by 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 tonicity axis 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.
  • control surfaces 360 are arranged for each of the tonalities shown in the input field 380, of which, for the sake of simplicity, in FIG Fig. 10a only two are provided with the reference numeral. This is the control surface of the tonality G with the value -3 and the control surface of the tonality C with the value +3.
  • 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.
  • Fig. 10a thus shows an arrangement of control elements 360 for increasing or decreasing the respective tonality in geometric proximity or optical affiliation to 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. 10b shows a further embodiment of an operating device 110 with an input field 380 and a Tonmaschinesver Sungsbedien worn 370 with a corresponding arrangement of 64 control surfaces 360.
  • both the increase and decrease keys are positioned on the same side of the input field 380 as shown in FIG.
  • 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 tone quality.
  • 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 in turn be arranged in corresponding spatial directions, as described in connection with the joystick.
  • the in the Fig. 10a and 10b illustrated embodiments thus differ in that in the case of 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 controls 360 are positioned on the same side adjacent to the respective tonicity line.
  • Fig. 11a shows the already in Fig. 8a described operating device 110, wherein in the context of the description of Fig. 8a just the Tonmaschinesver Sungsbedien Anlagen 370 was torn with their control surfaces 360 only briefly. This is one of those already in Fig. 10a was shown and described. Just this in Fig. 11a shown embodiment of an operating device 110 thus illustrates very nicely that various components of corresponding control devices, as explained and illustrated in the context of the present description, can be combined very flexibly.
  • a surface 310 shown on the display device 140 shown there. Taking into account the pitches reproduced on the Tontechniksachse according to the symmetry circle model of the key C major so just played an e minor chord.
  • FIG. 11b shows the operating device 110 Fig. 11a in which, however, the operating element or operating surface 360-1 is actuated to increase the tone G by one 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.
  • the Fig. 11a and 11b thus illustrate just the case that the control unit 120, based on the assignment function, generates a modified assignment function with a definition set 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.
  • These are in the in the Fig. 11a and 11b shown by, for example, the sound e, which lies within the area 310. This becomes in the transition to the modified allocation function in Fig. 11b not changed, so it maintains 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 tonality G in Fig. 11a and the tonality g # in Fig. 11b 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 controller 120 may be configured to assign tones having a common tonality to points having a common coordinate on the tonicity axis through the modified mapping function but from one of the common coordinates on the tonicity axis over the (Fig. original) assignment function deviating tonality are assigned.
  • the coordinate is the one on the tonality axis, that is, the two pitches G and g #.
  • Fig. 11c again shows the operating device 110, in which, however, the selection area 310 has been shifted by one tone on the tonality axis "down".
  • the shift of the resulting selection area 310 ' taking into account the still-pressed control surface 360-1, results in the area 310' being at the point where the C major chord of the unchanged pitch was originally located.
  • the chord C sounds excessive.
  • Fig. 11d shows the previous situation in which compared to Fig. 11c the selection area 310 'has been transferred to the new area 310 "by an opposite shift, with the result that the selection area 310" comes to rest at the point where, originally with respect to the unchanged pitch, the chord G major lies , 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 a simplified representation of a mapping function and a selection area 310 is shown. More specifically shows Fig. 12a a chromatic scale 390, in which the tonalities contained in the assignment function are represented by horizontal lines 400. Further shows Fig. 12a the already mentioned selection area 310, which is set so that the chord C major is played. The selection area 310 thus passes over the pitches C, e and G. This is in Fig. 12a also illustrated in that the horizontal lines 400-G, 400-e and 400-C intersect the surface 310.
  • 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.
  • mapping function or area 310 that occur frequently during play can be pre-stored.
  • this includes shifting the key by +/- 3 fifths in order to find the corresponding variants for given major or minor chords.
  • a function can be implemented which automatically reduces a selected tone quality interval if 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 schematically an assignment function with a Tonmaschinesachse 200 and a frequency axis 210.
  • Tonmaschinesachse 200 shows a Tontechniksachse 200 and a frequency axis 210.
  • Tontechniksachse 200 shows a Tontechniksachse 200 and a frequency axis 210.
  • the tonality A is shown with its corresponding tonality line 220.
  • Fig. 13a for different frequencies or tones of the tone quality A corresponding tone lines 240 located. These are the tones a, a ', a ", a"' and a "".
  • the frequency axis 210 is plotted logarithmically.
  • FIG. 13a shows Fig. 13a an area 310 which comprises the two tones a "'and a". "If now the area 310 is shifted along the frequency axis 210 to smaller frequencies, a surface 310' results as soon as a smallest frequency of the relevant displaced area 310 a cutoff frequency 420.
  • the reduction of the Tonmaschinesintervalls 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 also be in addition to that in Fig. 13a variant shown is implemented.
  • Fig. 13b again shows the previously described assignment function with the pitch A, the tonality line 220 and the previously described tones a to a "" and the associated tone lines 240.
  • Fig. 13b again shows a surface 310 that includes the base points of the tones a and a '.
  • the pitch interval is not reduced for the entire area 310 when the cutoff frequency 420 is undershot. In this case, only the tonality interval for the portion of the area 310 which lies below the cutoff frequency 420 is reduced. This results in a mirrored L-shaped surface 310th
  • this transition is not abruptly completed, ie from the second value above the cutoff frequency to the first value below the cutoff frequency exactly at the cutoff frequency 420, but it is a gentle reduction of the surface 310 made as this in Fig. 13b is drawn as surface 310 '.
  • the surface is reduced linearly, starting at the cutoff frequency 420 up to a further cutoff frequency 430 to the second value.
  • other functional relationships may be implemented to reduce the tone quality interval. Examples include polygonal functional relationships, exponential relationships, logarithmic relationships and any combination of these and other mathematical functions.
  • Fig. 14a illustrates this in the case of a more complex or more completely drawn assignment function.
  • Fig. 14a shows the already in Fig. 6 shown tonal space, to the description of which reference is hereby made.
  • the first alternative is described in which the Tontechniksintervall 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 selection area 310 " which is also shown in FIG Fig. 14a is shown to divide into two partial selection areas, wherein one part covers higher frequency tones above the cutoff frequency 420 and another part covers low frequency tones below the cutoff frequency 420.
  • the first part of the area 310 "retains its original tonal interval, while the second part has 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 have a large frequency range which typically includes a bass range sweeps over. The frequency range often begins at very low tones and can be defined in such a case to very high tones.
  • Fig. 14a Thus, in the form of the surface 310 ", one which has been automatically trimmed such that the tone quality interval is smaller in the lower frequency ranges and thus produces no disturbing dissonances.
  • 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.
  • Tonmaschinesintervalls 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 tone quality 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. 14b 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 an area 310-1, which leads to a sounding of a C major chord. 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.
  • 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.
  • 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, 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. 15a shows a tonal space, which can be reproduced for example on a touch-sensitive surface of a very small device, such as a personal data assistant (PDA) or the aforementioned iPod touch. Often, there is no space available for these devices to place additional key change keys, such as in Fig. 11 is shown. On the corresponding screen of the display device 140 is in this case often only space that in Fig. 15a displayed input field.
  • PDA personal data assistant
  • iPod touch a personal data assistant
  • the key change keys 330 of the key change operating device 320 can be superimposed above the input field 380.
  • Fig. 15b shows 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 is shown.
  • Fig. 15c By tilting the device backwards, as in Fig. 15c shown keys 330 for changing the key in descending direction according to the circle of fifths counterclockwise faded in.
  • 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 other for example, in Fig. 11 shown, outside the actual input field 380 arranged controls above the input field 380 are displayed.
  • a kind of "shift key functionality" can be activated, for example, if different functions are assigned to different control surfaces or switches. More concrete examples will be related to Fig. 17 described.
  • an entire chord can be played, depending on the tone quality 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, if an A minor chord is held, while a C major chord is struck again and again.
  • 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) can be used. Paths are formed by the tonal space and used with acceleration and velocity information.
  • musical instruments as further embodiments of the present invention will be described in connection with FIGS Fig. 16 and 17
  • they are commercially applicable to, for example, the creative music market, music education market, music schools, music therapy, and the toy and music software industries, to outline just a few of the possible uses.
  • 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 "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, that is to say, for example, a start tone value and a start frequency value.
  • On the input field 380 which also represents a display device, sound information can also be reproduced.
  • 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 that is to say for example the start tone and the start frequency of the two selection surfaces 310-1, 310-2, 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.
  • markings of the major durations and fifths intervals can also be drawn for better orientation.
  • the tonality lines 220-6, 220-4 and 220-2, which mark the respective fundamental tones and tone qualities, respectively, are designed or shown correspondingly stronger.
  • the limit frequency or the threshold value for the reduction of the pitch interval 420 is also shown on the input field 380.
  • the operating device 110 also has toner increase buttons or control surfaces 360 of a tone change operating device 370. This is arranged to the left of the input field 380.
  • the increase in tare keys 360 are each divided into blocks 460, each block always being associated with a tonicity line 220.
  • Each of the blocks 460 is divided into an upper block 470 and a lower block 480, which are superimposed are arranged.
  • the upper block 470 increases the pitches by one, two or three semitones, 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.
  • the arrangement of the increase in tare buttons 360 to the left of the control surface 380 allows an operation to be carried out 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 minor (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). At the in Fig. 16 situation shown is currently the key C major (0) 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 is 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.
  • the operating device 110 includes within the scope of the further configuration elements 520 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 fixed key C major 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 tonicity 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 tone quality C is lowered by half a tone by touching the depression key "-1" associated with the tone quality C in the block 480.
  • the tone C is lowered by a half tone to a B
  • the tonality C is increased by 2 semitones by touching the decrement key assigned to the tonality C. "-2" of the same block 480 is lowered by two semitones. The tone C is lowered to the tone Bb or B, respectively. There is a chord Bb - e - g, which can be interpreted as C7 with B in the bass. Subsequently, the tonality C is lowered by 3 semitones by touching the downsampling key "-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 where n and m are natural numbers, such as powers of 2 or other natural numbers.
  • n and m can be both identical and different.
  • this is a 16 x 16 -key button matrix.
  • the respective x and y coordinates or positions of the keys are assigned to corresponding points and thus start frequencies and start frequencies. In other words, the corresponding xy 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”.
  • 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 correspond 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 key tones for better orientation are highlighted here. Accordingly, the tonality lines G and C (220-1, 220-3) are optically highlighted.
  • the cutoff frequency is marked as such via a marking 420, which leads to a reduction of the tone quality interval.
  • the operating device 110 comprises Fig. 17 a shift key or shift key 580 for switching key functions.
  • tone controller 510 can be realized as follows.
  • the functionality of the key change keys 320 can be changed so that they are no longer assigned the relative key, but rather an absolute key.
  • a meaningful assignment could be realized here, for example, that the keys 330-13 (-6) over 330-7 (0) up to 330-1 (+6) the keys Gb major with 6 reduction characters (b) be assigned via C-key without sign up to F # -dur with 6 pitches (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 associated with a tonicity line.
  • Block 470 is in Fig. 17 associated with the tonicity line 220-3 (C). 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 already associated with Fig. 16 has been described.
  • 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 essentially to the functionality of the in Fig. 16 shown embodiment. However, unlike 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.
  • 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.
  • the sound space can be shifted clockwise by one fifth.
  • the C major chord is currently being selected, it will be transformed into a F major by tilting the unit.
  • 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 program product with a program code stored on a machine-readable carrier for carrying out an exemplary embodiment of a method when the software programmer Product expires on a computer or processor.
  • embodiments of the present invention may be Thus, as a computer program or software program or program with a program code for carrying out an embodiment of a method can be realized when the program runs on a processor.
  • ASIC application specific integrated circuit
  • SOC System On Chip
  • control means is arranged to generate the note signal such that the note signal comprises volume information and wherein the control means is arranged such that the assignment function gives each point to which a tone is associated a volume information for the associated tone assigns.
  • the control means is arranged such that the assignment function gives each point to which a tone is associated a volume information for the associated tone assigns.
  • one, a plurality, a plurality, or all of the contiguous areas of the definition set may be assigned 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 be configured to allow a user thereof to define a surface as an input signal, the surface having a tone quality interval, and wherein the tone quality interval depends on a lowest frequency of all the dots of the surface.
  • the operator may be configured to reduce the tone quality interval from a first value above a cutoff frequency to a second value below the cutoff frequency, the second value being less than the first value.

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Claims (15)

  1. Dispositif (100) pour générer un signal de note en fonction d'une entrée manuelle, aux caractéristiques suivantes:
    un moyen d'actionnement (110) conçu pour permettre à un utilisateur de ce dernier de définir, comme entrée, un ou plusieurs points comme signal d'entrée; et
    un moyen de commande (120) conçu pour recevoir le signal d'entrée et générer un signal de note sur base du signal d'entrée et d'une fonction d'association,
    la fonction d'association associant, à chaque point d'une quantité de définition bidimensionnelle déterminée par l'intermédiaire d'un système de coordonnées affin avec un axe de tonalité (200) et un axe de fréquence (210), un seul son ou pas de son;
    la quantité de définition présentant une pluralité de points de base (250);
    à chacun des points de base (250) étant associé exactement un son pouvant être déterminé de manière univoque par une tonalité et une fréquence;
    aux points de base (250) présentant des coordonnées identiques sur l'axe de tonalité (200) étant associés des sons à la même tonalité;
    sur l'axe de tonalité (200) existant au moins deux des points de base (250) à coordonnée identique qui présentent des coordonnées différentes sur l'axe de fréquence (210); et
    à chaque point de la quantité de définition qui n'est pas un point de base (250) étant associé soit pas de son, soit un son associé à un point de base (250) et, s'il existe un point qui n'est pas un point de base (250) et auquel est associé un son, ce son appartient à une région simplement contigüe de la quantité de définition dans laquelle se trouve par ailleurs un point de base (250) et dans laquelle le même son est associé à tous les points,
    caractérisé par le fait que le moyen d'actionnement (110) est conçu pour permettre à un utilisateur de ce dernier de sélectionner une surface de sorte que le point ou les plusieurs points du signal d'entrée soient déterminés par la surface,
    les sons sur l'axe de fréquence étant disposés selon un ordre correspondant à la hauteur de son, une surface formée à volonté pouvant être sélectionnée, par un déplacement de cette surface le long de l'axe de fréquence pouvant être formée automatiquement une inversion d'un accord défini par la surface.
  2. Dispositif (100) selon la revendication 1, dans lequel le moyen de commande (120) est conçu de sorte que le système de coordonnées affin soit un système de coordonnées cartésien.
  3. Dispositif (100) selon l'une des revendications précédentes, dans lequel une distance tonale entre une tonalité d'un son associé à un point de base (250) et une tonalité d'un son d'un point de base voisin (250) le plus rapproché par rapport à l'axe de tonalité (200) est une prime, une tierce mineure, une tierce majeure, une quarte ou une quinte .
  4. Dispositif (100) selon la revendication 1, dans lequel le moyen d'actionnement (110) est conçu pour permettre à un utilisateur de sélectionner la surface par un point remarquable, un intervalle de tonalité et un intervalle de fréquence ou par le choix de deux points remarquables qui sont caractéristiques de la surface par rapport au système de coordonnées à la base.
  5. Dispositif (100) selon l'une des revendications précédentes, dans lequel le moyen d'actionnement (110) est par ailleurs conçu pour permettre à un utilisateur de ce dernier de générer un signal de commutation, et dans lequel le moyen de commande (120) est conçu pour recevoir le signal de commutation et pour modifier la fonction d'association, pour obtenir une fonction d'association modifiée.
  6. Dispositif (100) selon la revendication 5, dans lequel le moyen de commande (120) est conçu pour obtenir, comme fonction d'association modifiée, une fonction d'association déplacée par rapport à l'axe de tonalité (200), à l'axe de fréquence (210) ou à l'axe de tonalité (200) et à l'axe de fréquence (210).
  7. Dispositif (100) selon l'une des revendications 5 ou 6, dans lequel le moyen de commande (120) est conçu de sorte que la quantité de définition de la fonction d'association modifiée présente un premier point auquel est associé, par la fonction d'association, le même son que par la fonction d'association modifiée, et
    dans lequel la quantité de définition de la fonction d'association modifiée présente un deuxième point auquel est associé, par la fonction d'association modifiée, un son avec une tonalité qui diffère d'une tonalité d'un son associé par la fonction d'association à un point à la même coordonnée sur l'axe de tonalité (200).
  8. Dispositif (100) selon l'une des revendications 4 à 7, dans lequel le moyen de commande (120) est conçu de sorte qu'à des points à coordonnée commune sur l'axe de tonalité (200) soient associés par la fonction d'association modifiée des sons à tonalité commune différant de la tonalité d'une coordonnée commune associée par la fonction d'association.
  9. Dispositif (100) selon l'une des revendications précédentes, dans lequel le moyen d'actionnement (110) est conçu pour permettre à un utilisateur de ce dernier de générer un signal d'influence, et dans lequel le moyen de commande (120) est conçu pour générer le signal de note sur base du signal d'influence avec des sons qui sont transposés, par rapport aux sons basés sur le signal d'entrée et la fonction d'association comme un tout, d'un nombre de demi-tons, le signal d'influence comprenant une information relative au nombre de demi-tons.
  10. Dispositif (100) selon l'une des revendications précédentes, présentant par ailleurs un autre moyen d'actionnement (110) qui est conçu pour permettre à un utilisateur de ce dernier de définir, comme entrée, un ou plusieurs points comme signal d'entrée,
    le moyen d'actionnement (110) et l'autre moyen d'actionnement (110) étant conçus pour permettre à un utilisateur de sélectionner chaque fois une surface avec chaque fois un intervalle de tonalité et un intervalle de fréquence,
    l'intervalle de tonalité de la surface qui peut être sélectionnée par l'intermédiaire du moyen d'actionnement (110) étant plus grand que l'intervalle de tonalité de la surface qui peut être sélectionnée par l'intermédiaire de l'autre moyen d'actionnement (110), et
    une fréquence la plus petite pour la surface qui peut être sélectionnée sur le moyen d'actionnement (110) étant plus grande qu'une fréquence la plus petite pour la surface qui peut être sélectionnée sur l'autre moyen d'actionnement (110).
  11. Dispositif (100) selon l'une des revendications précédentes, dans lequel le moyen d'actionnement (110) comprend une touche, un écran tactile, une surface sensible au contact, un levier de commande, une souris, un clavier ou un capteur d'accélération, pour permettre l'entrée par l'utilisateur.
  12. Dispositif (100) selon l'une des revendications précédentes, dans lequel le moyen d'actionnement (110) présente un clavier avec une grille de touches bidimensionnelle, à chaque touche étant associé un point, de sorte qu'aux touches soit associé, par l'intermédiaire de la fonction d'association du moyen de commande (120), soit au moins un son, soit pas de son et la grille de touches bidimensionnelle reproduisant la fonction d'association.
  13. Dispositif (100) selon la revendication 12, dans lequel est associé de manière prémémorisée à chaque touche du clavier soit pas de son, soit un son ou une pluralité de sons, de sorte qu'à au moins chaque touche à laquelle est associée une pluralité de sons soient associés des sons qui sont associés, par l'intermédiaire de la fonction d'association, à une pluralité de points sur une surface contigüe, le point associé à la touche faisant partie de la surface.
  14. Procédé pour générer un signal de note sur base d'une entrée manuelle dans un moyen d'actionnement, comprenant:
    recevoir un signal d'entrée qui définit un ou plusieurs points; et
    générer un signal de note sur base d'une fonction d'association et du signal d'entrée,
    la fonction d'association associant, à chaque point d'une quantité de définition bidimensionnelle déterminée par l'intermédiaire d'un système de coordonnées affin avec un axe de tonalité (200) et un axe de fréquence (210), un seul son ou pas de son;
    la quantité de définition présentant une pluralité de points de base (250);
    à chacun des points de base (250) étant associé exactement un son pouvant être déterminé de manière univoque par une tonalité et une fréquence;
    aux points de base (250) présentant des coordonnées identiques sur l'axe de tonalité (200) étant associés des sons à la même tonalité;
    sur l'axe de tonalité (200) existant au moins deux des points de base (250) à coordonnée identique qui présentent des coordonnées différentes sur l'axe de fréquence (210); et
    à chaque point de la quantité de définition qui n'est pas un point de base (250) étant associé soit pas de son, soit un son associé à un point de base (250) et, s'il existe un point qui n'est pas un point de base (250) et auquel est associé un son, ce son appartient à une région simplement contigüe de la quantité de définition dans laquelle se trouve par ailleurs un point de base (250) et dans laquelle le même son est associé à tous les points,
    caractérisé par le fait de sélectionner une surface à l'aide du moyen d'actionnement (110) de sorte que le point ou les plusieurs points du signal d'entrée soient déterminés par la surface,
    les sons sur l'axe de fréquence étant disposés selon un ordre correspondant à la hauteur de son, une surface formée à volonté pouvant être sélectionnée, par un déplacement de cette surface le long de l'axe de fréquence pouvant être formée automatiquement une inversion d'un accord défini par la surface.
  15. Programme avec un code de programme pour réaliser un procédé selon la revendication 14 lorsque le programme est exécuté sur un processeur.
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)

Applications Claiming Priority (2)

Application Number Priority Date Filing Date Title
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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EP2297726A1 EP2297726A1 (fr) 2011-03-23
EP2297726B1 true EP2297726B1 (fr) 2012-09-19

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US (1) US8173884B2 (fr)
EP (1) EP2297726B1 (fr)
JP (1) JP5205512B2 (fr)
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WO (1) WO2009149855A1 (fr)

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DE102008028328A1 (de) 2009-12-24
US20110100198A1 (en) 2011-05-05
JP5205512B2 (ja) 2013-06-05
DE102008028328B4 (de) 2010-06-10
US8173884B2 (en) 2012-05-08
CN102119410B (zh) 2013-03-13
EP2297726A1 (fr) 2011-03-23
WO2009149855A1 (fr) 2009-12-17
JP2011523099A (ja) 2011-08-04
CN102119410A (zh) 2011-07-06

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