WO2014202809A1

WO2014202809A1 - Uniform musical keyboard

Info

Publication number: WO2014202809A1
Application number: PCT/ES2014/070480
Authority: WO
Inventors: Antonio José Luís GARCIA HERNANDEZ
Original assignee: Garcia Hernandez Antonio José Luís
Priority date: 2013-06-17
Filing date: 2014-06-11
Publication date: 2014-12-24
Also published as: ES1091110U; ES1091110Y

Abstract

The invention relates to a uniform musical keyboard. Unlike conventional musical keyboards, in which the MI-FA and TI-DO pairs of notes are located under two consecutive white keys, while the remaining musical half-tone intervals are below a succession of consecutive white-black or black-white keys, this invention provides a uniform distribution of keys in a keyboard having no consecutive pairs of white keys, in which the keys are instead arranged in an unbroken white-black-white-black, etc. sequence. All of the above is in line with the theory on musical nomenclature disclosed by the author in his intellectual property documents with the RPI, dated 08/2009/901 and 08/2010/911.

Description

UNIFORM MUSICAL KEYBOARD

OBJECT OF THE INVENTION

It is to provide any keyboard instrument (piano, organ, accordion and the like), with a uniform keyboard in the distribution of its keys, as shown in fig. 2 of p. 6 and in fig. 3 on page 7.

The utility lies in being able to easily interpret the musical pieces written on a heptagram (seven lines, compared to the current pentagram of five), all in accordance with the Intellectual Property texts developed by those who subscribe with RPI numbers 08/2009/991 and 08/2010/911.

In said heptagram the numbered notes of semitone are written in semitone, without having to resort to any sign of alteration such as flats, sharps or becuadros.

Thus, in the same way that writing on the heptagram simplifies musical notation, the proposed uniform keyboard would effectively simplify musical performance. But it is that, in addition, the proposed uniform keyboard, would have other important advantages over the traditional one.

The first of these lies in the fact that, by shortening the physical distance between keys (regardless of their size), a smaller extension of the fingers is needed in the interpreter's hand, or what is the same, it is possible a greater breadth of musical performance.

Another important consequence, due to the regular distribution of the keys, is that every major chord would have the same arrangement of fingers, whatever the main note. In the same way it would happen with minor chords. All of which would result in an important simplification, both conceptual and execution.

BACKGROUND OF THE INVENTION

We do not know background regarding the proposed keyboard layout. We do know of some attempts to attribute some type of uniform numerical notation to musical notes in a line similar to ours, although much less elaborate than the one developed in our IP texts alluded to above. In any case, the few antecedents that we know refer only to theoretical questions about musical nomenclature and writing, never to put into practice on the musical keyboard any modification of its conventional configuration, as is the case at hand. DESCRIPTION OF THE INVENTION

In figure 1 on page 6, the conventional keyboard of a piano or similar has been drawn. In it, the following notes are distributed, from semitone to semitone:

DO - DO # - RE - RE # - MI - FA - FA # - SOL - SOL # - LA - LA # - YES - DO

(This last DO is the same DO from the beginning, one octave higher).

If we use English notation, these same notes would be written:

C - C # - D - D # - E - F - F # - G - G # - A - A # - B - C

It is possible to observe a certain irregularity in this distribution of keys of said figure n ° 1, since there are two pairs of consecutive keys, both white, without an intermediate black key. This is because, by pure musical definition, between the MI-FA notes or between the SI-DO notes, there is only one interval of a semitone, which is the same interval between any other pair of white-black or consecutive black-white. To gain simplicity of exposure, in the two figures on page 6, the notes of each key are numbered, at a semitone distance between each two consecutive keys, regardless of whether they are the color they are, as long as they are consecutive.

This numbering corresponds to the same sequence of notes that we have named above and in the same order:

1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10 - 11 - 12 - 1

(Equally this last 1 is the same note as the first 1, an octave higher)

The irregularity observed in the distribution of the keyboard of figure 1 on page 6 is what is intended to be corrected with the proposed keyboard, which is the one that appears in fig. 2 of said page 6, with a regular distribution and uniform keys covering the same previous notes, also noted on the top of the keyboard, although, in this case, the so-called white keys and black keys alternate without exceptions of any kind.

This invention is not intended, therefore, to give new form or arrangement to any other internal or external element of the instrument; only to the keyboard, in the manner indicated in said figure 2.

DESCRIPTION OF THE DRAWINGS

Page 6 contains two drawings or figures. In the first one (fig. 1), the plan view of a conventional keyboard is observed, traversing the thirteen notes of a complete eighth DO-DO, notes that are numbered at the top of each key.

Figure 2 of the same page also consists of another plan view, in this case, of the keyboard object of this invention. Scroll through the same keyboard notes in the previous figure In the fig. 3 on page 7, you can see the plan drawing of the same keyboard of figure 2 on the previous page, with the same notes. Notes that are also written, at the top of each key, using, on this occasion, the new symbols identifying them, according to our aforementioned IP texts.

PREFERRED EMBODIMENT OF THE INVENTION

Figure 3 on page 7 gives us a precise idea of the most important embodiment of this invention. It is to provide any keyboard instrument such as pianos, organs, accordions, even children's keyboard toys, and, in general, any musical instrument in which musical notes are operated by means of keys in the manner and example of the usual piano; to provide it, we said, with a regular and uniform keyboard in which the so-called white, wider keys are alternated, with the so-called black keys, smaller and embedded between two white ones, each of these keys responding to a different musical note, with tonal distance of one semitone between every two keys, white-black or black-white, consecutive.

In this figure, the symbol corresponding to each note has been written on top of each key according to the equivalence set forth in our IP texts, previously mentioned. This equivalence is as follows:

DO - DO # - RE - RE # - MI - FA - FA # - SOL - SOL # - LA - LA # - SI - DO is equivalent to:

6 S> X A OC / //> + V ¿0 S

The proposed keyboard does not have to limit itself to traveling only one musical octave, like the one in the figure, but, as in the conventional piano, it can be extended indefinitely to the right and left, repeating the same sequence of notes, through the neighboring octaves. In the same way, the proposed keyboard can begin and end on the note you want, provided that the proposed semitone distribution is retained in semitone and the alternation of white-black-white keys ... etc.

It has been said previously that this invention can be applied to any keyboard instrument without the need to change any other element in the composition of said instrument. Only the arrangement of the keys should be modified as shown in figure 3 on page 7, and in figure 2 on page 6.

Claims

1.- MUSICAL KEYBOARD, for any musical instrument that requires it (piano, organ, accordion), which, being of the class consisting of two different types of keys, with different dimensions (black and white), is characterized by a uniform distribution of all its keys, from halftone to halftone, alternating the two different types of keys (black and white).