Isomorphic musical instrument and matching notation method

Abstract

The present application relates to a twelve-semitone isomorphic keyboard or soundboard group, which adapts to the natural arch of five fingers by using color allocation layouts, tone key shapes, concave-convex touch recognition points, etc., so as to achieve the technical effects of quickly identifying note positions, and simplifying and unifying fingering. Correspondingly, the structures of transmission apparatuses of a piano and an electronic organ are also changed. The present application further relates to a matching twelve-semitone independent-note isomorphic notation method, and software and apparatuses for music score creation, music score singing and note singing. A system endows a music score with various pattern identification detail features to match the music scores to note positions of a musical instrument on a one-to-one basis, such as a twelve-semitone pitch scale, a series of octave clefs, opposite notehead-stem directions between lines, zigzag bar lines and four sets of note systems, making music score information intuitive and concise, and reducing the workload of brain conversion during music score recognition, and thus increasing the reaction speed. The software and apparatuses for music score creation, music score singing and note singing are powerful tools for recording vocal music in a music score form and teaching music score singing.

Description

Homogeneous musical instrument and matching notation TECHNICAL FIELD

[0001] The present application relates to the field of musical instrument design and manufacture and music notation. Specifically, it firstly relates to a new design scheme of the shape, position layout, color distribution and transmission mechanism of each key on a keyboard instrument; it also relates to a new design scheme of the position layout and structure of each sound plate on a percussion instrument (such as a xylophone, marimba, vibraphone, etc.) using the sound position layout of a keyboard instrument; it also relates to a music notation system matched with the above keyboard instrument or percussion instrument, and a music score making and singing method and device.

[0002] IPC classification: G10G1 / 02; G10G3 / 04; G10C3 / 12; G10D13 / 01 BACKGROUND

[0003] Piano is the representative of keyboard instruments and is known as the "King of Instruments". Although piano adopts twelve equal temperament, according to the effective touch key points, the traditional keyboard layout can be regarded as a non-uniform arrangement and distribution mode of "seven white keys in lower row and five convex black keys in upper row in parallel" ("white black white black white black white black white black white") for each twelve semitone unit, which determines that there are twelve different sound position shapes and twelve different fingering hand shape changes for each type of scale with different semitones as the main tone on the piano. This is a greater difficulty in the learning process of piano.

[0004] In order to simplify the combined finger method, there are some attempts to modify the traditional piano keyboard layout according to the uniform arrangement, which is called "Isomorphic keyboard" in foreign countries. According to the internet search, some people have tried to adjust the position of the keys within the framework of the traditional piano keyboard layout of two rows, such as CN109360537A, CN85203204U, CN202258274U, CN2153118Y, CN201117227Y, US7253349B1. Although it can simplify the twelve-tone fingering and hand shape change to two in theory, after the isomorphism, when the tonic of major appears in the lower row, the fingering problem of the scale is difficult to handle, the fingering is awkward and inconvenient, and it needs to be frequently crossed, which affects the speed. Moreover, some two-row designs (such as all black in the upper row and all white in the lower row) are difficult to distinguish because the appearance (shape and color) of the keys of different pitches in the same row is the same, which causes new identification difficulties. Some attempts have been made to design more than two rows of keys based on the traditional piano key distribution. For example, CN213635316U "666 keyboard" with three rows, but there are still problems of smooth fingering. The Janko keyboard (see Figure 1) with more than four rows can achieve the effect of simplified fingering and smooth fingering, but the Janko keyboard after the shape is changed to "isomorphism" (as well as the aforementioned "666 keyboard" with three rows and some two-row "isomorphic keyboards") still uses the color distribution of "seven white and five black" for each unit of the traditional piano key group (which is a significant technical feature of the traditional keyboard), which corresponds to or is matched with the "floating seven-note notation" of the staff. The staff belongs to "non-isomorphic" notation, which has four main defects: first, the pitch of the line or space is not fixed, and frequent floating causes confusion; second, the relationship between each octave is not isomorphic, and needs to be learned and recognized separately; third, there are four kinds of key signatures in each pitch range, and the pitch reference is not consistent, which is not an isomorphic relationship, and the method of recognizing the pitch is different, which needs to be learned separately; fourth, the confusion of "transposition notation". Therefore, the Janko keyboard after the shape is changed to "isomorphism" is a contradictory existence, and it is a "not complete isomorphism" that accommodates the staff, which is inevitably affected by the staff and affects the recognition speed. The color, position, shape, transmission method and notation of the keys in the present application are completely different from the traditional design, which completely breaks away from the constraints and drag of the traditional key color layout and the floating variable pitch of the staff.

[0005] Notation is a method of measuring and recording data of various indicators of music. The role of notation is to record music information for learning, teaching, and rehearsal, so that music information can be easily read and communicated. It requires simplicity, easy understanding, and meets various application scenarios and meets the needs of large orchestra concert scores. After thousands of years of music development and practice, the five-line staff and the simplified staff have become the mainstream notation method today. In addition, there are also six-line staff notation for guitar, reduced staff for Chinese Guqin, and Gongchi staff for Chinese traditional opera. However, even though the five-line staff and the simplified staff have great advantages, they also have insurmountable shortcomings.

[0006] Simplified staff: a notation method that uses natural tuning seven notes as recording positions, and uses numbers and other auxiliary symbols to record information such as pitch. The advantages are simple and easy to write, compact and regular, clear indication of tonality, and clear indication of changing notes, which are the entry-level notation method that musicians must know and will. The disadvantage is that it is not convenient to record more than three octaves; the pitch is not intuitive enough; and the natural tuning outside the notes needs to be expressed by attaching the accidentals to the tuning seven notes, which is not convenient for recording music with many natural tuning outside notes.

[0007] Five-line staff: a "floating seven-note position notation method" that uses C major natural tuning seven notes as recording positions and changes the pitch by adding accidental symbols to record twelve notes. The five-line staff basically clearly indicates the tonality (the key signature can convey information to prompt the tonality of the music section to belong to a major or corresponding minor), and the natural tuning outside the notes has obvious signs. The large staff table combined with the high and low clefs can record a wide range, but often has to rely on the over-wide upper and lower lines, causing some reading difficulties. Although the five-line staff pitch information is generally intuitive, it is not accurate enough, because the same physical distance exists between any two lines and spaces of the five-line staff, but the pitch distance changes frequently with the change of tonality, which is equivalent to a constantly changing scale, making it difficult to remember and quickly distinguish. The traditional piano keyboard layout has five black keys (and even individual white keys) in each twelve semitones unit, which correspond to the five-line staff accidentals, without independent note names and syllables, causing great difficulty in sight-reading. Moreover, the five-line staff has four types of clefs: treble clef, middle clef, bass clef, and sub-bass clef, each with its own pitch reference, and the same visual position between them does not show an octave relationship, and the same name high and low octave notes are not in similar visual positions, which becomes an interference factor in reading pitch and sight-reading. Therefore, many music lovers are very headache about the frequent changes of accidentals (including accidentals within the key signature and temporary sharps and flats, double sharps and flats, and natural notes outside the key) and the changes of high, low, middle, and sub-bass clefs. From reading (distinguishing sharps and flats and then converting to a specific pitch), memory, to performance and singing (finding the correct sharp or flat position), this process is not easy, affecting efficiency. The present application overcomes this disadvantage of the five-line staff.

[0008] The solfeggio method is closely related to the notation method and is an important part of the notation method. The mainstream solfeggio method in use is closely related to the five-line staff and is a component of the five-line staff system. In the traditional music basic theory and music professional examination represented by the five-line staff, there are fixed solfeggio and solfeggio of the first key (moving do) corresponding to the five-line staff. Among them, the fixed solfeggio has only seven notes (the white keys on the traditional piano and the lines and spaces without sharps and flats on the five-line staff) with independent note names and solfeggi [note names C, D, E, F, G, A, B, and solfeggi in turn do / re / mi / fa / sol / la / t (t Chinese people used to sing "xi" [ʃi:])]. The other five notes (black keys on the traditional piano) have no independent note names and solfeggi, and their note names are borrowed from the seven white keys with sharps and flats, and are called the altered notes (or sharps or flats) of a certain white key note. Even in the case of six sharps, six flats, seven sharps, five flats, and seven flats, five, one of the pair of white keys with a half-step interval in terms of pitch, will be temporarily called the altered note of the other. On the five-line staff, with the use of sharps and flats, the pitch of some lines or spaces also changes temporarily. For this line or space that temporarily becomes another pitch, its note name is generally called the original note name plus sharps and flats. However, the solfeggio is quite chaotic in sight-singing practice, with some singing out sharps and flats and some not. But no matter whether the sharps and flats are sung or not, with the change of the key, the uncertainty of the frequent rise and fall of the pitch of the same position on the five-line staff is certain, which causes great trouble in reading and sight-singing, and the "eye-brain-mouth" is difficult to quickly coordinate. Therefore, some people have tried to give the five notes independent solfeggi. Most of them are based on the solfeggi of adjacent white keys and change the ending rhyme to name the solfeggi of black keys, but the solfeggi of black keys named in this way are similar in pronunciation to the solfeggi of white keys, which is not clear and is not desirable. Some people use the pronunciation (and simplified pronunciation) of the numbers 0 to 11 as solfeggi starting from independent notation of twelve semitones, and it is difficult to judge the pros and cons. This application starts from the perspective of the independent notation system of twelve semitones, and gives the other five notes independent of the seven notes independent note names and solfeggi, so that they are free from the trouble and burden of sharps and flats, forming a complete twelve semitone independent note name and solfeggio system.

[0009] In addition, the five-line system also has a fatal flaw of "transposition notation", that is, "transposition instruments" cannot use the correct music score. Due to the history and reality of the development of musical instruments, many instruments are mainly first-order instruments. A set of instruments of the same series generally includes several instruments with similar structure and different sizes, each of which has its own main tone and scale, and takes into account a small number of closely related tones. In order to facilitate memory and performance, performers use the same fingering to play instruments of the same series, and uniformly use the C / D / E / F / G / A / B positions on the five-line staff (i.e. the C major natural scale) to indicate the "do / re / mi / fa / so / la / t" of their own instrument. In fact, the five-line staff is used as the first-order notation. However, the structure of the five-line staff is not suitable for first-order notation. This has caused confusion. In the face of the same correct five-line staff, different instruments with different tones will play different tones, and instruments with tones higher than C will play higher tones, and instruments with tones lower than C will play lower tones. In order to enable "non-C instruments" to play music with correct actual pitch, the practice has formed the habit of "transposition notation", using five-line staff with pre-reverse transposition (note that it is not "equivalent pitch rewriting"). Although this has facilitated the use of transposition instruments by musicians, due to the "transposition notation" of this "make-shift" method, the original pitch is distorted, and it is difficult to distinguish between "transposition notation" and "correct pitch score" in practice due to the five-line staff itself. This has caused considerable confusion: first, the score or conductor needs to prepare various "transposition instrument" scores in advance, and needs to calculate the transposition notation pitch based on (C tone-instrument tone high + original score tone high), which is slightly complex in terms of key change. In the process of "transposition notation" translation, distribution, rehearsal, and conducting, any communication gap may cause performance accidents, especially for conductors, who need to switch between "true pitch notation" and "transposition notation" (false pitch notation), which is very laborious; second, the accuracy of music score literature is affected, "transposition notation" is actually "false notation" (the "false" word means "not true" and "borrowed"), which is easy to misinterpret and spread beyond the scope to replace the "original score". The present application solves the problem of "transposition notation".

[0010] In order to solve the above-mentioned problems existing in the five-line seven-position notation, some people have tried to use twelve-position notation. In the history of music, the use of twelve sounds in performance practice may be very early, such as the concepts of five sounds, seven sounds ( " palace, business, corner, variable transverse, transverse, feather, variable palace", which is equivalent to natural major seven sound scale), twelve pitches in ancient Chinese music. In the Ming Dynasty, Chinese musicologist Zhu Zaiyu was the first to theoretically propose twelve equal temperament and its algorithm in the world. However, due to the deep-rooted concept of five-degree generation law, no mature twelve-independent notation system has been developed in the world. According to the search, there are two kinds of twelve-position notation systems closest to the present application: the document with publication number CN1965347A mentions: "In 1764, Roualle de Boisgelou proposed a seven-horizontal parallel line semitone scale Nota Graph system." But this "system" is still a simple framework, without a systematic and perfect design and mature practice, and there are differences in form from the present application. (See Figure 2.) The inventor of the above-mentioned document with publication number CN1965347A applied for a twelve-semi-tone independent notation system "new five-line staff", which is obviously different from the present application (see Figure 3). The publication number JP3640886B2 and its same family also describe a similar notation scheme as the above two kinds of notation forms, which is still quite rough. The publication number US2016125856A1 and its same family describe a twelve-semi-tone seven-line notation system and a twelve-semi-tone seven-line notation system as a result of the conversion method, and use 12 English letters from I to T as the name of the sound, but it lacks several key features of a complete notation system, such as the positioning of absolute pitch, the marking of different sound ranges, the marking of different tonalities, the staff, the singing name method, etc.

[0011] In summary, the foregoing several twelve-position notation systems still have the following shortcomings: the recognition of sound area and pitch is still not clear and accurate; no sound name singing name scheme that can match the twelve-semi-tone independent position well is given; it cannot meet the needs of multi-voice part notation; and it cannot solve the problem of "transposition notation" confusion. Therefore, it cannot form a substitute advantage for the five-line staff. The present application carefully designs a twelve-position isomorphic notation system and its notation software or device, which better solves the above-mentioned problems. Technical problem

[0012] How to make the keyboard instrument and keyboard percussion instrument playing finger more simple, and find the sound more quickly and easily? Technical solution

[0013] The present application includes a group of two inventions belonging to one general inventive concept, which are used in conjunction.

[0014] The application relates to a new type of twelve-half-tone isomorphic keyboard design or percussion instrument soundboard group design (named as a crystal keyboard because the sound keys and soundboards are shaped like crystal), which comprises the following steps: black (or dark) key surfaces are given to C sounds in each octave, so that the keyboard soundboards are brightly separated into multiple similar octave sound areas; F and G sounds are given the same dark color or a medium light color which is slightly lighter than the C sound as the identification coordinates of adjacent rows, and the remaining other keys are given light colors; the positions of the whole sound keys are distinguished through second-order or third-order color contrast, so that each of the twelve half tones has a unique position feature; at least two rows of straight arrangement are adopted between the sound key soundboards; the sound key soundboards are arranged in a slanting embedding mode between the rows; the sound key soundboards are shaped like crystals, and convex and concave touch recognition points are arranged on surfaces of some key sound keys; in order to realize the change of the keyboard layout, the transmission method and the structure of the transmission device are also changed; the new sound key layout fully utilizes the ergonomic principle, increases the replacement fingering of the separated rows which is not possessed by the traditional piano, and can flexibly and easily change the reverse-arched sound position into a natural arch, so that the performer can fully utilize the natural arch of the palm fingers to play, and the comfort degree of the piano playing hand shape fingering is increased; the twelve half tones are main sound and the geometric shapes of the similar tuning positions are completely similar and are in a horizontal or slanting translation relationship, so that the traditional piano twelve tuning fingerings which are different from each other can be unified into two comfortable hand shape fingerings of upper three rows and lower three rows on the crystal keyboard, and even can be unified into the same kind, so that the learning and playing difficulty is greatly reduced; in addition, the function which cannot be realized due to the different heights of the black and white piano keys of the traditional piano electronic piano is newly added, for example, the scale scraping of an arbitrary major scale and the scale scraping of a half tone scale; and the sound name singing teaching function which has not existed before is also newly added.

[0015] The application also relates to a twelve-position isomorphic notation system corresponding to the aforementioned musical instrument, and a music score making, singing and playing software and device thereof. The system can be called "seven-line K notation" according to the appearance. The application aims to provide a music score tool with excellent performance for musicians. By studying and analyzing the visual, tactile, recognition and cognitive rules of human beings and the "eye-brain-hand" conditioned reflex rules, the music score is systematically endowed with various pattern recognition details, such as a twelve-half-tone pitch scale with uniform scales, nine eight-degree clefs in a series and similar but different, symbol head and tail directions opposite to each other between lines, bent bar lines, four sets of note systems and the like, so as to make the music score information as direct, simple and clear as possible, to maximize the use of technical means to reduce the steps and conversion workload of the brain in the on-the-spot processing of musicians when reading and playing the music score, to reduce the on-the-spot processing difficulty of musicians and to improve the on-the-spot reaction speed of musicians. For the aforementioned twelve-half-tone isomorphic musical instrument, the music score made by using the music notation is highly corresponding in appearance structure between the positions on the musical instrument and the positions on the music score (see Fig. 4), the music score is as clear as the musical instrument, the music score shape is as the hand shape, and the music score recognition difficulty is greatly reduced, which can be a natural partner. Compared with the previous various music notations, the "seven-line K notation" is obviously different in appearance form, has many differences in the marking and processing details of music information, and creatively adds the unprecedented four sets of note systems, thereby forming a unique new music notation. The music score making, singing and playing software and device thereof are powerful tools for recording vocal music into a music score form and teaching music scores. The seven-line K notation can be generated by manually inputting music symbols, and the music information in the forms of MIDI, five-line score and recording can be efficiently converted into the seven-line K notation by means of file information extraction and reorganization, image recognition and reorganization and audio recognition and reorganization.

[0016] The common inventive concept and technical features of the aforementioned "musical instrument" and "music notation" are as follows: the positions on the musical instrument and the positions on the music score are in one-to-one corresponding mapping relationship; both are given independent positions to twelve half tones; both take each octave as a basic unit, and the two tones at the beginning and end are in pure octave relationship, and the corresponding display processing is performed on the color of the tone key or the thickness of the staff line; the upper row of tone keys of the basic tone key unit (two rows) corresponds to the spaces on the music score, and the lower row of tone keys corresponds to the lines on the music score, and the note heads in the spaces and the note heads on the lines are respectively oriented to the left and right of the stem; the tone keys obliquely adjacent to each other on the musical instrument and the note heads adjacent to each other between the spaces and lines on the music score are all different by a half tone; the tone keys vertically adjacent to each other and the two note heads adjacent to each other between two spaces or two lines are all different by a whole tone; the same-named tones of different octaves on the keyboard or the music score have the same relative position; a common independent note name system is used on the musical instrument and the music score; the "musical instrument" and the "music notation" are used in combination, and jointly form an ecological system.

[0017] The detailed content of the twelve-half-tone isomorphic musical instrument keyboard sound board group is as follows:

[0018] This "Twelve-half-tone Isomorphic Keyboard or Soundboard Set" can be applied to instruments that need to be played by fingers touching keys (such as mechanical pianos, electric pianos, electronic organs, synthesizers, etc.), and can also be applied to percussion instruments that do not need to be played by fingers touching keys but by using mallets to strike soundboards (such as carillons, xylophones, marimbas, vibraphones, etc.), and can also be applied to virtual instruments drawn by computer programs only on display screens. (See Figures 5, 6, 7, 8, 9, and 10.)

[0019] The following describes the main features of the structure and functions of this isomorphic keyboard or soundboard set in conjunction with the preferred embodiment:

[0020] First, the core feature is that C keys are assigned dark colors (black or dark colors), F and G keys are assigned intermediate colors, and the remaining keys are assigned light colors (white or light colors), with three levels of color contrast; or, C, F, and G keys are assigned dark colors (black or dark colors), and the remaining keys are assigned light colors (white or light colors), with two levels of color contrast. Taking C, F, and G keys as coordinate points, each semitone has a unique and distinct spatial relative position visual feature, which effectively ensures fast recognition. (The color distribution and layout of the semitones in this application are significantly different from traditional piano keyboards and other isomorphic keyboards, and are completely original. The relative position layout scheme of "black-gray-white" or "dark-light" is a key technical means that determines or influences the structure of the instrument and the method of playing, whether on a traditional keyboard or an isomorphic keyboard.)

[0021] Second, in order to facilitate blind playing and quickly identify semitones by touch, C, F, and G keys are specially provided with slightly convex and concave but clear and perceptible dark spots. (This is also significantly different from other designs.)

[0022] Third, when applied to physical instruments that require the use of finger touch keys to play, the preferred embodiment is a "homogeneous four-row key keyboard": visually, the four rows of keys are divided from far to near. The middle two rows are the main keys, and the basic shape of the individual key surface of the main keys is a crystal-like hexagon or an elliptical hexagon. There is one row of auxiliary keys on the far side and one on the near side, and the auxiliary keys are axisymmetric pentagons with one corner of the main keys cut off or moderately deformed. The middle junctions of each row of keys are arranged in an interlaced and embedded manner, and the junctions form a regular zigzag line, which not only enhances the recognition of the sound but also facilitates the hand shape. All the keys have the same width, and the length is such that the five fingers of the palm can naturally cover the same row, adjacent rows, and separate rows and move freely. The interval relationship between two adjacent keys is a half tone of two degrees diagonally and a whole tone of two degrees horizontally. The main keys and the auxiliary keys of the separate rows are equivalent in sound (linked or not linked). It is recommended that the surfaces of the four rows of keys be on the same plane; they can also be slightly lower or higher, and the best body feeling can be determined according to the height when the keys are relaxed, the height when they are pressed, and the arm touch, stretching, closing, lifting, lowering, and finger wrist movement. The edges of all the keys are appropriately inwardly rounded to facilitate clear key boundaries, clear tactile judgment, comfortable finger touch, and smooth movement and scraping. The width of the keys should ensure that the five fingers of the palm can naturally cover three rows and an eight-degree range at the same time. According to the natural physiological characteristics of the five fingers, the index finger, middle finger, and ring finger are mainly responsible for the upper-middle area, the thumb is mainly responsible for the lower-middle area, and the little finger is mainly responsible for the right area. The basic principles of finger technique for the same row, adjacent row movement, crossing, expanding, and shrinking are similar to those of traditional pianos, but there are more techniques for separate row finger techniques. The natural major scale shape presents a "three-flat-fold-four-flat-fold" cycle rule change, and identifying the tonality and selecting the finger technique through the shape of the sound group distribution is an important method for the crystal keyboard and a significant feature.

[0023] The design of the four-row key keyboard realizes the replacement of the same sound in the separate rows, i.e., the same sound has two keys in the separate rows to choose from. The music running channel is more than the design of the two-row key, which can easily and flexibly shape the awkward and difficult-to-handle sound position on the two-row key into a comfortable sound position to fully utilize the natural arch and arc distribution of the fingers and palms for playing, and can return to the relatively safe main key area from the auxiliary key in time. This means that compared to traditional keyboards, the crystal keyboard has more flexibility in finger technique and greater ability to correct errors.

[0024] The present application keyboard layout makes the conditioned reflex rule can fully play a role. On the crystal keyboard, the interval distance and the physical distance between the keys are relatively stable and regular, and the same interval has completely similar geometric shape and position relationship; while different intervals, from the same degree to small two degrees, large two degrees, small three degrees, large three degrees, pure four degrees, augmented fourth degrees / diminished fifth degrees, small six degrees, large six degrees, small seven degrees, large seven degrees, and pure eight degrees, each has its own specific and unified shape, which is convenient for forming fixed conditioned reflex, muscle memory and unified body sense. Especially, the shape of the small two degrees "fold" is very matched with the musical sense and body sense of the small two degrees, which is also the key point of the shape recognition of the tonality. (In contrast, the traditional piano keyboard layout violates the conditioned reflex rule, and the shape of the same interval is different, and the distance is far and near, which causes confusion in body sense.) And the interval is a basic concept of music that every musician needs to be familiar with. After being familiar with the fixed and unified interval shape, the performer can easily find the correct pitch by the fixed feeling of the interval and the finger distance, which is very helpful for improvisation and improvisation; At the same time, there is no need to worry about the situation that there are empty keys on the keyboard, so that more body and mind can be put into music performance, and the highest state of body and mind integration in music performance can be realized. Similarly, the same type of tonality and the same type of chord of the twelve semitones have the same shape of pitch, which is in a horizontal or diagonal translation relationship.

[0025] The traditional piano black keys are narrow and protruding, and the fingers are easy to slip when playing, which is not as good as the wide and flat white keys. The twelve semitone keys of the crystal keyboard are consistent in width, assuming that the size of the octave is unchanged, the width of 6 keys of the crystal keyboard = the width of 7 white keys of the traditional keyboard, which means that each key is slightly wider than the white key on the traditional piano, and each row is flat, so it will have better playing feel than the traditional piano. Due to the unevenness of the black and white keys on the traditional keyboard, only one pair of C major / a minor scales can be scraped on the white keys. On the crystal keyboard, the performer can use double fingers to rotate and scrape the keys quickly and smoothly to perform all twelve pairs of natural major and minor scales, and semitone scale scraping; If the two rows of main keys are in the same plane, single finger curved key scraping can also be used to quickly and smoothly perform all twelve pairs of natural major and minor scales, greatly expanding the composer's creative space. In addition, the same sound main keys and auxiliary keys can be quickly alternated "tut" with two fingers.

[0026] Fourth, the soundboard layout of the present application can also be applied to keyboard layout percussion instruments such as the clock piano and the marimba. Because it is struck with a mallet instead of touching the keys with fingers, only two rows of soundboards are needed, and there is no need to have the concave-convex touch feature described in the second item above. The surfaces of the two rows of soundboards are in the same plane, and the soundboard size, soundboard shape and soundboard spacing can be appropriately modified according to the characteristics of the instrument.

[0027] Fifth, the innovative independent twelve semitones name singing method: in addition to the traditional seven notes, the other five notes are given independent names and singing names that are not dependent on the seven notes, making them free from the uncertainty and burden of sharps and flats, forming a new complete independent twelve semitones name and singing name system. The applicant selects English letters and Chinese pronunciation to determine the names and singing names of the five notes without independent names in the five-line staff as How (abbreviated as H), U, K, P, and Y. (At the same time, to avoid confusion with the singing name of C, the singing name of B is changed from "si" to "t".) In determining these names and singing names, the principle is: not easy to be confused with other names and singing names, easy to pronounce after arranging scales and chords, and as close to the letter pronunciation as possible. This scheme avoids confusion between the same initial consonants and the similar approximation between clear and dull consonants; the final consonant (vowel) is allowed to be read as a homophone for sentence memory according to the situation. It should be said that there are not many letters and pronunciations that meet the conditions, and it is very difficult to choose them.

[0028] Manufacturers can choose to mark the names of their notes on the keys according to the present name singing method. Electronic organs, electric pianos, synthesizers, virtual keyboards, etc. can be added with the present name singing method teaching singing function, that is: playing the keys can not only produce the corresponding sound of the same pitch as the pre-selected sound according to the existing technology, but also further sing out the names of the keys (in the form of ordinary reading or in the corresponding pitch within the human vocal range) by using the built-in singing program according to the present name singing method; or sing out the singing names in the corresponding pitch within the human vocal range; when singing the names, you can also choose to use the fixed name method or the moving name method.

[0029] The detailed content of the supporting "twelve semitones isomorphic seven-line K staff notation method" is as follows:

[0030] There are two types and three versions to meet the needs of different musicians:

[0031] The first type of seven-line K staff:

absolute pitch version of seven-line K staff

[0032] First, the basic unit is a "twelve semitones scale of an octave group" (see Figure 4), which consists of seven horizontal parallel lines arranged at equal intervals, and the "lines" and "intervals" correspond to the twelve semitones from low to high; the seventh line is the first line of the octave; in order to identify each unit, the first line and the seventh line are slightly thicker than the middle five lines, called "C line"; the middle line is named K (equivalent to ♯ F or ♭ G on the five-line staff), and the K line is drawn as a broken line. The colors of the other lines between the C line and the K line can also be slightly lighter.

[0033] Secondly, within each unit, the order of the twelve semitones from low to high is C, H, D, U, E, F, K, G, P, A, Y, B. H is the abbreviation of How, which is pronounced like a number; the others are pronounced as English letters. How / U / K / P / Y are the original names of the five notes without independent names in the twelve semitones, which were created by the applicant after years of repeated screening. The note naming method is an important part of the notation method. From the perspective of independent notation system of twelve semitones, the applicant has given the five notes other than the traditional seven notes independent note names and names that do not depend on the seven notes, making them completely free from the uncertainty and burden caused by the frequent occurrence of sharps and flats in the traditional notation method.

[0034] Thirdly, in order to facilitate identification, the small bar line of a music score usually containing pitch information is slightly curved to the right with the middle line as the axis, which is different from the vertical line usually used in the existing notation method; the small bar line of the combined drum and cymbal score without pitch information can use a vertical line.

[0035] Fourthly, in order to facilitate identification and make the seven-line K score correspond to the two rows of main keys of the crystal keyboard, the note head on the line is directed to the right, and the note head in the space is directed to the left. This is different from the practice of all other notation methods.

[0036] Fifthly, in order to make the score more compact, the direction of the note tail with tail is also changed to be consistent with the head. When the notes in a group are combined with the tail, the length also needs to be basically corresponding to the head, so that the note duration is clear at a glance. This is different from the practice of other notation methods.

[0037] Sixthly, for music or voice with a wide range, there are systematic solutions: (see Figure 11)

[0038] The basic clef is designed as a "K" shape and its artistic variations, with the bottom line corresponding to "Central C", and the basic clef corresponding to the "central octave group". The upper and lower octave clefs are distinguished by the number of "legs" or "arms". Adjacent octave scales and clefs can be vertically glued and stacked to expand, with half an octave as the basic incremental unit, and stacked into a spectrum band. In this way, it can easily correspond to all nine octave ranges on the largest piano. The most commonly used central octave group clef can be highlighted, such as being painted gray or adding a "heart shape" (meaning "Kindness"). The note names in the same position in different octaves are the same, effectively overcoming the confusion and learning burden caused by the inconsistency of the five-line staff's four clef references, and making it easy to compare and contrast chords with a wide range and multiple voices. Especially when reading scores and finding pitches on music that spans several octaves, whether between the front and back notes or between the upper and lower voices, the huge interval jumps that exceed one or several octaves can be quickly simplified to within one octave for comparison and solution, bringing great convenience.

[0039] When there are fewer notes beyond the top or bottom line, you can flexibly use the form of local added lines, but the number of added lines generally does not exceed three. If there are more than three, the full octave band should be used.

[0040] For music or parts with a wide overall range but relatively flat sections, to save space, you can change the octave clef mid-song and attach a "straight arrow with feather tail" marking to the left of the new clef (see Figure 12). If the octave clef is changed during a line break, it is recommended to also attach this marking after the bar line at the end of the previous line.

[0041] To save space, it's occasionally acceptable to use the "octave shift" notation for individual notes. However, in seven-line K notation, when expressing specific pitch changes, it's preferable to use "semitones" rather than "degrees," as the former provides more precise pitch values, while the latter is more ambiguous. ("Degrees" is a key concept in seven-tone tonal music, but the same degree can vary in size.) For example, "an octave shift" could be notated as "↑12."

[0042] Seventh, regarding key signatures and altered notes: In the seven-line K staff, the twelve semitones each have their own independent position, so there is generally no need to mark "semitone altered notes", which provides convenience for notating atonal music.

[0043] For tonal music based on the seven-note scale, to help readers quickly understand tonal music and locate key notes, it's generally recommended to mark key cues such as "<E major>," "<F minor>," "(atonal)," and "<Yu mode>" on the corresponding lines or spaces before and during key changes (see Figures 14, 15, and 18). Figure 19 shows the position and shape of the seventh notes within the natural major key on an absolute pitch seven-line K staff. Key can also be easily determined based on the position and shape of the notes. If you need to be aware of temporary changes outside the natural key, you can make corresponding marks next to them. Alternatively, electronic versions can display out-of-key notes and other areas that require attention in gray or a medium-brightness color.

[0044] Sometimes, composers require more subtle variations for certain notes. This is particularly true in the Perso-Arabic musical system, which divides a whole tone into four equal parts and a semitone into two equal parts. Therefore, modes often use slight sharps or flats of half a semitone. Seven-line K notation can accommodate the needs of Perso-Arabic modes to some extent by adding a sharp or flat symbol (using special up and down arrows) before the notes that require a half-step change (see Figure 13, where the modes are shown in order: Rasta, Ulaq, Bayati, Hazam, Siba, and Shiqa).

[0045] The second form of seven-line K-staff: [Seven-line K-staff in the key of the first tone] (pitch shifted C, fixed do in the solfa bottom line)

[0046] Many instruments and singers in the sonic key are accustomed to using simplified notation, and the seven-line K-staff can also be used as a sonic key notation similar to simplified notation, with the solfège unchanged but the pitch variable. Similar to the rule of "1=G" in simplified notation, no matter what key or pitch, [bottom line / second line / third line / third space / fourth space / fifth space / sixth space / top line] sing "do / re / mi / fa / so / la / t / do", do is not necessarily equal to C at this time, and you can temporarily specify "bottom line do=F", "bottom line do=F" or "bottom line do=F" according to the specific musical tonality of the music. ♭ E", etc. A pointer symbol is needed to indicate the "bottom line do=". By attaching a pine-shaped [upper pitch distance pointer] with its tip pointing outward to the upright scale of the "K" clef, an "upward transposition" effect is created. The line or space where the pointer is positioned indicates the absolute pitch of the bottom line, which has been raised from C to that point. (Note: The pine-shaped upper pitch pointer indicates the distance of the pitch increase; it only appears to be the "key signature" and may not represent the actual pitch increase.)

[0047] Since we need to "rewrite the pitch" rather than "transpose," the transposition distance pointer on the left side rises by a few semitones, and the position of the note on the right side must be lowered by a corresponding number of semitones. The actual key position on the right side of the K clef also rises and falls accordingly. The rule is "left note rises, right note falls." Theoretically, a piece of music can have 12 such pitch-matching versions, which can be divided into three categories:

[0048] Among them, Category 1 Version 1 is the original [absolute pitch seven-line K staff] without the sharp indicator.

[0049] There is also a Category 1 version that reflects the actual tonality of music theory, called the [True Tone Version]. If it is a regular natural major or minor key, the notes will appear regularly at the "bottom line / second line / third line / third space / fourth space / fifth space / sixth space / top line" positions. At this time, the "absolute pitch of the bottom line = the sharp pointer position" (equivalent to the simplified notation 1=). When singing the score, the bottom line is fixed as "do", and can be easily sight-read with "do / re / mi / fa / so / la / t / do", similar to the simplified notation. To distinguish, the true tone version uses a positioning needle symbol for the sharp pointer (with a triangle added to the tip of the pine-shaped pointer). (Note: For the true C major / a minor key, the [Absolute Pitch Version] is actually equivalent to the [True Tone Version]. In this case, the positioning needle symbol can be marked on the bottom line.)

[0050] The third type is more than ten other equal height rewriting version, which can not reflect the real music theory, these are not preferred version, collectively known as the

equal height borrowed version

[0051] Figure 15 is the same sentence using the above three types of score version, three rows from top to bottom are:

absolute height version

true version

【only for ♭ E instrument using the "equal height borrowed version". The real music theory of this piece is g minor, and the corresponding major is Y major (equivalent to 1= ♭ B in the simplified score). The left transposition pointer and the right side of the note position and the music theory prompt position are in a relationship of this rise and that fall; the music theory prompt box position attached to the clef floats up and down with the rewriting, but the prompt text (i.e. the real tonality) does not change with the change of the prompt box position.

[0052] "Equal height borrowed version" perfectly solves the problem of "transposition notation" in the five-line staff system. It is fundamentally different from the five-line staff "transposition notation": it is called "equal height borrowed version", which can be clearly distinguished from the appearance of the pointer, and it is explicitly stated "for this instrument only", so as to prevent misuse. "Equal height borrowed version" does not distort the pitch information, and the "transposition symbol" on the left and right of the clef is "up and down", and the left and right are added to the absolute pitch. It is regular, simple and intuitive, and can be easily converted, interpreted and restored between different versions, preventing the real pitch information from being distorted. When the seven-line K staff is "equal height rewritten", the instrument is in what position, and the transposition pointer on the rewritten score is marked in what position, making it easy to translate and use. Especially for the same tone music written for a certain instrument, you can use

true version

[0053] Multiple sets of seven-line K staff note systems:

[0054] According to different specific use occasions and purposes, sometimes detailed primary and secondary scores are needed in practice; sometimes individual instrument scores are needed, which often also need to take into account the notation of playing methods; sometimes abbreviated scores with multiple voice parts written on one staff are needed; and sometimes a staff contains a comprehensive simplified score of the main melodies of multiple instruments. In various types of notation, there is always a contradiction between recording more music information and the limited staff surface; there is also always a contradiction between recording more music information and the limited number of symbols that can be used. In order to effectively use the limited number of symbols, the seven-line K score has made necessary induction, standardization and unification of various symbols, and has pushed out four sets of note systems (the concept of "note" in a broad sense includes rest).

[0055] The layout of the seven-line K score is basically one voice part per staff, such as the classic form of a piano piece with two hands, two voice parts and two staffs (see Figure 16). However, in other cases, such as two, three or even four instrumental or vocal concertos, a staff can be shared to reduce the staff surface when the sound areas can be effectively distinguished and the rhythm expression is generally consistent in strength and change. The situation of multiple voice parts sharing a staff is an extreme test for both the five-line staff and the seven-line K score. Therefore, the applicant has specially created four sets of notes for the seven-line K score (see Figures 17 and 18). In this way, when four voice parts share one staff, each voice part can choose to use one set of notes to make it easier to distinguish between voice parts. If there are a few notes in two voice parts that have the same position "contested" or the stem and tail of the symbols interfere with each other, the corresponding beats of the two voice parts can be slightly offset without being aligned vertically, and the stem direction can be arranged flexibly. The rests of each voice part are generally followed by their respective melodies.

[0056] In addition, instruments such as drums and cymbals often have the distinction between hitting the center and hitting the edge, and special symbols have been created to effectively distinguish them. Each set of symbols has two forms: "stem in the edge" and "stem in the center", which can be used when recording drum and cymbal scores.

[0057] However, the performance actions are complex and diverse, and the available symbols are limited. Therefore, the seven-line K score system is open-minded and allows the use of custom symbols (including adding new custom symbols, borrowing or temporarily changing the meaning of common symbols) in special cases. However, there is one principle: custom meanings cannot conflict with the original common meanings of certain symbols to cause ambiguity, and the meanings before and after borrowing or temporary changes must be prominently prompted in the appropriate position of the score.

[0058] Adjustment of other performance symbols:

[0059] For the original five-line staff, the omission, decoration, performance, and other symbols will continue to be used. For the new seven-line K staff, new symbols and rules will be developed.

[0060] How to sing the score:

[0061] The score of this application makes the conditioned reflex law fully play its role. Similar to the crystal keyboard, on the seven-line K staff, the same interval has a completely similar geometric shape and positional relationship; while different intervals, from the same degree to the minor second, major second, minor third, major third, perfect fourth, augmented fourth / diminished fifth, minor sixth, major sixth, minor seventh, major seventh, and perfect octave, each has its own specific and unified shape, making it easy to form fixed conditioned reflexes. In particular, the shape of the minor second "fold" is very matched with the musical feeling of the minor second, and is also the key point of identifying the key through shape. "Large N degrees" and "small N degrees", "major chords" and "minor chords" are clearly distinguished in appearance, and the interval distance is intuitive, clear, and regular, and can be hummed by looking at the picture. On the five-line staff, the large and small degree intervals and the major and minor chords are the same in appearance, which is not conducive to forming conditioned reflexes. In the seven-line K staff, the two parallel undulating melody lines have a similar singing feeling, except for the different pitch. However, in the five-line staff, the two parallel undulating melody lines are a different song. Being able to sing the interval correctly is a basic skill that every musician needs to master. After being familiar with the fixed and unified interval position relationship shape on the seven-line K staff, the musician can even not think about the name of the note, and can easily hum the correct melody by relying on the interval shape between the previous and next notes. It should be noted that when improvising sight singing, the important thing is to quickly imagine the correct pitch and melody in the brain after getting the score (based on the first note prompt, or the standard note prompt, or relying on personal absolute pitch), and then hum it out, and the singing name is not the most important. For example, for an ascending minor third, you only need to hum the correct note 3 "half notes" higher than the previous note, and you don't need to worry about whether the singing name is mi-so, la-do, or ti-re, or re-fa, and the tonality will gradually become clear with the addition of other notes.

[0062] There are two ways to sing the seven-line K staff, and musicians can choose according to the occasion or habit:

[0063]

Twelve half-note bottom line fixed do singing name method

[0064]

Mobile do solfeggio

[0065] This project can greatly reduce the difficulty of playing related musical instruments, reduce the difficulty of reading music, greatly compress the learning and training time of professional talents, and also make ordinary music lovers more willing and more confident to play themselves. Whether it is a performer, composer, conductor, music staff (music making and distribution), or an ordinary music enthusiast, they will benefit from it. BRIEF DESCRIPTION OF DRAWINGS

[0066] Figure 1

Comparison Technology 1

[0067] Figure 2

Comparison Technology 2

[0068] Figure 3

Comparison Technology 3

[0069] Figure 4

Seven-line K-spectrum phonetic mapping of this application

[0070] Figure 5

Application diagram of this application on keyboard instruments

[0071] Figure 6

Application diagram of this application on keyboard instruments

[0072] Figure 7

Application diagram of this application on clock piano and marimba (fragmental top view)

[0073] Figure 8

Detail diagram of the keyboard of this application (fragmental top view)

[0074] Figure 9

Shape change form of the sound key of this application (fragmental top view)

[0075] Figure 10

C major natural scale route diagram on the keyboard of this application

[0076] Figure 11

Seven-line K-spectrum center sound group notation and full-range nine-octave notation superposition example

[0077] Figure 12

Seven-line K-spectrum notation change prompt "arrow feather tail" example (Fauré's Sicilienne)

[0078] Figure 13

Seven-line K spectrum prompt method for micro-lu and micro-de of Persian-Arabic mode

[0079] Figure 14

Seven-line K melody principle tonality prompt example (James Horner's My heart will go on)

[0080] Figure 15

Comparison of three types of notation for the same musical phrase (Nino Rota's A Time For Us)

[0081] Figure 16

Seven-line K spectrum regular division of sound part spectrum band example (Alice's Gift segment)

[0082] Figure 17

Seven-line K spectrum four sets of note system

[0083] Figure 18

Seven-line K spectrum four-part four-set note sharing one spectrum band example

[0084] Figure 19

Absolute pitch version of seven-line K spectrum, position and shape of each natural major scale within seven notes

[0085] Figure 20

Internal structure schematic diagram (left side view)

[0086] Figure 21

Internal structure schematic diagram (top view)

[0087] Figure 22

Schematic diagram of a lever shared by two keys with the same sound (left side view)

[0088] Figure 23

Schematic diagram of a lever shared by two keys with the same sound with tactile adjustment (left side view)

[0089] Figure 24

Schematic diagram of a lever shared by two keys with the same sound (left side view)

[0090] Figure 25

Flowchart of the notation method

[0091] Figure 26

Flowchart of the notation method

[0092] BRIEF DESCRIPTION OF THE DRAWINGS: 11 First row of keys, 12 Second row of keys, 13 Third row of keys, 14 Fourth row of keys, 21 Switch, 22 Circuit, 23 Processor chip, 24 Speaker, 31 Lever, 32 Lever fulcrum, 33 Positioning pin, 34 To the point of transmission of the plectrum or switch, 35 Elastic buffer limiting part, 36 Support bed beam frame. Embodiments of the invention

[0093] Regarding the implementation of the twelve semitones isomorphic musical instrument:

[0094] The design of the same structure musical instrument can be used in physical musical instrument or virtual musical instrument. There are many solutions in the whole chain from "playing / tapping" to "sounding / reading".

[0095] First, it is implemented on a physical keyboard instrument: electronic sound, mechanical transmission, electric transmission or a combination of the above can be used. The structure can be as follows:

[0096] The structure without levers and the keys on the beam frame: (see Figure 20, Figure 21) The keys 11, 12, 13, 14 are in the shape of T, the vertical line is inserted between the support beam frame 36, and the horizontal line is on the support beam frame 36 (the middle can be clamped with elastic buffer limiting part 35). Pressing the key triggers the switch 21, which connects the circuit 22, and the processor chip 23 triggers the electronic sound source and sounds through the speaker 24. Or press the key to trigger the switch 21, and then trigger the string machine to sound in an electronic and electric way. In this structure, the feel of each key is highly consistent.

[0097] The same sound two keys share a lever: (see Figure 22, Figure 23) The same sound two keys (for example, keys 11, 13) are directly arranged on a lever 31 at a suitable position, and the force arm and force distance between the fulcrum 32 / positioning pin 33 / "to string machine or switch transmission point" 34 are adjusted. When pressing the key, the lever 31 drives the string machine, or triggers the remote switch and connects the circuit. The feature is: the lever transmission is simple, direct, labor-saving and low-cost. However, the lever has the characteristics of "long force arm, long stroke, but small effort, short force arm, short stroke, but large effort", which causes slight differences in force and stroke feel of the same sound two keys due to different distances from the fulcrum. Usually, performers can adapt to the slight differences in feel (the traditional keyboard also has such differences in feel). However, some performers who pursue extreme feel may require perfection. Increasing the distance from the key to the fulcrum is a way to partially reduce the difference in feel, but it will not completely eliminate the difference, and it will make the lever and the size of the piano body increase. In order to make the same sound two keys have a high consistency in feel, but also want to avoid the lever being too long, an elastic buffer limiting part 35 with a suitable stiffness coefficient and deformation can be used at a suitable position of the combination of the upper row of keys and the lever to appropriately increase the key pressing stroke of the upper row of keys, soften the reaction force of the key pressing, and make the feel of the upper row of keys almost consistent with that of the lower row of keys. The same applies to keys 12 and 14.

[0098] Each of the same sound two keys uses a lever: (see Figure 24) The same sound two keys (for example, keys 11, 13) use curved levers 31, and each fulcrum 32 gradually retreats. The same sound two key levers are connected at the far end, and the positioning pin 33 helps to suppress the sway of the lever. Since each lever can be adjusted independently, the feel of each key can be made consistent. The same applies to keys 12 and 14.

[0099] The above various structural forms, if using electronic pronunciation, can emit corresponding pitch sound (general sound effect) according to the pre-selected timbre; further, it can read out the note name according to the note name singing method of the application (in the form of ordinary reading or in the corresponding pitch within the range of human voice) by means of the built-in singing program of the application; or read out the singing name in the corresponding pitch within the range of human voice; it can also choose between fixed singing method and moving singing method.

[0100] Second. Implemented on percussion instruments: see the description related to the "summary" paragraph.

[0101] Third. Implemented on virtual keyboard: touch the virtual key on the touch display screen in a touch-sensitive manner, and after processing by the pronunciation and singing program, emit corresponding pitch sound according to the pre-selected timbre; it can even further read out the note name or singing name at the correct pitch according to the note name singing method of the application. The implementation effect depends on the accurate and sensitive response of the sensor and processing program software to the touch. It can be realized by programming with existing software technology and assembling the keyboard layout architecture designed according to the invention with existing hardware technology.

[0102] Fourth. The note name of the note key of the keyboard can be marked according to the note name singing method of the application.

[0103] Regarding the implementation of the twelve semitones isomorphic notation method: (flowchart see Figure 25, Figure 26)

[0104] First, music notation and singing by computer program: realized by using the "twelve semitones isomorphic notation method seven-line K music notation and singing software" in cooperation with necessary hardware equipment. According to the different processing objects of each step, it is necessary to use some of the following hardware list: computer memory, processor, and computer keyboard, mouse, touch screen input, microphone, pickup, audio signal collector, audio analyzer, camera, scanner, image display, speaker, earphone, or equivalent functional alternative devices.

[0105] The general steps of its program flow are: collecting external music information, then technically analyzing and processing the obtained music information data, calling the pitch, note, sound effect database, and then converting and generating output files in seven-line K format for the user to use. Its more detailed specific processing method includes:

[0106] New or open a "twelve semitones isomorphic notation method seven-line K music notation" format file;

[0107] Manual input as the most basic and reserved means, but also to the automatic means described later check and review means; according to the performance action, the input interface of the software manual selection input or click virtual instrument input performance action corresponding to the notes, rests, bar lines, rhythm, expression, etc. Notation symbols, through the program processing and calling database data, according to the "twelve half tone isomorphic notation method seven line K spectrum" appearance form combination generation music, and can be stored in electronic carrier, or can be communicated transmission sharing, or can be output to print to the physical carrier;

[0108] Or through the connection of electronic musical instrument and music electronic signal collector module of this music notation software to collect music information, through the audio analyzer module to analyze and process the data of sound frequency, spectrum, sound intensity, rhythm, tone color, etc. And call database data, extract music information and reorganization, convert the music piece played on the electronic musical instrument into a file with the characteristics of "twelve pitch isomorphic notation method seven line K spectrum";

[0109] Or the singer's singing piece or the music piece played by the musical instrument through the microphone pickup recording, through the audio analyzer module to analyze and process the data of sound frequency, spectrum, sound intensity, rhythm, tone color, etc. And call database data, extract music information and reorganization, convert output file with the characteristics of "twelve pitch isomorphic notation method seven line K spectrum";

[0110] Or through the music notation software to import and read XML, MIDI and other general music files, through the software to analyze and process data, extract music information and reorganization, and call database data, convert output file with the characteristics of "twelve pitch isomorphic notation method seven line K spectrum"; Or reverse conversion;

[0111] Or through the music notation software to import and read other open rights music notation software format score file, through the software to analyze and process data, extract music information and reorganization, and call database data, convert output file with the characteristics of "twelve pitch isomorphic notation method seven line K spectrum"; Or reverse conversion;

[0112] Or through the music notation software to import or scan to read the music file presented in various visual ways (including but not limited to pictures, PDF format, text format, etc.), through the software to identify graphics, and call database to analyze and process data, extract music information and reorganization, convert output file with the characteristics of "twelve pitch isomorphic notation method seven line K spectrum"; Or reverse conversion;

[0113] In the above steps, in order to facilitate real-time correction verification of music effect, the electronic music or virtual instrument sound can be correctly sung according to the note and syllable method described in the application, that is, when playing the seven-line K score, clicking the notes on the seven-line K score, or clicking the virtual instrument sound key, the reading and processing are performed through the music writing and singing program software and hardware, and the pitch, note, syllable, and timbre database data are called. Not only can the correct pitch sound corresponding to the pre-selected timbre be emitted through the loudspeaker as in the prior art, but the key feature is that the note (in the form of ordinary reading or in the corresponding pitch within the human voice range) can be sung according to the note and syllable method described in the application; or the syllable can be sung in the corresponding pitch within the human voice range; and the fixed syllable method or the movable syllable method can be selected.

[0114] Second, the entity semitone electronic instrument singing: realized by a dedicated "singing software" with necessary hardware equipment, including an entity semitone electronic instrument, a computer memory, a processor, a singing software program stored on the memory and executable on the processor, and input components such as a keyboard, a mouse, a touch screen, a pointing pen, and playing components such as a loudspeaker and a headset (some components can borrow general-purpose computer equipment, or independent equipment can be made as needed); the program flow is: when playing the sound key on the entity electronic instrument, the singing software is run and processed, and the pitch, note, syllable, and timbre database data are called. Not only can the correct pitch sound corresponding to the pre-selected timbre be emitted through the loudspeaker as in the prior art, but the key feature is that the note (in the form of ordinary reading or in the corresponding pitch within the human voice range) can be sung according to the note and syllable method described in the application; or the syllable can be sung in the corresponding pitch within the human voice range; and the fixed syllable method or the movable syllable method can be selected. Industrial applicability

[0115] The existing mechanical, electronic, and other physical technologies, existing materials, existing computer programming technologies, and hardware can be used to implement the structure, method, and steps described in the application.

Claims

1. A musical instrument (including physical and virtual instruments) with a twelve-semitone isomorphic keyboard or soundboard set, characterized in that The spatial arrangement, structure, shape, and color distribution of its keys and soundboard: The technical features it shares with the closest existing design are: the twelve semitones within each octave are arranged in two rows, with the pitches of the two rows staggered diagonally, with the pitch difference between two diagonally adjacent notes being a semitone, and the pitch difference between two vertically adjacent notes being a whole tone; the instrument contains at least one octave; the number of rows can be expanded according to the above arrangement rules, and after expansion, the corresponding notes in every other row are of the same tone; the soundboard surface of each key in a single row is on the same plane; Its unique features that distinguish it from the closest existing design are: the color distribution of the twelve semitones, with the surfaces of the C, F, and G key soundboards being dark (including black or dark colors), and the remaining notes being light (including white or light colors), forming a second-order color contrast; or, the note C being dark (including black or dark colors), the notes F and G being intermediate colors, and the remaining notes being light (including white or light colors), forming a third-order color contrast; the typical shape of the surface of a single key soundboard is a crystal-like hexagon or pentagon, and atypical shapes include rounded deformations; the middle junction of the two rows of key soundboards protrudes, staggers, and is arranged in an interlocking manner; the width of the key soundboards within each octave is theoretically consistent or deemed to be consistent (allowing fine-tuning of the size according to the characteristics of individual instruments, allowing reasonable processing errors, etc.).

2. A preferred embodiment of a physical keyboard musical instrument having the features of claim 1, which, in addition to the features of claim 1, further has additional features related to the detailed shape structure of the keys, the pattern formed by the arrangement and combination of the keys, and the three-dimensional structure of the component installation, including: (1) The upper surfaces of the C, F, and G keys are specially designed with slightly concave and convex spots that are clearly felt by the fingers, while the surfaces of other keys are smooth; the edges of all keys have appropriate inward arc angles; (2) Looking down at the instrument, there are four rows of keys from far to near. The two middle rows are the main keys, and the typical shape of the main key surface is a crystal hexagon or an elliptical hexagon; there is a row of extended auxiliary keys on the far side and the near side, and the shape of the auxiliary key surface is equivalent to a pentagon with one corner of the main key cut off or a rounded deformation thereof; on ordinary mechanical pianos, electric pianos, and electronic keyboards, the recommended value of the length-to-width ratio of the keys to suit most human fingers is about 2 to 3 times, but it can also be increased or decreased as needed; (3) Whether or not to set the height difference of the key surfaces between rows can be selected. The surfaces of the four rows of keys can be on the same horizontal plane, or they can be slightly lowered step by step. The surfaces of the two middle rows of main keys can be on the same horizontal plane, and the outer auxiliary keys can be slightly higher or lower. Alternatively, the surfaces of the four rows of keys can be slightly tilted towards the player at a certain angle.

3. A transmission sounding device according to claim 2, characterized in that: The keys are shaped like a T, with the vertical line inserted between the supporting bed frames and the horizontal line resting on the supporting bed frames through elastic buffer limiters; a corresponding circuit switch is set under the keys, and pressing the keys will trigger the electronic sound source or hammer to emit the corresponding musical sound.

4. A transmission sounding device according to claim 2, characterized in that: The two keys with the same note are directly set on the same lever; the other end of the lever leads to the hammer mechanism or switch.

5. A transmission sounding device according to claim 2, characterized in that: The two keys of the same tone are connected to the same lever below; an elastic buffer limiter with appropriate stiffness coefficient and deformation is used under the key closer to the fulcrum of the lever, and the other end of the lever leads to the hammer or switch.

6. A transmission sounding device according to claim 2, characterized in that: The two keys of the same note each use a lever, and after passing the fulcrum, they are connected on the other side and lead to the hammer machine or switch; The lever may be curved.

7. A preferred embodiment of a percussion instrument having the features of claim 1 (similar to a glockenspiel, xylophone, or marimba), which, in addition to the features of claim 1, further has additional features related to the shape and structure of the soundboard, the three-dimensional structure formed by the arrangement and combination of the soundboards, and the appearance, including: (1) When looking down at the instrument, the soundboards are divided into two rows in the longitudinal direction. The surface of a single soundboard is an axisymmetric pentagonal strip with one end being an isosceles triangle and its appropriate deformation. The length, width and gap of the soundboard are set according to the characteristics and needs of the instrument. (2) The surfaces of the two rows of soundboards are on the same horizontal plane.

8. A method for notating and singing isomorphic music, which provides independent notation positions for each of the twelve semitones, and a method and apparatus for producing the same, as claimed in claim 1, comprising three features: The first part is characterized by the "seven-line K-staff twelve-semitone isomorphic notation method", which is characterized by The appearance of such a sheet music has at least one of the following four key characteristics: (1) Its basic unit is a "twelve semitone octave scale", which is composed of seven horizontal parallel lines arranged at equal intervals. The "lines" and "spaces" are arranged from low to high by semitones, and the "lines" or "spaces" correspond to the twelve semitone pitches in an octave in sequence; the seventh line is the octave above the first line; the first and seventh lines are highlighted, slightly thicker or darker than the middle five lines; the middle line is drawn as a clear virtual and real discontinuous line; each musical score contains at least one such basic unit and the corresponding clef, which indicates the pitch range corresponding to this basic unit; the nine octave clefs form a series , similar but easy to distinguish; the octave group with a C note in the lowercase as the bottom line is called the "center tone group", and its clef is a designed "K" shape and its artistic deformation; preferably, the clef of the higher octave is based on the "K" shape and its artistic deformation with a "leg", and the clef of the lower octave is based on the "K" shape and its artistic deformation with an "arm", and both the "leg" and "arm" point to the center tone group; according to the range requirements of the music, the adjacent octave group scales can be vertically glued, superimposed and expanded, with half an octave as the basic incremental unit, and superimposed to the required width; (2) The note heads on the bar line face right, while the note heads in the space face left. In musical notation containing pitch information, the bar line is slightly curved to the right, symmetrically around the center line, while the bar line of drum and cymbal notation without pitch information is a vertical line. (3) The creation of a system of four sets of notes and rests allows for effective distinction of parts when there are two, three, or even four parts, while also making it easier to share a single musical notation, thus saving space. (4) Create and use distinct markings to distinguish between "sharp distance pointer symbol" and "true pitch positioning needle symbol", so that the same piece of music can be selected between the "absolute pitch version" (fixed C on the bottom line) and the "variable pitch version" (moving C, fixed do on the bottom line) according to needs, and "equal pitch rewriting" can be performed; The second part is characterized by the self-created solfeggio method of twelve semitones with independent note names, which is different from the existing structure of traditional piano, five-line notation and simplified notation systems in which only seven notes in the twelve semitones have independent note names and the other five notes are variable notes without independent note names. This solfeggio method gives twelve semitones twelve independent note names, which are created and named in order from low to high: C, H, D, U, E, F, K, G, P, A, Y, B (Among them, C, D, E, F, G, A, B are public knowledge in the music industry, and H, U, K, P, Y are the first creation of the applicant, and the combination of the two is also... The applicant has created this method first); its solfège is created and named in ascending order when using the twelve-semitone C-position fixed do solfège method (Statement: Due to differences in pronunciation of the same glyph in different languages, the pronunciations here are approximate): do, how, re, u, mi, fa, k, so, p, la, y, t, among which do, re, mi, fa, sol, la, t are common knowledge in the music world, and how, u, k, p, y are created by the applicant first, and the combination of the two is also created by the applicant first); or, on this basis, a twelve-semitone moving do solfège method is developed; The third part of the invention is characterized by: a method and apparatus for producing a musical score having the appearance characteristics of the first part and realizing the functional characteristics of the second part by combining a computer program with relevant hardware, comprising the following steps: Create or open an electronic file in this notation format; Manual input is the most basic method and the ultimate means of checking and verifying automatic methods. According to the playing action, the software's input interface manually selects and inputs the corresponding notes, rests, bar lines, rhythms, expressions, and other musical notation symbols, or clicks on the phonemes of the virtual instrument to input the playing action. After program processing, the music score is generated according to the appearance of the "twelve-semitone isomorphic notation seven-line K-staff". The score can be stored on electronic media, transmitted and shared via communication, or printed on physical media. Alternatively, the electronic musical instrument may be connected to the music electronic signal collector module of the notation software to collect music information, and the audio analyzer module of the software may analyze and process various data such as sound wave frequency, spectrum, sound intensity, rhythm, and timbre, and call database data to extract and reorganize the music information, thereby converting the music clip played on the electronic musical instrument into a file with the characteristics of "twelve-semitone isomorphic notation seven-line K-staff"; Alternatively, a vocalist's singing or musical instrument's performance can be recorded with a microphone. The software's audio analyzer module analyzes and processes various data, including frequency, spectrum, intensity, rhythm, and timbre. The software then calls database data, extracts and reconstructs the musical information, and converts it into a file with the characteristics of "twelve-semitone isomorphic notation, seven-line K-staff." Alternatively, the music notation software can be used to import and read common music files such as XML and MIDI, and then perform data analysis and processing, extract and reorganize music information, and call database data to convert and output files with the characteristics of "twelve-semitone isomorphic notation seven-line K-staff"; or reverse conversion can be performed; Alternatively, the software can import and read music score files in the format of other open-source music score software, perform data analysis and processing on the software, extract and reorganize the music information, and call database data to convert and output files with the characteristics of "twelve-semitone isomorphic notation seven-line K-staff"; or perform reverse conversion; Alternatively, the software may import or scan music score files presented in various visual formats (including but not limited to images, PDF formats, text formats, etc.), perform image recognition, and use the software to perform data comparison and analysis in a database, extract and reorganize the music information, and convert and output a file with the characteristics of "twelve-semitone isomorphic notation seven-line K-staff"; or perform reverse conversion; During the above steps, as needed, each phoneme of the electronic music score or virtual instrument can be correctly sung out according to the solfège method described in this application, so as to verify the musical effect in real time or conduct teaching demonstrations. That is, when playing a seven-line K-staff, clicking a note on a seven-line K-staff, or clicking a key of a virtual instrument, the software and hardware of the music score and tone-singing program perform recognition processing and call database data such as pitch, note name, solfège, and timbre. Not only can the corresponding correct pitch musical tones be emitted through the speaker according to the pre-selected timbre as is commonly done in the prior art, but the key feature is that the note name can also be sung out according to the solfège method created by this application (in a normal reading manner or at a corresponding pitch accessible within the human voice range); or the solfège can be sung out at a corresponding pitch accessible within the human voice range; and a choice can be made between fixed solfège and moving solfège. Running this computer software program requires the necessary hardware facilities. Depending on the processing objects in each step, several modules in the following hardware list are required: computer-type memory, processor, computer keyboard, mouse, touch screen input and other input components, microphone, pickup, electronic signal collector and other audio acquisition components, audio analyzer module, camera, scanner and other image acquisition components, image display components, speakers, headphones and other playback components, printer, or alternative devices with equivalent functions.

9. A physical or virtual musical instrument having the features of claim 1, wherein the additional feature is that when a key is played and clicked, the pitch, note name, solfège, and timbre database are processed and called by the singing and reading program software, and the corresponding correct pitch musical sound is emitted through the speaker according to the pre-selected timbre as is commonly done in the prior art, and the key feature is that the note name can be sung and read out (in a normal reading manner, or in a corresponding pitch accessible within the human voice range) according to the note name solfège method created by the present application; or the solfège can be sung and read out in a corresponding pitch accessible within the human voice range; and a choice can be made between fixed solfège and moving solfège; the hardware and software configuration includes several of the following: an electronic keyboard instrument, a computer-type memory, a processor, a singing and reading software program stored in the memory and executable on the processor, input components such as a computer keyboard, a mouse, a touch screen, a pointing pen, an image display component, playback components such as a speaker and headphones, or alternative devices with equivalent functions.

10. A physical or virtual musical instrument having the features of claim 1, wherein the additional feature is that the note names can be selected and marked on the phonemes according to the note naming method described in this application.

Images