Musical instrument, method, computer program, computer-program product, data carrier, system, and use

Abstract

The invention relates to a musical instrument, characterised in that the instrument is designed such that any tonal spaces can be both expanded and modulated / are both expanded and modulated in use, either on the basis of prime-number tone ratios, even those greater than five, or tempered tone ratios, in real time by means of prime number tone ratios, even those greater than five, or by means of tempered tone ratios.

Description

[0001] Musical instrument, method, computer program, computer program product, data carrier, system and use

[0002] The invention relates to a musical instrument, a method, a computer program, a computer program product, a data carrier, a system and a use.

[0003] To date, it is not possible to use a musical instrument in just tuning to extend any chord with higher prime ratios in real time and to freely modulate these chords into the higher prime ratios.

[0004] This object is achieved by a musical instrument according to claim 1, a method according to claim 11, a computer program according to claim 12, a computer program product according to claim 13, a data carrier according to claim 14, a system according to claim 15 and a use according to claim 16.

[0005] The musical instrument according to the invention is designed in such a way that a chord extension and a modulation with prime-number pitch ratios both less than and greater than five can be realized in real time / is realized in use, wherein this capability of the musical instrument according to the invention is illustrated by way of example and in particular with reference to the following explanations.

[0006] In this context, it is advantageous, as it has been proven, that it is an electromechanical musical instrument with a tuning device for the dynamic retuning of vocal bodies, so that chord extension and modulation with prime-number tone ratios both smaller and larger than five can be realized in real time / is realized in use.

[0007] Confirmation copy Furthermore, it is advantageous in this context that it is an electronic musical instrument with a tuning device for tuning virtual voice bodies, so that chord extension and modulation with prime tone ratios both smaller and larger than five can be realized / is realized in use.

[0008] It is also essential to the invention that the musical instrument according to the invention has an electronic computing unit in which the rules and calculation methods listed below are carried out, so that after the calculation and / or allocation to the individual voice bodies - whether real or virtual - a correspondingly free playing, in particular in pure tuning, is possible.

[0009] For practical playing, it is advantageous if the musical instrument according to the invention has at least one control element via which at least one chord extension and modulation context-related action is activated and / or deactivated.

[0010] Furthermore, it is advantageous that the at least one chord extension and modulation context-related action is generated by means of at least one computing unit.

[0011] As an example of an electromechanical musical instrument, let us describe a dynamically tunable organ in particular: This is characterized by the fact that each pipe has a mechanical tuning device. These are positioned by suitable servo drives, so that each pipe can be retuned to the calculated pitch. The precise positioning is calculated centrally by a processing unit using special software, depending on the musician's tuning-relevant inputs, and is then dynamically executed by the servo drives. Control units (touchscreen, switches, MIDI keyboard, pedals, etc.), servo motors, and processing unit are digitally connected.

[0012] For an electronic musical instrument, a dynamically tunable software sampler is described here as an example, specifically: This is characterized by the fact that each sample can be tuned by changing its playback speed. The exact playback speed and thus the pitch of each sample is calculated centrally by a processing unit based on the musician's tuning-relevant inputs and subsequently executed by the software (audio engine). Control units (touchscreen, switches, MIDI keyboard, pedals, etc.) and the processing unit are digitally connected.

[0013] In the context of the invention, it is advantageous, as proven, that the action related to at least one chord extension and modulation context is one from the following group: a. Basic structure of the tonal space (tonality):

[0014] Switching between a pitch range in which the pitch ratios relative to the reference pitch are calculated predominantly as integer multiples and predominantly as integer divisors; b. Limitation of the pitch range (limit):

[0015] Selection of an upper or lower limit of the prime pitch ratios present in the pitch range; c. Assignment of the octave positions of the pitch range (Full Keyboard Tuning): Switching between an octave-bound and a non-octave-bound replacement of the prime pitch ratios determined by selecting an upper or lower limit with larger or smaller prime pitch ratios corresponding to the octave position; d. Shifting the pitch range(s) (modulation):

[0016] Modulation of a reference tone and its defined pitch range, or of several reference tones in a prime or integer pitch ratio and their defined pitch ranges, by selecting a prime or integer pitch ratio; e. Interleaving of two or more pitch ranges (transition):

[0017] Selection of tonal locations remaining after modulation; f. Distance between main pitch range and secondary pitch ranges (distance):

[0018] Selection of the distance between at least two reference tones from at least two pitch spaces by selecting a prime or integer pitch ratio, or correspondingly several prime or integer pitch ratios; g. Continuous change between a tempered or one-dimensional and a multi-dimensional pitch space (progression): Switching between a selection of a tuning from a continuous change between any temperament and a tuning based on pitch ratios of three (Pythagorean tuning) to a tuning based on pitch ratios greater than three.

[0019] In practice, it is advantageous if the inventive

[0020] Musical instrument has at least one playing unit, in particular if the playing unit has at least one playing element from the group keyboard, pedal.

[0021] In this context, it is advantageous and proven if at least one action related to the chord extension and modulation context can be assigned to the at least one playing unit or the at least one playing element.

[0022] In practice, it is advantageous if the musical instrument has at least one amplifier unit and / or at least one loudspeaker, in order to often dispense with physical voice bodies and to reproduce the generated sounds acoustically via the at least one loudspeaker.

[0023] Furthermore, the invention claims:

[0024] A method for retuning a musical instrument, characterized in that a musical instrument according to the invention is used.

[0025] A computer program, in particular when the program is executed on a computer, configured to carry out the method according to the invention.

[0026] A computer program product configured to carry out the method according to the invention.

[0027] A data carrier containing a computergram, arranged to carry out the method according to the invention.

[0028] A system configured to carry out the method according to the invention.

[0029] A use of the method according to the invention and / or the computer program according to the invention and / or the computer program product according to the invention and / or the data carrier according to the invention and / or the musical instrument according to the invention and / or the system according to the invention for playing in such a way that an extension and modulation of any tonal space with prime number pitch ratios both less than and greater than five can be realized and / or for playing in such a way that all intervals of a chord and all chords in relation to one another can be reproduced in pure tuning by retuning during playing; and / or for playing in any key of the circle of fifths defined in relation to the tempered tuning in tempered and pure tuning and in every gradation in between can be realized / is realized in use by retuning during playing.

[0030] The following explanations represent the general principles of the musical instrument according to the invention.

[0031] The instrument according to the invention is designed to manually adjust all pitch ratios of any pitch range, as prime or integer ratios to the current reference pitch, in every detail, both functionally and dynamically. This adjustment is achieved via seven interacting functions (patent claims 6a) to 6g)), which enable a maximally differentiated intonational overall result.

[0032] The goal is, on the one hand, to improve the intonation of existing musical works, if possible, and, on the other hand, to expand the possibilities of harmony and melody through the integration of higher prime pitch relationships in the chord, as well as the distance between the reference pitches of at least two pitch ranges. A prerequisite for mastering this expanded harmony and melody is a deeper understanding of the laws of pure tuning (Prof. Martin Vogel 1923-2007, The Theory of Tonal Relationships, Bonn-Bad Godesberg 1975).

[0033] The goal is not to use automated intonation control to minimize compromises regarding the purity of the intervals of any given temperament through automatic chord recognition and tuning correction. This approach, perhaps best described as "dynamic temperament," is already being pursued by various projects and is thus state-of-the-art: Justonic Pitch Palette, Mutabor, Hermode Tuning, TransFormSynth, among others. Even if this approach can achieve an improvement in intonation in terms of integer pitch ratios, it nevertheless denies the player active, detailed, and thus comprehensive access to the various parameters of intonation. This results in no further artistic freedom.The musician can neither independently control nor consciously shape the process of tuning changes, as the algorithm working in the background fails to recognize the player's artistic intention in the specific harmonic situation. Since there are usually several fundamentally different interpretations of the harmonic relationships of one and the same piece, the player lacks the ability to precisely implement their decisions regarding the exact pitches.

[0034] Inevitably, a standard intonational result emerges that remains within certain limits, but only rarely ventures into new musical territory.

[0035] The following example illustrates this point: One of the unwritten laws of music is the desire to maintain a stable fundamental pitch. This means that the pitch of the reference note of the original harmony must not change over the course of the piece. All of the software projects mentioned above strive to fulfill this law. However, when playing with completely just-tuned intervals, the resulting commas naturally give rise to the phenomenon of intonational "wandering," that is, the repeated rise and fall of the overall pitch.

[0036] Various Renaissance masters, such as Heinrich Schütz (1585-1672), utilized precisely this wandering to make the content of the hymn text more intensely perceptible through intonation. In some works, Schütz imbued negatively connoted content with a falling overall mood and positively connoted content with a rising overall mood. This occurred in an era in which keyboard instruments did not yet dominate intonationally. The melody instruments used (singers, strings, wind instruments) all possessed a sufficient range of extension, allowing them to represent the compositionally intended, sometimes considerable, intonation deviations. At that time, the continuo instrument (chest organ) served more as a support instrument for rehearsing the literature than as an exact reference instrument.

[0037] With the instrument according to the invention, the player receives for the first time a reference instrument with high resolution in terms of intonation while at the same time enjoying maximum artistic freedom.

[0038] Detailed description of the seven parameters of pure tuning: a. Basic structure of the tonal space (tonality):

[0039] The instrument according to the invention follows harmonic dualism in its interpretation of the scales (Arthur von Oettingen 1836-1920, The Dual Harmonic System, Leipzig 1913): Depending on whether the lower or upper tone of an interval or chord is defined as the reference tone, all prime or integer pitch ratios can always be interpreted as either a major or minor interval. If the tone with the lowest frequency is defined as the reference tone, a major chord is created. If the tone with the highest frequency is defined as the reference tone, a minor chord is created. This dualistic approach to the scales major and minor offers the decisive advantage that one can expand not only the major but also the minor chord with higher prime pitch ratios. These higher prime pitch ratios, interpreted as subintervals, always form new pitches that cannot be represented with major intervals.This opens up new harmonic possibilities for playing music in pure tuning.

[0040] For this purpose, the instrument offers the possibility of switching between a basic structure of the tonal space in which all pitches are predominantly integer multiples of the reference pitch (original tonality), i.e., in the range of improper fractions, or predominantly integer divisors of the reference pitch (autonality), i.e., in the range of proper fractions. b. Limitation of the tonal space (limit):

[0041] This parameter controls the upper and lower limits of the prime pitch ratios or dimensions currently present in the Euler pitch grid. The term "limit" used today was coined by Harry Partch (instrument maker, musician, composer, USA, 1901–1974). The goal of this function is to centrally and effectively determine the number of higher prime pitch ratios for each current harmony. c. Assignment of the octave positions of the pitch space (Full Keyboard Tuning):

[0042] If one wishes to play with higher prime pitch ratios, one must ensure that these appear in their favorable octave positions relative to the reference pitch, according to the overtone and undertone spectrum. The larger the prime pitch ratio, the further it should sound from the reference pitch. Nevertheless, it is possible to freely choose the distance to the reference pitch within certain limits, i.e., to octave these pitch ratios "up" or "down" so that their specific character can still be recognized by the ear. To avoid having to select the octave positions manually for each individual pitch ratio, the player has the option of arranging these ratios as groups in the octave spaces above or below the reference pitch, depending on the currently set limit. The groups of prime numbers are defined as values ​​within the limits of the upper octaves (2 A n to 2 An+l) for otonality or within the limits of the sub-octaves (l / 2 A n to l / 2 An+1) for utonality in relation to the reference tone. d. Shifting of the tonal space (modulation): The instrument according to the invention offers the possibility of modulating any reference tone, including its defined tonal space, through the selection of simple and higher prime-numbered pitch ratios. This means that the player not only has chord combinations available that are based on fifth relationships (ratios of three) and third relationships (ratios of five), but also on the higher prime-numbered ratios (ratios of 7, 11, 13, etc.). These modulations with higher prime-numbered ratios make it possible, for example, to reinterpret a blue note of the blues scale (ratio of 7) as a new reference tone, including its harmonic environment. By integrating the higher prime-numbered pitch ratios in the chord and as a basis for modulating it, it is possible to create arbitrarily close or evenTo create wide semitones, which allows for very precise control of the harmonic tension. e. Merging two or more tonal spaces (transition):

[0043] This function combines the d. and f. functions and offers advantages when only one keyboard is available. By specifying which pitches remain after modulation, it is possible to simultaneously make harmonically distant pitches or pitches available within certain limits. f. Distance between the main pitch range and the secondary pitch ranges (distance):

[0044] To reduce the number of retunings during playing, it is recommended to work with at least two keyboards, each assigned its own pitch range. This function allows the distance between the primary reference pitch and pitch range and the secondary reference pitch and pitch range, or the secondary reference pitches and pitch ranges, to be clearly defined by selecting prime or integer pitch ratios. This function is essential for the full integration of the higher prime pitch ratios into the harmonic composition. g. Continuous alternation between a tempered or one-dimensional and a multidimensional pitch range (progression):

[0045] This function allows you to continuously switch between a pitch range of any desired temperament, or a pitch range based on pitch ratios of three (Limit 3), and a pitch range based on pitch ratios greater than three (Limit > 3), using a continuous control. All pitch locations calculated from this are not integers. Exceptions are the pitch locations when the end position of the control is reached with Limit > 3 or Limit 3.

[0046] Progression Melodic Tuning Harmonic Tuning

[0047] 1. tempered limit >3

[0048] 2. Limit 3 Limit >3

[0049] For the listener to perceive a harmonic sequence, a certain amount of time is required for the ear to perceive the frequencies involved, and for the brain to analyze and relate them to each other. If the harmonic change exceeds a certain tempo, the listener is no longer able to clearly relate the different frequencies. The more integer the pitch ratios involved, the shorter the time required.

[0050] Beyond a certain tempo of harmonic progression, it no longer makes sense to tune all pitch ratios, since the necessary, and sometimes extensive, pitch corrections required for pure tuning are no longer perceived as such by the listener. In this situation, the player is free to transition seamlessly either into pure melodic tuning (Pythagorean tuning) or into some other type of temperament.

[0051] The continuous progression toward a pure melodic tuning or temperament should depend on the tempo of the harmonic change and must be decided on a case-by-case basis. This continuous transition allows, on the one hand, a seamless connection between melodically accentuated, virtuoso sections (limit 3) and harmonically rich sections of a piece (limit > 3), and, on the other hand, a seamless connection between very fast harmonic changes, where the player lacks time to make adjustments (tempered), and slower passages with complete adjustment of the pitch parameters (limit > 3).

[0052] The interaction of redundant control elements optimized for quick operation with the 7 sub-parameters of intonation described here creates the possibility of making music fluidly with all details in pure tuning and full artistic freedom.

Claims

Patent claims 1) Musical instrument characterized in that it is set up in such a way that arbitrary pitch spaces based either on prime tonal ratios greater than five or on tempered tonal ratios can be both extended and modulated in real time with prime tonal ratios greater than five or with tempered tonal ratios. 2) Musical instrument according to claim 1, characterized in that it is an electromechanical musical instrument, with a tuning device for dynamically retuning resonating bodies, so that any pitch spaces based either on prime tonal ratios greater than five or on tempered tonal ratios can be both expanded and modulated in real time with prime tonal ratios greater than five or with tempered tonal ratios. 3) Musical instrument according to claim 1, characterized in that it is an electronic musical instrument, with a tuning device for tuning virtual resonators, so that any pitch spaces based either on prime tonal ratios greater than five or on tempered tonal ratios can be both expanded and modulated in real time with prime tonal ratios greater than five or with tempered tonal ratios. 4) Musical instrument according to one of claims 1 to 3, characterized in that it has at least one control element via which at least one action related to tonal space expansion and modulation context is activated and / or deactivated. 5) Musical instrument according to claim 4, characterized in that the at least one action relating to tonal space expansion and modulation context is generated by means of at least one computing unit. 6) Musical instrument according to one of claims 4 to 5, characterized in that the action relating to at least one tonal space expansion and modulation context is one from the following group: a) Basic structure of the tonal space: Switching between a pitch space in which the tone frequencies are calculated predominantly as integer multiples and predominantly as integer divisors relative to the reference tone; b) Limiting the pitch space: Selection of an upper or lower limit of the prime tonal ratios present in the tonal space; c) Assignment of the octave positions of the tonal space: Switching between an octave-bound and a non-octave-bound replacement of the prime tonal ratios determined by selecting an upper or lower limit with larger or smaller prime tonal ratios corresponding to the octave; d) Shifting the pitch space(s): Modulation of a reference tone and its defined pitch space or of several reference tones in prime or integer pitch ratios and their defined pitch spaces via the selection of a prime or integer Tonal ratio; e) Intertwining of two or more tonal spaces: Selection of pitch locations remaining after modulation; f) Distance between main pitch area and secondary pitch areas: selection of the distance between at least two reference tones of at least two Tonal spaces via the selection of a prime or integer pitch ratio or correspondingly several prime or integer pitch ratios; g) Continuous alternation between a tempered or one-dimensional and a multi-dimensional pitch space: Switching between a selection of a tuning from a continuous alternation between any temperament and a tuning based on tonal ratios of three (Pythagorean tuning) to a tuning based on tonal ratios greater than three. 7) Musical instrument according to one of claims 4 to 7, characterized in that it has at least one playing unit. 8) Musical instrument according to claim 7, characterized in that the playing unit has at least one playing element from the group keyboard, pedal. 9) Musical instrument according to one of claims 7 to 8, characterized in that at least one playing unit or at least one playing element can be assigned / is assigned at least one action relating to the tonal space extension and modulation context. 10) Musical instrument according to one of claims 3 to 9, characterized in that it has at least one amplifier unit and / or at least one loudspeaker. 11) Method for retuning a musical instrument, characterized in that a musical instrument according to one of claims 1 to 10 is used. 12) Computer program, in particular when the program is executed on a computer, configured to carry out the method according to claim 11. 13) Computer program product configured to perform the method according to claim 11. 14) Data carrier containing a computergram, configured to carry out the method according to claim 11. 15) System configured to carry out the method according to claim 11. 16) Use of the method according to claim 11 and / or of the computer program according to claim 12 and / or the computer program product according to claim 13 and / or the data carrier according to claim 14 and / or the musical instrument according to any one of claims 1 to 10 and / or the system according to claim 15 for playing in such a way that an extension and modulation of any tonal space with prime ratios greater than five is / is realized in use; and / or for playing in such a way that, by means of retuning during playing, all intervals of a chord and all chords to each other can be / are reproduced in just intonation; and / or for playing in any key of the circle of fifths defined with respect to tempered tuning in tempered and just intonation and in any linear gradation between them can be / is realized in use by means of retuning during playing.