Physical compression device with Artificial Intelligence assistance, on a level of symbols, equivalent to the projection of several levels of arrangement by virtual piano.

Abstract

Physical compression device with artificial intelligence assistance on a single level of symbols, equivalent to the projection of several levels of arrangement by virtual piano. The device according to the invention, methodically assisted by AI, exploits the synergy of compression of levels of symbols placed as an extension (6b) of a keyboard, the contributions of their specificities, and the interactivity with the operator, generating an additional technical effect through the physical arrangement of an improved musical score symbol, the content of which, assimilated by the user, allows for increased performance as a transcriber, composer, reader, performer, and anticipation by lightening the visual circuit and workload. On a narrow area of ​​the score, one compression level (2) can be equivalent, in projection, to thirty virtual piano levels, "Piano roll" (26) for the same harmonics (27).In the digital interface, the representation supports layers differentiated by flows (16) of colors, dense instructions composed of graphic elements, discriminated symbols, attributes, signs, and numerical complexities. Figure to be published with the abbreviation: Figure 10.

Description

Title of the invention: Physical compression device with assistance from Artificial Intelligence, on a level of symbols, equivalent to projection of several levels of arrangement by virtual piano. Technical field

[0001] The device according to the invention arranges, by digital processing and beyond a simple presentation of information, by virtue of a particular order that of the symbols, a new representation of a staged musical score (2), on a computer screen, a digital, virtual, holographic interface, in an improved symbolism, compacting imaged sequences of musical notes, which facilitates for an operator the deciphering the reading of the score, the anticipation, the playing and the musical creation, in an interactive mode. This improved symbolism, with a digital framework in an interactive setting, the result of the physical arrangement of the score, allows for greater work efficiency for the operator, whether in his interpretation or his composition or creation, and explains how, that is to say, by what physical arrangement of the score, the cognitive content is submitted to him, by which means it can be considered as contributing to a technical solution to a technical problem. In another area with the same spirit of technical, functional added value around cognitive content and its transmission, we can refer to the approach of the Walker patent US5802533A "Text processor" in which the degree of interactivity concerns specific parameters of the reader, his preferences, settings on the appearance and the scrolling speed of the presentation in particular. Firstly, the heart of the device can be schematized as the projection, on each horizontal line level parallel to the keyboard or approaching it in its representation, of a certain number of levels of the little differentiated parallelepiped elements, of meager symbolism that virtual piano software presents according to the technique of scrolling robots "Piano roll". The set of conjecturally projectable levels on the one hand, and the single level where this set is potentially projected on the other hand, deal with the same musical motif while correlating the positions of the note symbols in the levels with the dedicated keys of these notes on a keyboard.This number of projectable stages, maximum or optimum, is limited by the maximum possible envelope of the projection, domain depending on the compatibility between the arrangement of the conjunction, succession of harmonics, as presented fractionally by the virtual piano or the said robot, and its application in a dedicated "space-time container". compressed in its stage of the new representation. This number must be able to be nuanced with a view to a fair balance, compromise at the projection stage between the shortest, compact arrangement, of the packets leading to a score for a trained operator, of minimum size, of dense stages offering the best anticipation, speed of play for a less solicited visual field, and a less compressed arrangement but with a better potential to be interpreted restored to the keyboard by a less practiced operator, therefore according to variable criteria, depending on the faculties and handicaps of the operators, users and the quality of the projection techniques, of appreciation of the frame, whether they are operated by humans, Artificial Intelligence "AI" or both together. On each floor except exception, this vertical projection arranges sequences of evolved note symbols from one or more music theory measures that the device methodically transcribes into its improved symbolism using AI, either directly from the digitization of printed music theory scores using Optical Music Recognition "ROM" technologies under the FIA ​​class, or by establishing itself on already existing interactive musical files ".musicxml", ".mxl" based on the "XML" data structuring language, those of the "MIDI" type ".midi", ".mid" among others, created externally after digitization of these scores using ROM technology, taking into account copyright in these processes and during FIA's investigations, its "Deep Learning" from the banks of interactive files and scores. Projection involves a technical set of processes for compressing new symbolic sequences in order to maintain the functionality of the data grouped on a single stage, axis in a format allowing a high storage density much superior to the format without density at each stage presented by the virtual piano and "Piano Roll". Secondly, just as the reference to an initial projection implies this compression, an ab initio compression when creating a musical motif in a stage of the new representation implies for this stage the reference to a projection of several stages of a virtual piano presentation or "Piano Roll" for this same musical motif: there is therefore a form of equivalence between projection and compression. Through compression, more data, more functional, are closer to the fingers and thus better grouped in the visual field. This results in an advantage of the new technical representation over that of virtual pianos affiliated with scrolling robots. Third, while Artificial Intelligence technologies such as "Lights 2.0" and "GPT-3" and ROM are now capable of analyzing and processing an image or photo in the context of textual data, they can narrowly focus on the purely graphic representation of a score of the device, a virtual piano or "Piano roll", whether a drawing, a printout, a file of freeze frames or a manual work, by structuring it with interactive digital musical data that the device can convert with the help of AI to represent them in its symbolism. The purpose of the device is to relieve and guide the operator in his tasks of reading, writing, musical training and in playing, by the additional determining technical effect of multiple instructions regulating, on new staves of scores (2) covered with particular characters, that is to say specific, in a digital and interactive framework, any sequence of note symbols, compressed enhanced with color flows, in close connection with a keyboard (5) of percussion, air or electronic instruments, one or more reference marks (6a) (6b) of the score to coincide with one or more cardinal keys of the keyboard, in particular "middle C" (5a). The staves distribute columns perpendicular to the long side of the keyboard without necessarily touching it, each column being sized in width to align point towards its step dedicated to the keyboard and extend it, visibly for the operator, near or far in any way. The main way is digital: an interactive interface, a computer screen, or the computer, its peripherals or an electronic board or another means of technical, media, audio-visual, virtual visualization, arranged opposite the keyboard ensures the representation of the sequences of notes, symbolism organized spatially and temporally, static or mobile, and the presentation of static or mobile functional instructions, the mobility being adjustable, the assembly capable according to certain options in the interactivity if they are available, at the choice of the operator, and also autonomously, of emitting, restoring, recognizing sounds of notes, keystrokes by correlating them where appropriate with sequences of the symbolism and, in each sequence, with the progression between the symbols.Through interaction, this correlation is a facet in the pedagogy of learning how the device works, for understanding the representation, its appreciation and its mastery applied with the least effort. Principles of technical visualization, mobility, instructions, however without density, primary characterize in the prior art the presentations by virtual pianos, scrolling musical robots of the "Piano roll" type and, supplemented by interactivity, can be considered as technical simulators of musical creation or interpretation. We can therefore draw technical parallels between these systems and that of the present device and explain how its representation produces an additional technical effect determining beyond the effects of the closest systems in the musical field, the so-called presentations by virtual piano and scrolling robot "Piano roll". The direct technical spatial material relationship, of the new symbolism with the keys, putting in conjunction the digital physical forces with the natural energy of the eyes, hands, fingers, ears, allows to optimize and guide the game with anticipation in a context of dense instructions, without the yoke of music theory. Methodically, the device uses mainly digital technology, Artificial Intelligence "AI", computer programs, computers, peripherals, networks to recognize the data of music theory staves and, where appropriate, those of virtual pianos, scrolling robots "Piano roll", data of sound frequencies, of keyboard keystrokes identified optically, electronically, mechanically or by sound, and convert them into the corresponding new specific staves by means of the compression processes of the aforementioned sequences of the device. For its part, the AI, through its "Machine Learning" learning engine, in its quest for "Deep Learning" autonomy and in the light of the rules regulating said compression, will particularly analyze on a case-by-case basis the growing human applications of the device formatting the first musical pieces in the new representation, the following applications, and its own to progress there.Such AI processing on symbols, digital data, concrete elements is a technical contribution, improving performance ensuring the device greater autonomy, efficiency in its functions.This implements a digital touch screen or another means of visualization, virtual, augmented, holographic, an interactive interface in particular because the device can take into account, according to varying degrees of interactivity, feedback signals, linked to requests emanating from the operator, whether pianist, musician, singer, composer, transcriber, including among them the specific parameters of the operator, his settings, preferences, instructions, on the scrolling speed in the symbolism, the graphic appearance, the pause, his additional instructions in creation mode in the choice of the number of projectable stages, the compression of the sequences at the projection stages, and the parameters of other sources, the deviations, errors, false notes, or even the requests of sound frequencies from other origins, and integrate them into the active symbolism, temporarily or permanently.This consideration in the device of physical interactions at various degrees that it subscribes to by its additional technical effect, leads to optimizing the arrangement of its symbolism, and the horizontal and vertical scrolling speed in particular, these functions ultimately allowing a reduction in the operator's work. From this angle the device can secondarily be related to technical piloting simulators if, by using a keyboard reflecting a dashboard, we assimilate any creation of the player, musical, improvisation, displayed symbolically by the screen, the interactive interface, to a free trajectory according to stable parameters varying in harmony in a flight envelope. given, and in the same way any transcription, structured musical interpretation with beginning, progression, final bouquet to a specific itinerary including procedures, branches, imposed levels as defined by flight plan, racecourse staging or acronyms "SID / STAR", acronym "FL" for example. Secondarily, the means of visualization enriched with the symbolism of the device, static, if necessary by the freeze-frame of moving sequences and printed from the new representation, can be a magazine, newspaper or a sheet of paper or plate. In the specific staves (1) of new musical scores (2) made up of columns (7) (8) placed parallel to each other, intended to rest in plan or in 3D on an interactive digital support against the board of a piano or on other keyboard instruments (5) of keys, these columns kept perpendicular to the long side of the keyboard, the device organizes and governs an assembly in condensed form called compaction (20) or compression (13), of sequences of their elements (3), symbols (4) of specific notes, mono or polychrome responding, for those of the notes, to the prerequisite of being aligned adjusted imperatively precisely (6a) (6b) opposite (5a) and according to the dimensions of the keys of notes of the keyboard (5) of real size and standard or custom span, with as main reference the precise opposite of the "middle C" of the score with that of the keyboard.Through this synergy, the compression (13) of sequences of its elements, the contribution of specific characters defined by "the specificities" of the scores, staves, symbols and other elements, and its interactivity with an operator, the device promotes early accuracy of playing, sophisticated, intuitive automatic reactions, a lightening of mental resources for the benefit of anticipation and rapid technical progress in the appropriation, the mastery of a chosen piece, even a difficult one. By governing the stages (10) of compact sequences of symbols (4) signs and attributes, by accentuating them with cycles (17) of colors (16), by witnesses of the action or reaction of the operator with between them the furtive data of error or false note, this system of condensed instructions (13) produces, in particular during interactivity, a determining additional technical effect, by making it possible to reduce or even cancel the resources and mental load allocated to the identification in the said sequences, however dense, of the keys to be pressed, in favor of a better anticipation of the following sequences without worrying therefore, not only about having to know on the spot the notes corresponding to the symbols (4) however arranged in sophisticated synthesis, their sharp flat octave but also to look, in anticipation, for instructions too far from the keyboard (5) or missing because outside the image in the absence of the radical technical treatment of the said instructions,or too ephemeral to be executed as in the case of virtual pianos and scrolling robots "Piano roll". A set of borders (9) borders the columns (7) (8), each border ending on 1 feint black key of the keyboard and each column on 1 or 2 steps white keys, and is arranged differently from that of a virtual piano or "Piano roll" where each column serves 3 or 4 steps and no border continues a feint, it therefore allows in synergy with differentiations of symbols from step to feint, an identification discrimination optimized, immediate feints or steps to press, notes to play, sing, vocalize; the keyboard seems at eye level, it jumps to the eyes. As for the virtual piano, "Piano roll" we position on the keyboard each finger precisely below each note symbol to of course activate the corresponding key even though here the signals come from dense sequences of functional data in a more comfortable visual field, it is immediate no need at first to know the note or to interpolate it from the solfeggio of a different scale. The present invention relates, in the realization of the AI-assisted transcription, the deciphering, and the playing of musical scores: a system of condensed instructions of the synthesized action of one hand with regard to the other hand, as in (12) [Fig. 5] where the symbols concerning a first hand are affixed, against those of the second, or can migrate internally without leaving the hand concerned, in indices, superscripts, attributes, colors, and then as in (20) [Fig.6] for data compression where parentheses, brackets and other distinctive signs group together note symbols whose mentions or varieties of the terminals call for their possible repetition, symbols in direct physical relation with their keys to be activated, this by pointing at them, overhanging and being aligned with them, immediately designating the musical notes and, by effects of forms or the help of attributes, various sequences, the rhythm, the amplitude, the tempo arousing in the performer, player, singer sophisticated and intuitive automatic reactions.Concerning the interpretation of a score on the piano, the determining technical advantage of this system allows the player to improve in particular coordination, musical sense, speed of execution of the piece, without resorting to music theory, without worrying about the name of the notes, their theoretical or real situation despite their symbols arranged in sophisticated synthesis, and to anticipate, intuitively embrace the development of the score. In its essential core, the device compacts certain repetitions or sequences of symbols of notes, chords, families of chords, on very few stages (10) or even on a single one in charge of the succession of a multitude of sound harmonics, whereas the "Piano roll" can only allocate a single stage for a single harmonic or conjunction of harmonics, never this for successions, repetitions. The device according to the invention promotes a new product for musical training, in a format that is entirely acceptable for integration into a digital medium, with keyboard lengths and sufficient height for the representation of several stages of symbolism thus allowing anticipation in reading, playing and ample freeze frames, or whether it is published in Al format shortened in height to that of the table of an upright piano, for example to 42 cm, and possibly amputated in length of the blank column staves, this format folds in two to form a shortened A2 format recto-verso of newspaper, magazine, a little larger than that of a traditional score, in particular of music theory, and possibly requiring the creation of a specific support preferably placed as close as possible to the keys of the keyboard without hindering their action or that of the hands. This invention is part of the 1977 reform of Musical Training by the Ministry of Culture, which advocated a new approach, judging the tedious learning of music theory to be too far removed from the goal to be achieved and in opposition to any initial approach seeking to be based on concrete facts. Prior art

[0002] In this spirit, certain processes and techniques had the merit of seeing the light of day before this reform or saw it subsequently, aiming to free the reader, player, singer from the need to master music theory or otherwise to add a practical introduction to it, facilitating learning where appropriate: by presenting a vertical sequence such as the "Klaviar technique" at the beginning of the 20th century, and more recently the virtual piano and digital "Piano roll" and the "NM Score", or by presenting a more horizontal sequence, such as these techniques of referencing octaves and chords using capital letters. The virtual piano, related to the "Piano roll" makes summarily discriminated note symbols descend vertically towards their dedicated keys on the keyboard, without however seeking to condense the expression to reduce the number of levels and bring distant phrases closer together. To favor the immediate actuation by the hands, of the keys also selected by this descent of symbols, it uses different and constant colors for each hand and more or less dark, on more or less narrow shapes according to the steps or feints, which already lightens the burden of distinguishing sharps, flats and naturals. It also presents an adjustment of its columns with the keyboard, but with dark, different, wider columns, and of which no border is in continuity with a feint unlike the present device.The said forms undergo a morphism without proportionality which makes them narrower on a feint than on a step, and this contrary to the present device, of comparable category, which favors another more meaningful discriminant, and very practical in its implementation when it is a question of recalling symbols in indexing at lower scales. All these techniques as a complement to music theory or to free oneself from it bear fruit while being subject to the following limitations and which should be overcome by the present device according to the invention with the new technical effect that it provides in the category of virtual pianos and digital scrolling robots in particular. Technical problem

[0003] In the first case of vertical sequences mentioned above, even if their scaling to a piano keyboard or other key instrument is possible, particularly for the virtual piano or "Piano roll", that is to say that the dimensions of the scores or electronic, computer animations allow a physical and material continuity between their compartments and those of the physical keys on a virtual electronic or digital keyboard, this scaling is hampered by the fact that there are too many successive notes, each representing a level in the vertical sequence, to the detriment of the overall view of the phrases to come, which is very limited. As for it, the "Klaviar" technique does not support in practice a rapid sequence in complex phrases. Similarly, virtual pianos and "Piano rolls" impose on the keyboard a rhythm that is difficult to maintain visually, a source of confusion.Concerning the second, more horizontal sequence, it still requires too much memorization effort before achieving virtuosity. In the current state without compression, robots, even if their screen and keyboard were on the scale of the real keyboard, are not very efficient as an aid for playing, composing without music theory, even considering a freeze frame, the symbolism too succinct, not very discriminating, not very relevant will lead to confusion of lines and symbols of notes activating the keys, in reading which is never fast moreover, or because one has left reading to observe the real keyboard. Finally, these techniques are not very suitable for publishing paper scores in a short, practical, productive format offering visibility in the anticipation of the game, which is expected from the device from the design stage of a musical composition in its improved symbolism. Technical solution

[0004] In order to overcome the above-mentioned limitations, to achieve faster a greater speed of execution of the game without confusion, intuitively, without necessarily knowing music theory, to offer better tools for composition, transcription of traditional scores in the new format of the device, a better overview, of successive musical sequences in a score and to bring closer others more distant, the device according to the invention applies to synthesize, densely technically via 1TA and digital processing in interactivity with the operator, an improved symbolism of sequences of musical notes as a compacted set of packets of symbols, signs, attributes distributed in pseudo-vertical columns and on their borders, positioned precisely opposite the keys of a keyboard. Commonly with the technique of virtual piano and "Piano roll", the locked horizontal position of the symbols is directly and intimately linked to the real or virtual presence of the keyboard (5), to its scale dimensions and to its "lock do" (5a). Indeed, a vis-à-vis of the note symbols with the keys of a keyboard or the strings of a guitar is already used by musical robots or in single-symbol tablatures to guide the hand automatically to the right action. However, in its new objectives mentioned above, the invention releases an additional technical effect determining by the contribution of the physical arrangement, the compression methodically modeled with the help of AI and the operator, the functional data in a digital and interactive framework, a new, more relevant figuration of the staves vis-à-vis the keys, a thorough discrimination of the symbols,the addition of attributes, signs, mentions, legends and by a new ordering of colors, all in the so-called "compression / specificities / interactivity" synergy previously defined in the "Technical domain" section, all transmitted to the operator with the objective of increasing his performance as a reader, interpreter, composer or translator assisted by AI. The positions, shapes of the symbols and some of their attributes, syntheses of the coordination of the pianist's hands such as terminals, indices, exponents, signs, mentions, colors, help to situate and specify the action of the hands, notably on either side of "middle C", or more generally on the left or right on the keyboard. Indexing, symbol recall comes on a reduced scale with proportionality for reasons of synthesis, space, lightness and discriminating power: in this frequent case, it is the main reason why a discrimination between symbols of step or feint in their active non-indexed positions, cannot take place according to non-proportional modification, morphism of the external contours of their form as for the virtual piano or "Piano roll" where a large or square parallelepiped on a step is seen narrowed and less wide or rectangular on a feint because this technique does not offer symbol recall in indexing. The brackets and braces parentheses are mainly involved in the compression of chords as in (10) [Fig.9] but also possibly of possibly repetitive musical phrases, or of arrow sequences of their subsets as in (23) [Fig.6], and thus of the synthesis for a shorter condensed score while remaining light. Other color attributes and directional signals, arrows, continuous or broken lines, dotted lines in particular, make it easy to locate yourself in the score, and to reposition yourself during reading or after a pause, hesitation or error. Benefits provided

[0005] The effect of the device, through the synergy of its elaborate constituents combined by AI and aimed at reducing, for the human supervisor, the transcription time of traditional scores to the new format of the device, and for the end user the dependence on music theory, has increased impacts on composition, musical transcription, the performance of the performer in his playing, immediate accuracy with fewer false chord notes, on the speed of progression and appropriation of the piece, on the management of the operator's resources for the benefit of better anticipation and intuition, on the data rate with compression (13) adapted to any interactive digital representation against the board of a piano and allowing fairly compact editable formats close to those of traditional scores. For the reader, player interpreter the main advantage is to be able to embrace more highly characterized, interactive signals, better discriminated symbols in a more concentrated visual field less solicited, therefore more comfortable which greatly lightens the intellectual, practical workload of the operator, to the benefit of the anticipation capacities provided by this lightening of the load and the compact format of the symbolism in flow of colors, which increases the visibility of more distant signals in the score. By a reduced scanning of the visual field, the player overcomes the difficulty of the accumulation of staged signals since many arrive in packets at the same considered stage which he keeps in view and can assess for longer in a variable duration depending on the size of the packet, either because the scrolling slows down or because it stops for a certain time. With a good rhythm and almost instantly II can undertake a musical phrase and its melody, put balance on it and quite early with both hands together, it is therefore a device a more efficient, complete product than the virtual piano or "Piano roll" which, in the absence of the said synergy, solicits more the visual field. Indeed the virtual piano is characterized by pseudo vertical staves opposite a keyboard, but without the versatility of what radically distinguishes the present device in their technical category, namely an arrangement of new columns more relevant and in accordance with the architecture and functionality of a keyboard with better discriminated symbols, in this it is another advantage, the compression, synthesis in new flows of colors, the multidirectional progression in the symbolism as backwards, retrograde, oblique. Concerning one of the capital dimensions of the device, we now draw attention to the restriction in the annex due to the requirement of black and white figures, which has the consequence of covering the effect of one of the said specificities, of the new flow colors: its dimension, in the wake of the Tategaki conducive to poetic flow. Through the effects of colored flows, almost automatic intuitive reactions, the device can be proposed as an adjunct in the treatment of certain psychomotor, attention or autism-related disabilities. In addition to any help outside the score in the legends (6), learning for beginners could require the support of a teacher or therapist if necessary, who is more familiar with the system and the score studied as is already traditionally the case with music theory. On the other hand, the apprentice will naturally be encouraged as much, if not more, to draw inspiration from the tempo and rhythm of key recordings of his piece, to progress proactively in his musical training. Best mode for carrying out the invention

[0006] Other characteristics and advantages of the invention, particularly of the core with on average the projection, on a single stage of the device, of numerous stages operated by the virtual piano and scrolling robot of the "Piano Roll" type, stages taking on together several notes or even one or more measures of music theory, will appear on reading the detailed description which follows for the understanding of which one will refer to the appended figures exemplifying non-limitingly the particular embodiment its structure and the method, and extracted from a complete test model of the applications according to the device of all the measures of the 3rd movement of the "Moonlight Sonata" by LVBeethoven, model created by the depositor of these presents and then intended to be generated in digital mode, methodically using AI under the control of an operator to form both an industrial product and an enrichment of AI databases for future applications, in particular transcription of scores or musical creation, according to the method of the device. These figures represent the visualization of freeze frames of the device as it appears in the frame (2) of the digital screen or the digital interactive interface in particular. The diagram of a musical keyboard (5) is present for information purposes for understanding the method of subjection and calibration (6a) (6b) of the device with it (5a). The keyboard is not systematically represented in its entire length, and its distance from the frame of the score (2) of the device is variable, as elsewhere in reality, and here for reasons of space, clarity of references. Brief description of the drawings

[0007] [Fig. 1] is a view of the application for measures 1 to 8, and the beginning of the 9th measure up to the 3rd G sharp played in the treble clef including that of the 1st chord. On the 1st basic stage, in the digital frame of the score (2), the star sign (3a) indicates the start then the shift of a symbol, by the thumb or first actuator of the handright, each time it progresses by 4 symbols. This process is not exhaustively recalled here for the higher levels (10) concerned, its summary will be found in the legend (6) against this sign. The left hand begins the 1st, it accompanies the right by an Alberti Bass with 7 repetitions of a motif of 2 notes symbolized by a triangle, and a partially represented square because attached to a disc also partial dedicated to the right hand, the whole forming a hybrid (25) on the G sharp due to the promiscuity of the symbols and in the fingering. In this context, the vertical serpentine (21b) delimits the areas of the hands, two serpentines work on the 2nd level indicating that in a particular fingering and at a precise location one hand encroaches on the area of ​​the other. The serpentine (21b) is difficult to exploit on the 1st level where it is absent.In the first motif of the Bass just after the C sharp in the left hand, the note of the hybrid is played twice by changing hands alternately, right left, without telescoping. The portion of the diamond in the left hand on the C sharp of the upper octave, only comes into play once in the first of the two final chords where this diamond is recalled to the right against their doubled parentheses indicating repetition, in first index and in simple parentheses determining a single chord by the association with the triangle. The said portion of the diamond is attached to a portion of the right hand disc, which disc covers its instant accompaniment a small square in the left hand, in lower left index (19).In this figure the majority of the indexed left hand symbols occupy areas (19) (19c) distributed in a clockwise direction against all disks of the right hand according to a rule of concomitance detailed below and whose synthesis is called to appear in legend (6) of the score (2). This process, similar to the upper stages concerned, can also present a form of more neutral indexing less spatially regulated in particular against the chords or an isolated note. At the 4th and 5th stages the different shift of the right hand makes it bounce to play 4 notes from each 4th strike of the keys: each bounce is signified by the 2 superimposed parallelepipeds, at the C sharps with the direction of the bounce, the durations proportional to the heights of the parallelepipeds, and for each 1st parallelepiped the accompaniment in lower left index according to the said rule, that is to say a hollowed triangle thus characterizing a march in the left hand, a B.Still at these levels, the extreme right A and E notes have their symbols limited by brackets with non-symmetrical legs indicating that these notes are played in the said shift, but are excluded during the 2 final chords. Any summary useful for understanding the instructions is placed in the legend (6) in the margin and / or in situ and can be supported if necessary by a teacher or practitioner of the device.

[0008] [Fig.2] is a view of the application for measurements 1 and 2, corresponding exclusively to the first floor in [Fig.l], which alone renders 30 floors relatively to the "Piano roll" and for 52 notes of the solfeggio. The strong weighting for this stage contributes to the final gain in this relative contraction of stages, according to the average ratio of 1 against 7 extrapolated from the stages of the said prototype all subjects of the compression device. We see there a horizontal variant (6b) of the adjustment mark of the score to the "middle C" (5a). The compression system here very advanced, in a line of the right hand with the star sign (3a) of the shifts and already mentioned above, can be applied in [Fig.8] and [Fig.9] to further reduce the number of already compact stages.

[0009] [Fig.3] is a view of the application as a precise continuation of that in [Fig.l], i.e. concerning the beginning of the 9th measure from the 4th G sharp played in the treble clef including that of the 1st chord, to end at the end of measure 14 on the penultimate chord in both clefs. We notice an elongated triangle symbol (15) in the left hand for a note played with the key held down continuously over the entire column, the set A repeated in B, notation allowing to differentiate the corresponding arrowed sequences for the right hand in terms of column A and its repetition B. At the top right of the figure and on 2 levels, the attribute S for "alone" indicates that the note has no accompaniment, moreover these 2 crocheted levels are governed by a multiplier so their process is repeated here 4 times. The serpentine (21b) helps to place the hands for a particular fingering.We notice by the parentheses and the indexing that 3 notes are always played together in agreement, going up in the floors, from the chord supporting the arrow on the 1st floor and then at each end of arrows, hence the placement of the particular parentheses, or global of the columns, these attributes like the brackets, braces in particular being specific to the chords. The left hand is differentiated, in itself by triangles and squares because they are differentiable, recalled in index against the right hand, and also in relation to the right hand which only includes undifferentiated discs because nowhere indexed and because they are arrowed in a clear sequence. Finally according to the base, the continuation of the first progression arrows is applicable from the 4th to the 14th floor without however being materialized in order to lighten the score.

[0010] [Fig.4] is a view of the application between the middle of measure 29 from the chord of the 2 C sharps in the treble clef, and the end of measure 32. We see another vertical variant (6b) of the adjustment mark of the score in its digital frame (2) to "middle C" (5a). The left hand is differentiated, in itself by triangles, squares and discs because they are differentiable, recalled in index against the right hand, and also in relation to the latter which only includes undifferentiated diamonds because nowhere indexed and because, for the arrowed diamonds, they are in a clear sequence. The two-tone diamond (24) and its two-tone brackets are enlarged because they correspond to two successive stages in the left hand. Each shade of the diamond and the brackets, represented in black and white, by hatching or solid, is the same as each shade (16) of the 2 levels concerned in the 2nd and 3rd levels. The smaller diamonds on the right are only of one shade or the other whole, in correspondence with one of the 2 levels in the left hand, for a given shade. The hatching can mean whole green, and the solid mean whole black for example. This mode of arrangement coupling and discrimination by colors applies higher in the levels in particular to the 7th and 8th levels where another large diamond intervenes on the note G in its large hooks, all bi-hues in reality, however their 2 colors are not represented here nor even further to the right on the small monochrome diamonds with arrows, nor in the left hand. These two shades can be black and red.Similarly, the alternation of colors from one stage to another, with or without a cycle and applying everywhere, is not represented here so as not to overload, except at the 2nd and 3rd stages as already seen above by means of hatched or solid areas. An example of a cycle of colors of the stages, common to the entire device and used in the said prototype will be here from the 1st stage: blue green black red repeating until the 9th and last stage of this figure and beyond in its continuation below. On a narrow area of ​​score, the 1st stage in methodical compression (20) is equivalent in projection to eight stages of virtual piano, "Piano roll" for the same harmonics. This figure eight is obtained by doubling the sequence of the four elements reported in accessit (20) on the right of the score, these four being a combination of three symbols of notes of the left hand which accompany those of the right at this stage.

[0011] [Fig.5] is a view of the application in precise continuation of that in [Fig.4], that is from measure 33 until the middle of measure 36 at the end of the accompaniment of the G sharp in treble clef. The symbols of the disk are the domain of the right hand, the other symbols are of the left hand, the serpentine (21b) not being recalled here. By indicating in the margin the departure, order, direction, reversal and repetition of various colored arrowed paths annotated with the motifs in treble clef, this application exposes an alternative to the confinement (19f) possible in index against their chords in bass clef, of these motifs in treble clef assimilable to the Basses of Alberti (12). We note in the legend that the 1st horizontal arrow is two-toned because its path alternates 2 colors here highlighted by the solid and hatched areas.This 1st path starts from the A chord and continues from solid to hatched area until the beginning of the content of the hook, at the symbol marked C which triggers the accompaniment of the hatched chord in the left hand, and it should be noted that the 4 symbols preceding C even if they are of the same color, hatching do not trigger the corresponding chord because they are marked with the letter S meaning that they are played alone without accompaniment. These 4 symbols could take on a specific color of their isolation from the chord (16), and therefore different hatchings, however the present provision of assignment of . hatched and solid areas signifying the colors is the simplest so as not to overload the drawing with other forms of hatching in black and white, particularly in the legend, and to better unify the 2 detailed reversals in the legend from the mark D to C. The last path leads from D to the upper floor directly without reversal; it is explained in the legend by an arrow partly hatched only because it penetrates another floor of color represented by a solid area. The last floor, an alternative example as mentioned above of compression and discrimination (21), is the seat of an Alberti Bass (12) of 3 symbols in left-hand synthesis, whereas for this hand, 4 symbols are recalled for a double sequence, in index of the G sharp right hand.

[0012] [Fig.6] is a view of the application between the middle of measure 93 from the 4th chord in treble clef, and the end of measure 101. We note here that the smallest altitude difference in (23), explained below, has priority over the closest symbol on the upper level which in this case does not represent the note to be played immediately. On the 10th level a double right hand chord, D sharp, F sharp, C, is accompanied in the left hand by an Alberti Bass of which 2 of the 4 motifs are played alone in isolation between the repetition of the chord and then, alternating with the 2 other motifs concomitant with the chord, and it is the same on the upper level. This single level corresponds to 8 levels of a scrolling robot "Piano roll".We also observe that on the 8th and 13th floors the parentheses in the right hand contain a two-note chord played without respite for the duration of the 6 motifs of the accompanying Alberti Bass and indexed against it, a chord whose first note is played very shortly before the other, by instruction of the arrow. The serpentines (21b) have no place here because the areas of the hands are naturally well separated. In the left hand, the arrows are virtually perpetuated above those visible while the mark S, for an isolated note alone without accompaniment, ends on the 4th floor.

[0013] [Fig.7] is a view of the application for measures 163 to 166 inclusive. Their phrasing includes for each hand prolongation ties, alternating with expression ties or "legato". The device synthesizes the legato by the arrows and the color while the prolongation is mainly by lengthening the symbols, synonymous with special duration of the playing of the note, but also by arrows and colors. The rectangles are associated with the left hand, and the ovals with the right hand. The colors helping each hand in the offset coupling of the staggered stages, are only shown here from the 9th stage, i.e. in (17a) at the mark H, which appears in full black color without hatching but knowing that, in its version of the prototype optimized in color, this stage is already two-tone, matching the color of its lower half with that, identical, of the upper half of the stage marked G also two-tone, immediately below to its right.Since this figure is in black and white, we have . replaced the colors by a set of 2 different hatchings, one with white rectangles as in (24) upper, and the other with white oblique bands as in (24) lower, which can alternate with solid black as in (24) middle, in particular. Overall and except for specific cases, each staggered level of note symbols is swept by its dedicated hand which plays it in bursts from left to right then maintains it as a chord while, in the closest level, the other hand completes its burst and begins its chord, then freeing the 1st hand mentioned which begins a burst on the upper level and so on. The total order of bursts becoming overlapping chords along the path is marked A, B, C, D, E, F, G, H, I, J, K. The A and G stages are associated with a tie on the notes G and F sharp respectively with monochrome symbols, on the far left of the score, at the beginning of each arrow.The majority of the symbols are two-tone, only one has three shades (24) and some are monochrome including those in F and in the left hand of this chord, those of the left hand entirely hatched on the last level of the score, finally the two small rectangles, G and F sharp, marked with a star referring here exclusively to additional information called to appear in the legend as introduced at the beginning and end of the description of [Fig. 1]. Each cycle (17) can be of four colors: black (17a), red (17b), blue (17c), green (17d) for example, each occupying vertically about half a portion in each level, except on the monochrome or three-tone symbols already mentioned.

[0014] [Fig.8] is a view of the application for measures 183 to 189 inclusive. It comprises 13 stages. Between the top of the elongated rectangles (15) and the base of the last 2 stages, there are 4 stages which demonstrate the synthesis power of the device, summarizing in themselves 69 stages of a scrolling robot "Piano roll". Concerning the first 7 basic stages, it is enough to follow the arrows in the right hand from the initial E to C sharp in reverse, while the accompaniment in the left hand is played continuously without respite, with a single chord (15) whose parentheses are omitted because they are obvious and so as not to overload the score. These 7 stages can still be compacted into 2 stages in the same way as the 10th and 11th stages are compressed more thoroughly, and even into a single stage as if in the 11th stage each symbol were replaced in its place by a tag such as the star sign (3a) as in [Fig.2].The separating coils (21b) are also not necessary since the distribution of hands is so obvious, with the discs for the right hand.

[0015] [Fig.9] is a view of the application between a start in measure 196 at the 1st E of the bass clef, and the end of the last measure 200. The symbols of the disk are for the right hand and the parallelepipeds for the left hand. The final bouquet is synthesized by means of arrows and in particular the hybrid symbol (25), half parallelepiped half disk, on step or feint which delimits any common boundary taken in turn by each hand thus discriminated (21a). In the 1st basic stage, each hand begins on each of the E around the "middle C" by playing 4 notes, and in this series the left hand ends on the upper E, the location of the so-called hybrid symbol (25) square / disc, and common boundary because under it was launched the right hand. In the upper stage, the hands in their new series of 4 notes begin their progression by shifting to the second note in their previous series, and so on in the following stages with a constant shift of an additional note with respect to the previous start. The global arrows illuminate a progression to the right followed by a reversal towards the top of the stages, for better anticipation, overall view. It should be noted that the synthesis used in [Fig.l] and [Fig.2] for their 1st stage in particular, can be applied here to compact the first 12 stages into only 2 stages, or even one, with on the first stage a line from the current symbol of E before "middle C", to that of extreme E in the 3rd octave starting from "middle C", and with on the second stage a line of reversal from the symbol of C sharp preceding this extreme E, to the symbol of E in the 2nd octave under "middle C". These two lines would be dotted with star signs (3a) as in [Fig.l] and [Fig.2] indicating the shift here of the hands simultaneously, at each progression of 4 symbols. In this more advanced synthesis, the gain would be a reduction of 10 to 11 stages on this figure of one of the applications of the prototype.The final level above (10) features inlaid solfege notes corresponding to the symbols and which could be applied elsewhere with other components such as the treble and bass clefs, thus a fun learning of solfege would be encouraged in parallel.

[0016] [Fig. 10] takes up the view of [Fig.2] of the application for the measures 1 and 2, corresponding exclusively to the first stage in [Fig.l], view where the representation (2) of the device is superimposed on the presentation (26) corresponding to a virtual piano of the "Piano roll" type in the appropriate adjustment. The sequence in this first stage alone (2) results from the compression according to the present device of a sequence, inserted in the view, of 52 notes of the solfeggio (27) or of 30 successive stages of virtual piano, "Piano roll" (26). Statement of the invention

[0017] The following detailed presentation, in particular of the framework rules that can be integrated by the AI, defines more completely in its structure and its method the device according to the invention operating as a whole and in its components, with the help of the AI ​​drawing on its data banks and following the parameters of an interactive human supervisor: the framework in a digital framework of the staves, columns, borders, the compact sequences of symbols grafted therein in staged sequences, their particular characteristics called "specificities", the method of the physical arrangement of the symbolism according to these specificities and having led to the application models shown in the attached drawings. In this device a first component, of the said specificities in the synergy defined previously in the "Technical Domain", physically or virtually brings together in a digital representation, by a computer screen or its peripherals, by an interactive digital interface, a set of staves (1) of simple (7) and doubled (8) columns for musical score (2), preferably white or light but not exclusively, in any case featuring a monochrome or polychrome background which contrasts with the elements (3) and symbols (4), perpendicular to the long side of a keyboard (5), these columns (7, 8) possibly vertical or making a preferably reasonable angle with the vertical, each positioned with a certain precision opposite, regard, continuity of the key assigned to it on the keyboard (5), certain columns being able to be discriminated.The columns are separated by visible borders (9) accentuated or not, borders falling or pointing with a certain precision on the feints in their middle as in extension and without the technique of continuity being limiting. These borders can each be a continuous or discontinuous line, dotted, or possibly be a thick line or column discriminated or not. The said borders falling, pointing with precision by means of tolerances towards the feints as in extension, implies that between two borders (9) a simple column (7) and a double one (8) fall, point with the same precision opposite, extension, continuity of one and two steps devolved respectively.In particular, a possible appearance of this set in a digital medium would be an image plan constructed according to the juxtaposition of several images of keyboards (5) parallel to each other according to their length, identical in dimension to that (5) of the musical instrument to be played, with all keys of the same note of these keyboards, forming a column and aligned with precision by means of tolerances on the active key of this note on the real keyboard, and with thin aligned feints touching at the ends or not. The said set supports, symbols (4) of musical notes arranged precisely in the said columns (7, 8) and on the said borders (9), and (3) attributes of the symbols, signs mentions legends (6), mono or polychrome, fixed or mobile or evolving, possibly being able to be accentuated, illuminated, backlit, illuminated, emit sounds, voices, notes, by all sorts of interactive digital means, application, printing, processing, accentuation, animation, engraving, braille, electronic computer, physical, tactile, audio, visual, holographic, mechanical. Towards the ends of this score (2) at its base in particular, are located (6a) marks, notches or lines representing the locations of the first and last columns (7) (8) and borders (9) allowing it to be positioned against the keyboard or opposite it according to the precision indicated above, and thus correctly in relation to its "middle C" (5a). The digital support and its score being essentially cut so that each column fits with its dedicated key on the keyboard, the positioning can also be obtained by making the column dedicated (6b) to "middle C" marked accordingly, coincide with the active key of "middle C" (5a). The double columns (8) of the simple ones (7) preferably have no internal separation, they represent on the keyboard two steps side by side without feint between them, and the symbols (4) dedicated to these steps are arranged in the left and right parts in these double columns, but not in the middle which would lead to confusion especially since there is no feint at this location.The digital medium and its score (2) are preferably on the same scale as the keyboard associated with them, which is generally of standard size and span, and are therefore also adapted to the dimensions of the panel of a piano or other instrument with keyboard. They may possibly include at their base a keyboard schematized in whole or in part to the dimensions of a real keyboard preferably. The said borders (9) preferably permanently visible, in particular in the local absence or low density of note symbols (4), allow the identification and distinction between neighboring feints and marches, unlike the technique of scrolling musical robots such as the virtual piano or "Piano roll" where only the mobile note symbols have different shapes depending on whether they are part of a feint or a march, without any other identification border below them towards the keyboard. This set of borders (9) bordering the columns (7) (8), each border ending on 1 feint and each column on 1 or 2 steps, is arranged differently from that presented with a virtual piano or "Piano roll" where each column serves 3 or 4 steps and no border continues a feint, it therefore allows in synergy with differentiations of symbols from step to feint, an optimized, immediate identification and discrimination of feints or steps to press, notes to play, sing, vocalize. The score (2) can be entirely tactile and act as another keyboard over its entire extent, with sound notes that may be bright and luminous if activated, the score being able to be played on it directly with the hands, the stages (10) being fixed or being able to scroll down or up depending on whether the phrase is always to be played in the same place. In the case where the symbols (4), stages remain fixed, the hands progress by going up or down to play according to the direction of the tactile board which can be reversed, hands arriving at each summit or base, to present the next sheet. This tactile, audio-visual representation can possibly be detached, be moved away from the physical keyboard.

[0018] In this device the second component, specificities in the said synergy, governs in the said staves and on several levels (10) a sequence (11) of a plurality of symbols (4) of all regular or irregular shapes, open or closed, where appropriate multiform, and other elements (3), attributes and signs, mono or polychrome, the whole integrated in a synthesis enamelled with instructions allowing their reading, horizontal, vertical, oblique, omnidirectional, not necessarily following the preferential direction from left to right, backward or retrograde (11b), ascending or descending (11c), where globally emerge levels (10) of progression preferentially discriminated each by a particular color (16) according to a cycle (17) or not, in particular when they concern a sequence (11) of symbols of notes played by the two hands together or accompanying each other, which will be monochrome if the two hands are associated with the same level exclusively.Such sequences are the creative applications of the device which uses the digital technologies already mentioned, including AI, and which takes into account the instructions and preferences of the operator to transcribe, adapt music scores, or to directly create a new composition by formalizing it without him. As a general rule, by drawing on its learning, analysis, processing capabilities, its graphic, audio-visual, and textual databases, and in interaction with the operator, the AI ​​generates a mobile, staged arrangement of symbols in the new representation: overall, the stages scroll vertically either regularly like those of the virtual piano and "Piano roll" or in a new way, irregularly in jerks with temporary stops allowing the exploitation of the packets of symbols at a particular stage considered by the operator.Symbols (4) of notes are dedicated for each hand to the level of a floor (10) or more, and are preferably, in the same floor, of the same color (16) but of discriminated forms (21) different from one hand to the other, a vertical serpentine (21b) being able to mark their separation, and even different in a hand especially when they form a motif or Alberti Bass (12) requiring an order in the game and therefore discriminations and when there is no other auxiliary indicating, supporting this order. Generally and except in specific cases, the sequence motifs, melodies, Alberti Basses are not circumscribed as closely as possible by limits, unlike the chords whose note symbols are limited by parentheses, brackets, braces in particular.Then during the progression in the stages (10), all or certain notes alone or forming a chord motif sequence (11), can change symbols (4) if the architecture, and the cohabitation of the elements in the following stages require it, and for the need to offer in this configuration the optimal conditions for the compression techniques of the sequences, for the safety of reading and for the game. The symbols (4) the attributes, signs, markers, indexations (3) and their sequences determine sets and subsets of data that the device controlled by the operator condenses concentrates by techniques of . compression (13) mainly using Artificial Intelligence in a digital framework and interaction with the operator in order to shorten the score (2) by reducing the number of stages (10). These techniques (13) use, without limitation, color, repetition markers, indexing, orientation, abbreviation, and mentions, explicit signs (3). They allow in particular, by the coupling of marker and arrow signs, to shift from each marker a star (3a) for example, the particular repetitive action of a hand, of a fingering, along overlapping arrowed sections in a scale or other progression of notes. Thus the main symbols (4) representing a musical note to be played on a march or feint are positioned, unequivocally in a column (7) (8) but can overflow it in case of necessity of imposed size, or as symmetrically as possible straddling a border (9) whether in the form of lines, band, line or column. These same symbols (4) of notes can be recalled in the margin of other notes or sequences (11) of notes, condensed sequences (13) if necessary, and as a reminder by indexing techniques, in superscript indices, non-limitatively, thus for reasons of space or density, lightness they are often reduced to a smaller scale (14) and therefore, to prevent any confusion, by trying to limit or avoid a modification of the proportions.However, a modification of the proportions will be sought in the case of notes to be held (15) played without respite on several floors, one can thus stretch a square into a rectangle, a circle into an oval for example, but without this modification necessarily being applied when these symbols (4) become in reminder, indexed to others. Let us consider the option of interactivity of the freeze frame of the device in order to better understand the overall master plan, in the sequence of more or less horizontal floors (10): this is preferentially ascending from the base or a particular latitude of the score (2), if necessary as close as possible to the keyboard (5) and the hands, but the descending variant is also possible in this framework by starting from the top of the staves (1) or another latitude and approaching the keyboard.In the simple general case, and unless otherwise indicated, each hand progresses globally from left to right (lia) in its level with, where appropriate, repetition or resumption with offset (11) of this progression possibly including variations, and the symbol (4) or its set (11), of the next note, chord or motif to be played for a given hand is the closest or is designated as a priority in the ascending direction by the smallest difference in altitude (23) higher than the level of the symbol or its set, of the note, chord or motif already played; and conversely in the descending direction, the lower altitude differential will be considered, unless otherwise indicated. This smallest difference (23) may be such that the symbol of the note to be played is that of the one already played and to be held without rest for a certain time, thus the identical symbols touch each other and pile up (15) on several levels. where appropriate, and the same applies to sets of notes, chords in particular. This device in the said synergy associates the main symbols (4) of notes with a secondary arrangement of pictorial graphic elements (3), figures, diagrams, tables, shapes, marks, signs, symbolic or not, textual or not, these elements, quite distinct from the said borders (9), can also be portions of lines, curves, parentheses, brackets, braces, serpentines (21b), underlining, accentuation, attributes, inlays, accessits, bands, dotted lines, arrowed lines or not in particular, but without the constraint of permanent periodicity of the borders, and in this particular case they are therefore secondary.Some of these secondary elements are involved in punctuation, tempo, speed, fingering, repetitions, characteristics of the sequence (11) of notes, the orientation of the game, the phrasing, the discrimination of the hands and others concern the legend mentions (6), and possibly staves, symbols, codes, equivalences, punctual correspondences common with music theory, they are tools of the compression device (13) of the data (3) (4) introduced above.

[0019] In this device, the third component of the specificities in the said synergy comprises, in the sequence of successive stages (10) and to better distinguish them, a new ordering of colors, an alternation or succession of colors (16) generally and preferably uniform for each (10), and cyclical (17) or not, without excluding other discriminations by color whether for the stages or only the symbols (4), or between stages, and to better and quickly find one's way when playing or to reposition oneself after a pause, in the stages of the progression, between them or within a pattern (11), chord or even a note. An example of a periodic cycle (17) might be that of four uniform colors changing from one stage to the next, black (17a) red (17b) blue (17c) green (17d) and thus repeating every four stages, or in another order, this period "four" observed spatially not necessarily being in a constant volume.There may also be an imperfection in the cycle of colors which resumes either in the original order or in another. As a general rule, a stage (10) associates the two hands which accompany each other in a particular sequence (11) condensed (13) or not, and the symbols (4) of this sequence are of the same color for the two hands (16) unless a first hand is associated with one or more stages, additional to the second hand, and in this case this first hand will have symbols with several shades (24) each recalling one of the stages associated, in the second hand. This non-limiting discrimination technique can also be carried out by means of signs or mentions or other dedicated artifices, distinctions, accentuations (3), in replacement or complement of the colors.

[0020] In this device the fourth component, specificities in the synergy, includes an attribute whose role is discriminating, allowing the mono or polychrome symbols (4) and particularly those of the notes to be immediately distinguished, recognized according to their location on a feint or a step, by the presence (18) or absence of a recess or interior mark (18), presence designating the state on a step by its white tint or lighter than that of its symbol or different, or absence on a feint, that is to say for a full or plain symbol or otherwise differentiating itself otherwise from the symbol of a step, or vice versa, without this preferential technique of discrimination being limiting: a discrimination by signs or mentions or other artifices, distinctions, deformations, notch, dedicated appendices can come in addition or alternative. The aim being to discriminate at first glance a step from a feint that one already senses at hand and particularly in reading the appreciation on a reduced scale of the symbols of notes which would be indexed with other notes chords or motifs. Thus among other techniques, this frequent case of indexing,recall of note symbols on a reduced scale (14), gives the main reason why a discrimination of the symbols (4) of march or feint according to their active non-indexed positions, would not be practical using modifications of proportions, morphism of the external contours of their form, and could induce errors of appreciation of the symbol or a confusion with another, as in the example of a large or square parallelepiped on a march which would be narrowed and less wide or rectangular on a feint, such a configuration would lend itself with difficulty to the recall on the reduced scale (14) of note symbols in indexing because a small square can be confused with a small rectangle, and particularly if small symbols are drawn with more or less precision, in particular freehand, and even less if one had to shrink thin other symbols, circle, triangle, diamond, star (3a) among others, this to distinguish them on feints.

[0021] In this device a first component, of the compression (13) already discussed in the sections "Technical field" and "Technical solution", in synergy with the specificities, comprises firstly the placement, confinement (19) of all or part of a mono or polychrome sequence (11) of the symbol(s) (4) of the note, chord or motif played by a first hand, in one of the spatially and temporally reserved places (19) located according to a rule, in subscript, superscript or with other distinctive signs, against the larger symbol(s), of the note, chord or motif played by the second hand during this sequence, recalling the order and sequence in the first hand, the repetitions, directions, fingering, rhythm, tempo and any general or particular instruction, with as a simple example an Alberti Bass (12) or a chord to be repeated where appropriate.These indices or exponents (19) or other attributes can occupy one or more places, particular ranges against or surrounding the symbol (4) or the group of those of the chord or motif supporting these attributes: lower left and right, upper left and right, ranges functions of. the occurrence of the simultaneity of the accompaniment for the said symbol or group when it is struck on the keyboard one or more times, or repeated. Indeed, during particular sequences, the same note, or chord or motif of a first hand, can be played one or more times, while being able to be accompanied by the second hand each or some times by a note, or a chord or motif. This accompaniment of the second hand is specified by taking place in superscript index or attribute around the symbol(s) of the other hand, this in lower left place (19a) if the accompaniment is played at the 1st strike of this other hand, in upper left place (19b) if at the second strike of the same, in upper right place as in (19c) [Fig.4] if at the 3rd strike of the same, in lower right place (19d) if at the 4th strike of the same. Any empty place (19e) indicates that this other hand is struck alone without simultaneous accompaniment at this time. It happens in [Fig.l] and [Fig.2] for example that a note of a first hand already played a 1st time at time t in particular the C sharp right hand 1st octave stage preceding the "middle C", is replayed again once (4a) at the 3rd beat at t+3, and that the following E note played at t+1 is replayed again twice (4b) following the same period of the 3rd beat, i.e. at t+4 then t+7, and that the other notes initially played at t+2 the G sharp, t+6 the "middle C" sharp, t+10 the 2nd E, t+14 the 2nd G sharp are replayed again three times (4c) according to this period, at t+5, t+8, t+11 for the G sharp t+2, then at t+9, t+12, t+15 for the "middle C" sharp t+6, then at t+13, t+16, t+19 for the 2nd E t+10, finally at t+17, t+20, t+23 for the 2nd G sharp t+14, while being accompanied by the second hand.This accompaniment here is a simple bass by Alberti of two left-hand notes alternating every two beats, each note repeating every four beats, implying that the right-hand accompaniment is struck alone every other time, without accompaniment from the bass. These two notes are never struck alone, except the first initially, and apart from this case they always each accompany a right-hand note simultaneously.This accompaniment specified by superscript index or attribute (19) around a symbol (4) of the right hand would occupy the lower left range if the accompaniment is played at the first strike of this symbol, so in this example at times t for C sharp, t+1 for E, t+2 for G sharp, t+6 for "middle C" sharp, t+10 for the 2nd E, t+14 for the 2nd G sharp, or the upper left range if it is at the second strike so at times t+3, t+4, t+5, t+9, t+13, t+17 for the same notes respectively, or the upper right range if at the third strike i.e. at times t+7 for E, t+8 for G sharp, t+12 for "middle C" sharp, t+16 for the 2nd E, t+20 for the 2nd G sharp, or the lower right range if at the fourth strike i.e. at times t+11 for G sharp, t+15 for "middle C" sharp, t+19 for the 2nd E, t+23 for the 2nd G sharp. The clockwise direction of the tracks and this regulated indexing technique (19), . recall and compression (13) of data are not limiting, exclusive. Secondly, the specific ranges subject to constraints described above (19) are not exclusive of ranges with more neutral characters (19f) whose positioning will be stable in index against a symbol always to the right or to the left or above or below because linked in another way to the typing or repetition of this symbol, and sequences with or without repetition, chord, motif, sequence can receive this same type of indexing just like the aforementioned notes. Each index range can also include several chord symbols or note motifs.Concise information on these modalities of progression in the sequences, and of coordination between the hands is naturally located in the legend (6) where it finds place for a better understanding and could possibly be developed by any teacher familiar with the piece, the device, and finally according to an occasional targeted comparison with the solfege version or other tools, robots. It does not appear in extenso in the present figures.

[0022] In this device the second component, of the compression (13) in synergy with the specificities, includes the basic general or adapted particular compaction (20), created by synthesis, discrimination (21) and not only by neutral confinement (19f) or regulated (19) but also by other synthesis instructions, thanks to a plurality of symbols (4) of notes including triangle square disc diamond, for example for Alberti Basses (12), and secondary markers (3) of repetitions (22) such as parentheses, brackets, braces, double, triple or quadruple and so on indicating as many repetitions in the set of notes, chords, patterns, sequences or suites thus framed, or as explicitly indicated with multiplication addition operators, numbers and texts or by any other attribute, sign, means indicating repetitions in situ, or in margin or indicated elsewhere in a legend (6) or notification,or indicating references to other segments to be played, replay as in [Fig.3] and [Fig.5]. Stake with accompaniment, the symbols (4) of notes dedicated to a hand are preferably discriminated (21) in it and different from those of the other hand (21a) and according to two zones, each dedicated to a hand and separated by a serpentine (21b) for example, the whole constituting globally a stage (10) of the same color (16) or adorned with another specific discriminant. In general basic mode the compression applies to the Basses of Alberti (12) of which, for the hand concerned the motif is written on a single line with as simplification if necessary the only mention of each different symbol only, without any repetition, most generally but not exclusively without parenthetical framing or other similar closing sign, while of the other hand this motif of the accompaniment is signified against its symbols in attribute,superscript or subscript on neutral (19f) or ruled (19) ranges, with where appropriate complete order of the pattern which may include a larger number of remaining symbols, identical, if there are repetitions (22) in the said motif, order of the keys to be played. As well around the said Basses (12) as their reminder to the accompaniment in attribute (19), (19f) against the accompanied, there can be mention of repetitions (22) of the motif(s) themselves by any kind (3) of attributes, signs or explicit instructions. Overall in the sequence (11) the note symbols follow one another in suites, phrases circumscribed on a floor (10), alignment for which a minimum variation of altitude (23) from a horizontal reference is sought as in [Fig.l], [Fig.7] and [Fig.8].

[0023] In this device the third component, of the compression (13) in synergy with the specificities, creates a determining effect by distributing a new ordering of colors (16) associated (24) on the same symbol (4) or sequence of symbols, similarly on (3) attributes, signs: for example and not exhaustively a note symbol can be two-tone or multi-tone (24) indicating that the key of this note must be held played without rest by one hand while two or more Alberti Basses (12) or phrases of the stages of the corresponding colors (16), are played by the other hand as in [Fig.4], [Fig.5] and [Fig.7]. This makes it possible to associate stages (10) (16) of one hand with that (10) (24) or those of the other hand as in [Fig.5]. There may be an association (24) of more than 2 colors characterizing one or more symbols (4) of a note, musical phrase or any attribute, sign (3) of one hand, referring to as many stages (10) of the other hand as in [Fig.7].This discrimination technique (24) is not exhaustive and can be carried out by means of signs, mentions, hatching or other dedicated devices as a replacement or complement to colors.

[0024] In this device the fourth component of the compression (13) in synergy with the specificities establishes an aggregate (25) of several parts of different symbols (4) constituting a single hybrid symbol on the same place dedicated to a note, hybrid possibly containing separation marks demarcating its partial compounds, indicating that this note is played by each hand separately, the symbols dedicated to a hand being preferably discriminated different (21) from those of the other hand as in [Fig.l] at the first stage with G sharp then C sharp, and at the second stage with G sharp, and otherwise as in [Fig.9] at stages 1 (21a) to 4, and stages 6 to 11. Another symbol (4) of note, in subscript or superscript (19), can also appear whole against this hybrid (25), indicating the accompaniment of the hand concerned by the form of this accessit, and possibly according to the rule of the placement ranges referred to above, non-limiting: in [Fig.l] first floor, the G sharp (19) in the lower left range against the C sharp.

[0025] In this device of synergy of said compression, specificities and interactivity, components possess to varying degrees potentials of action and interaction that this either physically materially mechanically optically electronically computer-based virtually in 2D or 3D, by hologram, at any scale for singing for example or demonstration, therefore by means of any technical technological servitude allowing the automatic or semi-automatic implementation of specificities of said symbols, attributes signs mentions, ranges, by sounds of notes, tones, waves lights lighting, and configured to react to certain commands by the fingers, hands, eyes, voice and brain waves. Method

[0026] In a digital and interactive mode with a human supervisor and to make the most of its components optimized by FIA, the device operates a method of converting interactive musical files built on the digitization files, by Optical Music Recognition "ROM" technologies or by keyboard keystroke recognition techniques, sequences of musical notes and this towards a new interactive musical file format specific to the representation of the device, with the following steps: a. step 1: digitization of these suites by the said ROMs from a printed music score, or by keyboard keystroke recognition techniques. b. Step 2: Converting the file of the said digitization into an interactive music file with the extension ".musicxml", ".mxl", ".midi" or ".mid" among others. c. step 3: Artificial Intelligence "AI" analyzes in the said interactive musical file the architecture of the simple floors presented by virtual piano or "Piano roll", by its capacity to process images, photos in a context of textual data. d. step 4: the AI, informed of this architecture and integrating the framework rules of the device, engages its "Machine Learning" ML learning engines and its "Deep Learning" DL autonomous progression engines, to inquire on a case-by-case basis in its databases, of the numerous presentations by the said pianos, of the first models of human realization and physical applications according to the device by identifying the comparable architectures the initial similarities having received or being able to receive a sequence extraction treatment from the said suites. e. step 5: on these bases and those of the identified sequence extraction processes, the AI ​​proposes a solution for extracting the sequences, in the said interactive music file, and requests confirmation from the operator. f. step 6: the operator optimizes the parameters of the said extraction proposal or reworks them in depth, and confirms them to the device. g. step 7: The device definitively generates the said extracted sequences. h. step 8: still on the bases acquired thanks to the said "ML" "DL" engines with the identification, in its sample banks, of the couple in the said compression-projection equivalence arranging similar sequences, the AI ​​by interpolating their mode of application proposes, in a minimum and optimum number of stages, a compression-projection solution of the said extracted sequences, this in a new interactive musical file specific to the representation of the device, and requests confirmation from the operator. i. step 9: the operator optimizes the parameters of the said compression-projection proposal of the sequences or reworks them in depth, and confirms them to the device. j. step 10: The device definitively generates the compression-projection of the said sequences, in its staged representation.

[0027] Framework of an industrial application of the invention

[0028] The device in its digital character, the screen, the interface, the computer peripherals, the presentation and representation, integrated within the framework of the visualization means adjusting with the aforementioned keyboard supports the conditions required for industrial production. It also allows the construction of industrially editable material scores (2) that are considerably shorter than those that would come from compiling still images of a virtual piano presentation, "Piano roll", in a ratio that can reach topically 1 to 30. This format, about 20 cm lower than the Al, can be folded into a shortened A2 format for newspaper and magazine printing and applicable in this family, to the measures of the 3rd movement of the sonata "Au Clair de Lune" by LV Beethoven, whose test model of the applications according to the device forms an existing prototype of 19 single-sided sheets in short Al that can be converted into a format of 20 double-sided sheets in short A2, a little larger than that of a traditional score, adaptable to the board of a piano in particular and on a specific support if necessary.Format optimization can be achieved by omitting the extreme columns common to the score and devoid of note symbols and also by referring the legend (6) of the margins to the appendix. This prototype produces a synthesis of approximately 536 stages of cyclical colors, or 520 stages after more advanced synthesis discussed in the brief description of [Fig.8] and [Fig.9] and applied in [Fig.l] and [Fig.2], to be put into perspective with the approximately 3688 stages, raw without corresponding synthesis of a visualization of a virtual piano of the robot type "Piano roll" for this movement, here in an average ratio of 1 to 7. Another complete model of the applications of the 1st movement of this sonata according to the device is also ready, in 9 recto sheets in short Al, always in a very good compression ratio.

Claims

Claims

1. Device for improving the presentation by a computer screen, an interactive digital interface with an operator or virtual (2), of a sequence of graphic symbols of digital complexion, of musical notes, associated with a keyboard (5) of a musical instrument, piano, virtual piano, scrolling robot of the "Piano roll" type in particular, in a new mobile representation (2) tiered with new symbols (4) and characterized in that it decomposes conjecturally with the aid of rules, of the Artificial Intelligence "AI" of its databases and interactively with an operator, the said sequence into a minimum number of particular ordered sequences made up of symbols with specific regulated characters, sequences each having a degree of optimum potential for arrangement in a compact format on a dedicated stage (10) in the new representation (2), the said potential adjusting in interdependence with the architecture,cohabitation in sequences on adjoining floors and the level of densification on the dedicated floor.,

2. Device according to claim 1 and characterized in that it transforms said presentation by compacting, with said help and according to the parameters of the operator, each sequence of said sequence as a function of said potential, the set ordered on a minimum number of stages (10) each stage in charge of a succession of sound harmonics (11) and each representing by equivalence in projection a higher number of stages of the presentation for this same succession by a virtual piano or "Piano roll". Definition: said transformation by compacting is called "compression" (13).

3. Device of a preferred embodiment according to claims 1, 2 and characterized in that it projects, with said help and according to the parameters of the operator, several stages of said presentation by virtual piano or other scrolling robot of the "Piano roll" type, on a single stage at least in the representation of the device and in this framework of said equivalence which extends to the "projection-compression" couple. This cup projection crushes stepped elements towards a single stage: these accumulation, population stacking of elements in the same place for some, the loss of a spatial dimension require to singularize their new compact arrangement (11) by a memory of

4.

5.

6. the initial sequence which governs them, which is achieved by the heart of the device by the said compression in synergy with certain new specific characteristics of the elements in the improved symbolism, and the contribution of interactivity with the operator. Device according to claims 1, 2, 3 and characterized in that, with said help and according to the parameters of the operator, it transforms for improvement the framework of the staves presented by the virtual piano or other scrolling robot of the "Piano roll" type by removing their columns perpendicular to the length of said keyboard, and replacing them with a set of adjoining columns, of two widths, with their new borders (9) visible in the extension of the dark, feint keys of the keyboard, the wider columns (8) extending and the pair of light keys, steps of the notes "si"-"do" and the other pair of the notes "mi"-"fa", while the less wide (7) extend the steps of the other notes at each octave. This improved framework is interpreted as an elongation of all the sectors delimited by the keys of the keyboard, over the entire height of the representation.It is adjusted in relation to the said associated keyboard so that the column of its "middle C" (6b) aligns precisely in an extension of the key of "middle C" (5a) on the keyboard. As a result, all the new columns are aligned with their dedicated keys on the keyboard. Device according to claims 1, 2, 3, 4 and characterized in that it replaces, with the said help and according to the parameters of the operator, the simple, little discriminating, stepped symbolism represented by the virtual piano or other scrolling robot of the "Piano roll" type by stages of symbols preferentially colored, sometimes hybrid (25) of musical notes and surrounded by their attributes, accessits, exponents (19), indices, signs, repetition markers (22), mentions, color flows more evolved in their specificities and which it physically arranges with the help of the said "AI", rules, parameters of the operator, on the said improved framework to constitute a new stepped representation according to an optimum and minimum number of stages lower than that in the representation by the said virtual piano and similar, for the same sequence of notes. Device according to claims 1, 2, 3, 4, 5 and characterized in that it discriminates its elements by color, with the said help and according to the parameters of the operator: the stages of note symbols each have a different color (16) in their succession, this alternation color can be cyclical, black (17a) red (17b) blue (17c) green (17d) cycle for example. Note symbols are polychrome (24) if they have a function on two or more levels: this allows levels (10) (16) of one hand to be associated with that (10) (24) or those of the other hand, in particular during prolongation ties, alternating with expression ties. The note symbols emitted by the steps, light keys of the keyboard, have a mark (18), of light color or white, preferably with the same outline as that of the symbols.

7. Device according to claims 1, 2, 3, 4, 5, 6 and characterized in that it discriminates its elements by their shape, with the said help and according to the parameters of the operator: the note symbols have different shapes from one hand to the other of the player in the representation and can even be discriminated (21) in each hand to distinguish a particular place from the neighbor on the floor in particular in the accompaniment by an "Alberti Bass" (12) characterized by cyclical sequences of notes in a certain order (20) identifiable on the floor of the representation by a cyclical visual circuit of the places of the particular shapes, triangle square diamond disc among others.Shapes of symbols of a said hand, reduced in proportion indicate that these shrunken symbols are indexed (19) in subscript or superscript against symbols of nominal size (4) of the other hand or even in the said hand, this to specify the simultaneity, order and succession of the actions of the fingers in each.

8. Device according to claims 1, 2, 3, 4, 5, 6, 7 and characterized in that, with said assistance, it accepts with regard to a variety of options the instructions, modifications, specific parameters and preferences of the operator by any holographic digital interface and by means of optical optronic opto-mechanical voice audio visual recognition, of keystrokes of a keyboard, in the different modes of creation, conversion, reading, playing of musical score and optionally allows that the representation is interactive tactile modifiable and emits sounds of notes by touching on its symbols.

9. Device according to claims 1, 2, 3, 4, 5, 6, 7, 8 and characterized in that it scrolls in an automatic mode by default, with said help and according to the parameters of the operator, the stages of the new representation by bringing them closer to said keyboard linearly according to a choice of variable speeds proportional to the degree of said potential and linearly, or by rhythmic jerks according to the level of density to the floor targeted by the operator.

10. Device according to claims 1, 2, 3, 4, 5, 6, 7, 8, 9 and characterized in that it operates, with the said help and according to the parameters of the operator, a method of converting the interactive musical files built on the digitization files, by the Optical Music Recognition "ROM" technologies or by the said techniques of recognition of keystrokes of a keyboard, of the said sequences and this towards a new format of interactive musical file specific to the representation of the device, with the following steps: a. step 1: digitization of these suites by the said ROMs from a printed music score, or by the said keystroke recognition techniques of a keyboard. b. Step 2: Converting the file of the said digitization into an interactive music file with the extension ".musicxml", ".mxl", ".midi" or ".mid" among others. c. step 3: Artificial Intelligence "AI" analyzes in the said interactive musical file the architecture of the simple floors presented by virtual piano or "Piano roll", by its capacity to process images, photos in a context of textual data. d. step 4: the AI, informed of this architecture and integrating the framework rules of the device, engages its "Machine Learning" ML learning engines and its "Deep Learning" DL autonomous progression engines, to inquire on a case-by-case basis in its databases, of the numerous presentations by said pianos, of the first models of human realization and physical applications according to the device by identifying the comparable architectures, the initial similarities having received or being able to receive a sequence extraction processing described in the first claim. e. step 5: on these bases and those of the identified sequence extraction processes, the AI proposes a solution for extracting the sequences, in the said interactive music file, and requests confirmation from the operator. f. step 6: the operator optimizes the parameters of the said extraction proposal or reworks them in depth, and confirms them to the device. g. step 7: The device definitively generates the said extracted sequences. h. step 8: still on the bases acquired thanks to the said "ML" "DL" engines with the identification, in its sample banks, of the said compression-projection couple arranging similar sequences, the AI by interpolating their mode of application proposes, in a minimum and optimum number of stages, a compression-projection solution of the said extracted sequences, this in a new interactive musical file specific to the representation of the device, and requests confirmation from the operator. i. step 9: the operator optimizes the parameters of the said compression-projection proposal of the sequences or reworks them in depth, and confirms them to the device. j. step 10: The device definitively generates the compression-projection of the said sequences, in its staged representation.

Images