Chord Board Instrument

Abstract

A musical instrument including a chord player section having at least one chord player operable to play a selected chord, the at least one chord player including a first finger-operable pad having a first center point function and a plurality of first peripheral point functions, the first center point function and the plurality of first peripheral point functions each operable to generate a primary chord having a root note of the chord or a variation of the primary chord having the root note of the chord.

Description

[Technical Field]

[0001]

[0001] The present disclosure relates to musical instruments, and more particularly to manually controlled chord- and / or note-generating musical instruments that may be embodied physically or virtually on a touchscreen. [Background technology]

[0002]

[0002] Research has demonstrated that learning music improves academic performance, including in the areas of mathematics, science, geography, history, foreign languages, physical education, and vocational training. Research has shown that students with piano or keyboard experience perform 34% better on tests measuring activity in the spatial-temporal lobe, the part of the brain used in mathematics, science, and engineering.

[0003]

[0003] Research has shown that music education can be used to improve students' cognitive abilities. When students sing along to lyrics, they engage multiple brain regions to multitask. Music has a positive impact on language development, boosts IQ and spatial-temporal skills, and improves test scores. For example, music education has also been shown to increase overall IQ, especially in children during their peak developmental years. Spatial ability, verbal memory, reading comprehension, and mathematical ability have been shown to improve in tandem with music education (primarily through musical instrument acquisition). Researchers have also found a clear correlation between attendance and IQ gains, and that student engagement in music education increases IQ along with attendance. Music and music education can also improve fine motor skills, social behavior, and emotional well-being. Learning an instrument improves the fine motor skills of students with physical disabilities. Emotional well-being can be improved when students find meaning in songs and connect them to their daily lives. Through the social interactions of playing in groups such as jazz and concert bands, students learn social skills that can lead to emotional and mental well-being.

[0004]

[0004] Thus, the benefits of engaging in music, and particularly music making, to human well-being are well established. Despite these clear benefits of music making, many people still do not learn or attempt to learn how to play music. For example, learning to play a new instrument, such as the piano or guitar, can be an intimidating and demanding task. With the guitar, for example, it can typically take months of daily practice to progress to the point where one can actually produce musical tones. Furthermore, with the guitar and piano, for example, players must learn different fingerings for various chords and develop the dexterity to quickly move between the various fingerings to achieve desired chord changes. In other words, with musical instruments, it typically takes a significant amount of time for a user to learn how to play the instrument in order to actually produce music.

[0005]

[0005] Because of such obstacles, many people never attempt to play an instrument. Some who begin to learn to play an instrument may give up before achieving sufficient proficiency. As a result, many never experience or sustain the well-being benefits that musical performance can bring. Summary of the Invention [Problem to be solved by the invention]

[0006]

[0006] Therefore, there is a need for an instrument that provides an intuitive interface for music creation that does not pose obstacles to instant musical gratification.

[0007] Additionally, there are many musicians who are skilled on instruments that do not have easy access to chords, such as wind instruments or drums, who do not have the time or opportunity to learn a traditional, chord-enabled instrument to accompany them, and there are also many singers who do not play an instrument but rely on other musicians or recorded background tracks to sing along.

[0007]

[0008] Therefore, to provide new creative avenues for both beginners and experienced musicians, there is a need for an instrument with an intuitive interface for music creation that does not require a significant amount of time and effort to master in order to easily and readily play advanced chord sequences. [Means for solving the problem]

[0008]

[0009] Aspects of the present disclosure are directed to a musical instrument including a chord player section having at least one chord player operable to play a selected chord, the at least one chord player including a first finger-operable pad having a first center point function and a plurality of first peripheral point functions, the first center point function and the plurality of first peripheral point functions each operable to generate a primary chord having a root note of the chord or a variation of the primary chord having the root note of the chord.

[0009]

[0010] In an embodiment of the present disclosure, the at least one chord player further comprises a second finger-operable pad having a second center point function and a plurality of second peripheral point functions, the second center point function and the plurality of second peripheral point functions each operable to generate variations of a primary chord having a chord root note that varies with selection of the first pad, if any.

[0010]

[0011] In a further embodiment of the present disclosure, the at least one chord player further comprises a finger-operable third pad having a third center point function and a plurality of third peripheral point functions, the third center point function and the plurality of third peripheral point functions each operable to generate variations of a primary chord having a chord root note that varies with selection of the first pad, if any, and with selection of the second pad, if any.

[0011]

[0012] In an additional embodiment of the present disclosure, each finger-operable pad comprises a MIDI Polyphonic Expression (MPE) controller.

[0013] In a further embodiment of the present disclosure, each of the finger operable pads has an octagonal shape and nine selectable functions.

[0012]

[0014] In some embodiments of the present disclosure, the chord player section comprises a plurality of chord players, at least seven chord players.

[0015] In another embodiment of the present disclosure, the chord player section comprises 12 chord players.

[0013]

[0016] In a further embodiment of the present disclosure, the musical instrument further comprises a chord player layout selector operable to select a layout of the chord players, which is an association between each of the chord players and the root note of each chord, the layout comprising one of a key layout, a progression layout, a piano layout, and an alphabet layout.

[0014]

[0017] In a further embodiment of the present disclosure, each of the plurality of chord players further comprises one or more guidance indicators operable to provide user guidance regarding the next chord player to operate.

[0015]

[0018] In some embodiments of the present disclosure, the guidance indicators include an indicator indicating the interval from the currently operating chord player, an indicator indicating at least one of a modulation chord, an equal chord, a parallel chord, and a leading chord, and / or an indicator indicating the next chord player who will play according to the selected chord progression.

[0016]

[0019] In additional embodiments of the present disclosure, each of the at least one chord player further comprises an arpeggiator.

[0020] In an embodiment of the present disclosure, each of the at least one chord player comprises a chord root note display operable to display the respective chord player's currently corresponding chord and chord root note.

[0017]

[0021] In a further embodiment of the present disclosure, each of the finger operable pads includes eight perimeter point functions.

[0022] In an additional embodiment of the present disclosure, the at least one chord player further comprises an octave controller operable to selectively change the octave of a selected chord.

[0018]

[0023] In a further embodiment of the present disclosure, the musical instrument further comprises a key selector operable to select a key root for the instrument.

[0024] In additional embodiments of the present disclosure, the instrument further comprises a mode selector operable to select a mode for the instrument from among major (or Ionian), minor (or Aeolian), Dorian, Phrygian, Lydian, Mixolydian, and Locrian.

[0019]

[0025] In some embodiments of the present disclosure, the musical instrument further comprises a progression selector operable to select a chord progression.

[0026] In an embodiment of the present disclosure, the musical instrument further comprises a note player operable to generate individual notes in a selected key, the chord player section being located on a first side of the instrument and the note player being located on a second side of the instrument, the layout of the note player corresponding to a currently played chord in the chord player, and the three finger areas of the note player in the currently played chord corresponding to the root note, the third note, and the fifth note, respectively, of the currently played chord.

[0020]

[0027] In a further embodiment of the present disclosure, the note player includes a MIDI Polyphonic Expression (MPE) controller for each finger.

[0028] In a further embodiment of the present disclosure, the note player further comprises an arpeggiator.

[0021]

[0029] In a further embodiment of the present disclosure, the instrument further comprises a play ahead function whereby the chord player may select selected chords sequentially at a speed faster than the selected tempo while still playing the selected chord at the selected tempo, or may select while pausing at any speed and then play at the selected tempo.

[0022]

[0030] In an additional embodiment of the present disclosure, the chord player further comprises one or more guidance indicators operable to provide user guidance regarding the next chord player to operate.

[0023]

[0031] A further aspect of the present disclosure is directed to a musical instrument comprising a note player operable to produce individual notes in a selected key, the layout of the note player corresponding to a selected chord, and three finger areas of the note player in the selected chord corresponding to the root note, third note, and fifth note of the selected chord in the selected key.

[0024]

[0032] In a further embodiment of the present disclosure, the note player layout corresponds to a selected chord in a selected key, and the note player's five finger areas in the selected chord correspond to the five notes of a pentatonic scale corresponding to the selected key.

[0025]

[0033] In a further embodiment of the present disclosure, the three finger regions include regions for the note player's index finger, middle finger, and ring finger, corresponding to the root note, third note, and fifth note, respectively, of a chord in a selected key.

[0026]

[0034] Implementing aspects of the present disclosure provides an instrument with an intuitive interface for music creation that does not present obstacles (e.g., extensive knowledge and / or physical dexterity) to immediate musical gratification. For example, learning to play the piano or guitar typically requires months of daily practice to progress to the point of actually producing musical tones, and the player must learn different fingerings for various chords while also developing the dexterity to quickly move between the various fingerings to achieve desired chord changes. In contrast, embodiments of the present disclosure provide an instrument that provides immediate musical gratification without requiring extensive knowledge or dexterity regarding chord fingering. In other words, with an instrument of the present disclosure, it does not take a significant amount of time for a user to learn how to play the instrument in order to actually produce music. Furthermore, implementing aspects of the present disclosure provides an instrument with an intuitive interface for music creation that does not require extensive time and effort to master in order to simply and easily play advanced chord sequences, providing new creative avenues for both beginners and experienced musicians.

[0027]

[0035] Thus, by implementing aspects of the present disclosure, more people will be able to more easily access and experience music performance, and therefore experience the well-being benefits that music performance can bring.

[0028]

[0036] The novel features which are characteristic of this musical instrument, both as to its structure and as to its method of operation, as well as further objects and advantages thereof, will be understood from the following description taken in conjunction with the accompanying drawings, which illustrate, by way of example, embodiments of the present disclosure. It is to be expressly understood, however, that the drawings are for the purpose of illustration and description only and are not intended to define the scope of the present disclosure. For a more complete understanding of the present disclosure, as well as other objects and further features, reference may be made to the following detailed description of embodiments of the present disclosure taken in conjunction with the following illustrative and non-limiting drawings. [Brief explanation of the drawings]

[0029] [Figure 1]

[0037] FIG. 1 illustrates an exemplary depiction of a chord board including a chord section and a note section, according to aspects of the present disclosure. [Figure 2]

[0038] 1A-1C illustrate exemplary views of the chord player and pad movement guides of a chord board, according to aspects of the present disclosure. [Figure 3]

[0039] 1A-1C illustrate exemplary views of a chord player and pad layout guide for a chord board, according to aspects of the present disclosure. [Figure 4]

[0040] 1 illustrates an exemplary view of a chord player section of a chord board, according to aspects of the present disclosure. [Figure 5]

[0041] 10A-10C illustrate exemplary views of the control section of a chord board and chord section layout selection of a chord board, according to aspects of the present disclosure. [Figure 6]

[0042] FIG. 1 illustrates an exemplary view of a note section of a chord board, according to aspects of the present disclosure. [Figure 7]

[0043] FIG. 1 illustrates an exemplary view of a sequencer section of a chord board, according to aspects of the present disclosure. [Figure 8A]

[0044] FIG. 1 illustrates an exemplary depiction of a chord pad including a single chord player section, according to aspects of the present disclosure. [Figure 8B]

[0045] FIG. 10 illustrates another exemplary depiction of a chord pad including a single chord player section, according to aspects of the present disclosure. [Figure 9]

[0046] FIG. 1 illustrates an example layout of a chord board composed in the key of C, I-IV-V-ii progression, and piano layout, according to an embodiment of the present disclosure. [Figure 10]

[0047] FIG. 1 illustrates an example layout of a chord board configured in the key of C, I-IV-V-ii progression, and progression layout, according to an embodiment of the present disclosure. [Figure 11]

[0048] FIG. 1 illustrates an example layout of a chord board configured in the key of Am, an i-iv-v-ii progression, and a progression layout, according to an embodiment of the present disclosure. [Figure 12]

[0049] FIG. 1 illustrates an example layout of a chord board composed in the key of Am, i-iv-v-ii progression, and key layout, according to an embodiment of the present disclosure. [Figure 13]

[0050] FIG. 1 illustrates an example layout of a chord board composed in the key of Gb, I-IV-V-ii progression, and key layout, according to an embodiment of the present disclosure. [Figure 14]

[0051] FIG. 1 illustrates an example layout of a chord board composed in the key of A minor, i-iv-v-ii progression, and alpha (or alphabet) layout, according to aspects of the present disclosure. [Figure 15]

[0052] FIG. 1 illustrates an exemplary depiction of a code board baby, according to aspects of the present disclosure. [Figure 16]

[0053] FIG. 1 illustrates an exemplary depiction of a chord board starter according to aspects of the present disclosure. [Figure 17]

[0054] FIG. 1 illustrates an exemplary depiction of a Code Board Junior, according to aspects of the present disclosure. [Figure 18]

[0055] FIG. 1 illustrates an exemplary depiction of a code board standard, according to aspects of the present disclosure. [Figure 19]

[0056] FIG. 1 illustrates an exemplary depiction of a Chord Board (or Chord Board Pro) according to aspects of the present disclosure. [Figure 20]

[0057] FIG. 1 illustrates an exemplary depiction of a stand-alone handboard note generator according to aspects of the present disclosure. [Figure 21]

[0058] FIG. 1 illustrates an exemplary environment for implementing aspects of the present disclosure. DETAILED DESCRIPTION OF THE INVENTION

[0030]

[0059] The novel features which are characteristic of the present disclosure, both as to its structure and as to its method of operation, together with further objects and advantages thereof, will become apparent from the following description taken in conjunction with the accompanying drawings which illustrate, by way of example, embodiments of the disclosure, but it is to be expressly understood that the drawings are for the purpose of illustration and description only and are not intended as a definition of the scope of the present disclosure.

[0031]

[0060] In the following description, various embodiments of the present disclosure will be described with reference to the accompanying drawings. While detailed embodiments of the present disclosure will be discussed herein as necessary, it should be understood that the disclosed embodiments are merely exemplary of embodiments of the present disclosure, which may be embodied in various alternative forms. The figures are not necessarily to scale, and some features may be exaggerated or reduced in size to show details of particular components. Therefore, the specific structural and functional details disclosed herein should not be construed as limiting, but merely as a representative basis for teaching those skilled in the art to variously utilize the present disclosure.

[0032]

[0061] The details shown in this specification are exemplary and are presented solely for the purpose of illustratively describing embodiments of the present disclosure, and are presented to provide what is believed to be the most useful and readily understandable explanation of the principles and conceptual aspects of embodiments of the present disclosure. In this regard, no attempt is made to show structural details of embodiments of the present disclosure in more detail than is necessary for a fundamental understanding of the embodiments of the present disclosure, and the description, taken in conjunction with the drawings, will make clear to those skilled in the art how forms of embodiments of the present disclosure may be embodied in practice.

[0033]

[0062] As used herein, the singular forms "a," "an," and "the" include the plural forms as well, unless the context clearly dictates otherwise. As used herein, the indefinite article "a" refers to both one and plural and does not necessarily limit its reference to the singular.

[0034]

[0063] Unless otherwise expressly indicated, all numbers expressing quantities used in the specification and claims should be understood to be modified in all instances by the term "about." Accordingly, unless indicated to the contrary, the numerical parameters set forth in the specification and claims are approximations and may vary depending upon the desired properties sought to be obtained by the embodiments of the present disclosure. At the very least, the application of the doctrine of equivalents should not be construed as an attempt to limit the scope of the claims, but rather each numerical parameter should be construed in light of the number of significant digits and ordinary rounding approaches.

[0035]

[0064] Additionally, the recitation of numerical ranges within this specification is considered to be a disclosure of all numerical values ​​and ranges within that range (unless expressly stated otherwise). For example, a range from about 1 to about 50 is considered to include, for example, 1, 7, 34, 46.1, 23.7, or any other value or range within that range.

[0036]

[0065] As used herein, the terms "about" and "approximately" indicate that the quantity or value in question may be the specified specific value or may be another value in its vicinity. Generally, the terms "about" and "approximately" used to describe a value are intended to indicate that the specified value is within ±5% of that value. As an example, the phrase "about 100" represents a range of 100 ±5, i.e., a range of 95 to 105. Generally, when the terms "about" and "approximately" are used, it is expected that similar results or effects according to the present disclosure will be obtained within ±5% of the indicated value.

[0037]

[0066] As used herein, the term "and / or" indicates that all or only one of the elements of the group may be present. For example, "A and / or B" means "A only, or B only, or both A and B." In the case of "A only," the term also covers the possibility that B is absent, i.e., "A only and not B."

[0038]

[0067] The term "substantially parallel" refers to a deviation of less than 20° from a parallel position, and the term "substantially perpendicular" refers to a deviation of less than 20° from a perpendicular position. The term "parallel" refers to a deviation of less than 5° from a mathematically exact parallel position. Similarly, "perpendicular" refers to a deviation of less than 5° from a mathematically exact perpendicular position.

[0039]

[0068] The term "at least partially" is intended to indicate that the following characteristics are met to some extent or completely:

[0069] The terms "substantially" and "essentially" are used to indicate that the following characteristics, properties, or parameters are fully (wholly) realized or met, or are realized or met to the extent that they do not adversely affect the intended results.

[0040]

[0070] As used herein, the term "comprising" is intended to be non-exclusive and open-ended. Thus, for example, a composition comprising compound A may contain other compounds besides A. However, the term "comprising" also covers the more restrictive meanings of "consisting essentially of" and "consisting of," so that, for example, a "composition comprising compound A" may consist (essentially) of compound A.

[0041]

[0071] The various embodiments disclosed herein can be used separately and in various combinations, unless specifically stated to the contrary.

[0072] A chord in music is a harmonic set of pitches / frequencies comprising multiple notes (also called "pitches") that sound as if they were sounding simultaneously. For many practical and theoretical purposes, arpeggios and scattered chords (where the notes of a chord are struck one after the other rather than simultaneously), or sequences of chord tones, can also be considered chords in the appropriate musical context.

[0042]

[0073] In tonal Western classical music (music in the tonic or "home key"), the most frequently used chord is the triad. It is called a triad because it consists of three distinct notes: a root note and intervals a third and a fifth above the root note. Chords of more than three notes, including added-tone chords, extended chords, and tone clusters, are used in modern classical music, jazz, and almost any other musical genre.

[0043]

[0074] The chromatic scale (or twelve-tone scale) is a set of twelve pitches used in tonal music, where the notes are separated by semitone intervals. A chromatic scale is a scale with twelve pitches, where each note is a semitone, also known as a half-step, above or below the adjacent pitch. As a result, in 12-tone equal temperament (the most common tuning in Western music), the chromatic scale covers all twelve available pitches; i.e., AA# / Bb-BCC# / Db-DD# / Eb-EFF# / Gb-GG# / Ab is. Therefore, there is only one chromatic scale. As a result, the notes of an equal-tempered chromatic scale are evenly spaced.

[0044]

[0075] Nearly all Western musical instruments, including the piano and most fretted instruments, are designed to produce the chromatic scale. (Other instruments that can be continuously pitched, such as the trombone and violin (as well as other fretless instruments), can also produce microtones, that is, notes between those sounded on the piano.) Most music uses a subset of the chromatic scale, such as the diatonic scale. Although the chromatic scale is fundamental in Western music theory, the entire chromatic scale is rarely used directly in a composition or improvisation.

[0045]

[0076] MIDI (Musical Instrument Digital Interface) is a technical standard describing the communications protocols, digital interfaces, and electrical connectors that connect various electronic musical instruments, computers, and related audio devices for music playback, editing, and recording. The specification originates from a paper titled "Universal Synthesizer Interface," presented by Dave Smith and Chet Wood of Sequential Circuits at the 1981 Audio Engineering Society conference in New York. A single MIDI cable can carry up to 16 channels of MIDI data, and each channel can be routed to a separate device. Each interaction with a key, button, knob, or slider is translated into a MIDI event that specifies musical instructions such as the pitch, timing, and volume of a musical note. One common MIDI application is playing a MIDI keyboard or other controller and using it to trigger digital sound modules (including synthesized musical tones) to generate sounds that an audience can then hear as they are generated by an amplifier (e.g., a keyboard amplifier). MIDI data can be transferred via MIDI or USB cables, or recorded in a sequencer or digital audio workstation for editing or playback.

[0046]

[0077] A MIDI controller is any hardware or software that generates and sends Musical Instrument Digital Interface (MIDI) data to a MIDI-compatible device, usually to trigger sounds or control parameters in an electronic musical performance. MIDI controllers most often use musical keyboards to send data about the pitch of notes being played, but MIDI controllers may also trigger other effects. Such devices provide musical keyboards and other actuators (e.g., pitch bend and modulation wheels) but do not generate sound themselves; they are intended solely to drive other MIDI devices. Electronic musical instruments, including synthesizers, samplers, drum machines, and electronic drums, are used to play music in real time and can send MIDI data streams of their performances. While some controllers are dedicated to keyboards, many also include other real-time controllers such as sliders, knobs, and wheels. They typically have connections for sustain and expression pedals.

[0047]

[0078] A MIDI keyboard or controller keyboard is an electronic musical keyboard, usually piano-style, often with other buttons, wheels, and sliders, used to send MIDI signals or commands to other musical devices or computers via USB or a MIDI 5-pin cable. MIDI keyboards without an on-board sound module cannot generate sounds by themselves, but some MIDI keyboard models include both a MIDI controller and a sound module, allowing them to operate independently. When used as a MIDI controller, MIDI information about keys or buttons pressed by the performer is sent to a receiving device, which can create sounds through modeling synthesis, sample playback, or analog hardware instruments. Receiving devices include: a computer running a Digital Audio Workstation (DAW) or standalone VST / AU software instrument (the receiving device can also be used to reroute MIDI signals to other devices), sound module, or It can be a digital or analog hardware instrument with MIDI capabilities, such as a synthesizer, an electric piano, or a drum machine.

[0048]

[0079] A typical signal path for a MIDI controller may include, for example: MIDI controller → 5-pin MIDI connector or USB cable → computer running a DAW or standalone VST / AU software instrument, sound module, or MIDI-enabled digital piano, stage piano, or synthesizer → audio sound device (amplifier and speakers or headphones).

[0049]

[0080] A control surface is a hardware device that provides a variety of controls that transmit real-time controller messages sent via MIDI or in a proprietary format. Control surfaces make it possible, for example, to program software instruments without the discomfort of excessive mouse movement or to adjust hardware devices without having to navigate through hierarchical menus. Buttons, sliders, and knobs are the most common controllers offered, but rotary encoders, transport controls, joysticks, ribbon controllers, vector touchpads, and optical controllers are also available. Controllers may be general-purpose devices designed to work with a variety of instruments, or they may be designed to work with specific software.

[0050]

[0081] A sequencer stores and retrieves MIDI data and sends it to a MIDI-compatible instrument to recreate the performance.

[0082] Although software synthesizers offer great power and versatility, some performers feel that dividing their attention between a MIDI keyboard and a computer keyboard and mouse takes away some of the immediacy of the playing experience. In contrast, devices dedicated to real-time MIDI control offer ergonomic advantages, allowing performers to feel more connected to the instrument than with interfaces accessed through a mouse or computer keyboard.

[0051]

[0083] FIG. 1 shows an exemplary depiction of a musical controller that is a musical instrument, a "chord board" 100. Chord board 100 includes a chord side 105 and a note side 110 (or "handboard") according to aspects of the present disclosure. In embodiments of the present disclosure, chord board 100 is a MIDI controller or may include an integrated sound module or synthesizer. As shown in FIG. 1 , chord side 105 is positioned on the left side of chord board 100 for play with a user's left hand (not shown), and note side 110 is positioned on the right side of chord board 100 for play with a user's right hand 135. (The present disclosure contemplates the opposite configuration, where chord side 105 is positioned on the right side of the chord board for play with a user's right hand and note side 110 is positioned on the left side of the chord board for play with a user's left hand, in which case the note side layout would be left-handed.)

[0052]

[0084] According to aspects of the present disclosure, chord side 105 includes a chord player section 120 operable for a user to generate chords by pressing one or more pads with their left hand, and note side 110 includes a note player 123 operable for a user to generate one or more individual notes by manipulating one or more fingers of their right hand 135 on sensor pads 130. In this manner, according to aspects of the present disclosure, a user of chord board 100 can perform musical compositions in a manner similar to a pianist, accompanying themselves (e.g., playing chords with one hand and a lead line or melody with the other).

[0053]

[0085] As shown in FIG. 1 , in a particular embodiment of the present disclosure, the chord player section 120 includes 12 individual chord players 125, each corresponding to one of 12 scales (AA# / Bb-BCC# / Db-DD# / Eb-EFF# / Gb-GG# / Ab). Thus, in this exemplary embodiment of the present disclosure, the chord player section 120 includes 12 chord players 125. As described below, the association between each of the 12 scales (or root notes) and each of the chord players 125 is configurable in different layouts (e.g., based on the selected key and / or desired layout). Thus, in one exemplary layout, as shown in FIG. 1 , the top-left chord player 125 may be configured to play a C# chord, while in another exemplary layout, the top-left chord player 125 may be configured to play an A# chord (see, e.g., FIG. 14 ). As shown in FIG. 1, the chord side 105 includes a layout selector 150 operable to select a layout for the chord players 125 (i.e., to select an association between each of the 12 scales (or chord root notes) and each of the chord players 125).

[0054]

[0086] While each of the chord players 125 shown in the exemplary embodiment of FIG. 1 indicates the root note of a chord displayed on its pad, it should be understood that these root notes displayed on the pads are shown in FIG. 1 for ease of understanding the present disclosure. In this exemplary embodiment, none of the pads actually display any of the pads. Instead, as described below, each of the chord players 125 includes a dedicated chord root note display, operable to display the root note corresponding to the respective chord player 125. However, it should also be understood that the present disclosure contemplates pads that include a configurable display or other indication (e.g., color lighting) that can be used to indicate the root note of a corresponding chord in lieu of a dedicated root note indication.

[0055]

[0087] As shown in FIG. 1, the code board 100 also includes a power and volume (mute) control section 155 (including a power switch and a mute switch), a setup control section 115, and a sequencer control section 145.

[0056]

[0088] Although not shown, it should be understood that chord board 100 has appropriate jacks and connections, for example, on the back of chord board 100. For example, chord board 100 may include a headphone jack (e.g., 6.35 mm (¼ inch) or 3.5 mm), one or more expression pedal jacks, MIDI input, MIDI thru, and MIDI output jacks, a power jack (e.g., a USB power jack or an AC power jack), a CV connector, a line output, and / or an audio output. While chord board 100 may connect to an AC power source using a power jack, the present disclosure also contemplates that chord board 100 may be powered using a battery (e.g., a DC power supply) or by USB. Accordingly, chord board 100 may have an appropriate battery compartment for accommodating one or more batteries. A control voltage (i.e., CV) is a direct current electrical signal used to manipulate the value of components in analog circuits. Control voltages are used in a variety of ways for various purposes in various types of electronic circuits and may be used to control electronic musical instruments.

[0057]

[0089] FIG. 2 illustrates an exemplary view of an embodiment of a chord player 125 and a pad action guide 240 of a chord board, according to an aspect of the present disclosure. As shown in FIG. 2, the chord player 125 includes a first pad (or pad 1) 210, a second pad (or pad 2) 215, and a third pad (or pad 3) 220. In the exemplary embodiment, each of the pads 210, 215, and 220 has an octagonal shape with a center contact point 225 and eight corner contact points 230. Thus, each of the pads 210, 215, and 220 has up to nine selectable functions. The chord player 125 also includes a chord root note display (or chord display) 205 that displays the chord (and chord root note) currently associated with the chord player 125. In the example of FIG. 2, the chord display 205 of the chord player 125 is "C," indicating a C major chord. (The lowercase "c" represents a C minor chord.) Thus, pressing one or more of the contact points 220, 225 on one or more of the pads 210, 215, 220 of this chord player will produce several variations of the C chord, as described below.

[0058]

[0090] In exemplary operation, a user presses the center of the first pad 210 (i.e., the center contact point 225) with one finger to generate a basic triad (for a major chord: root, third, and fifth; for a minor chord: root, minor (or flat) third, and fifth). For example, as shown in FIG. 2, pressing the center contact point 225 (labeled "Ch") of the first pad 210 generates a chord corresponding to that displayed on the chord display 205 (in the example of FIG. 2, a C major chord). With the same finger, the user may press any of the eight outer (or corner) points 230 of the first pad 210 instead of the center to generate any of a number of selected chord variations. For example, pressing an "M / m" corner contact point will play either a minor or major chord, whereas a "Ch" contact point will not. That is, if the chord display 205 indicates a C major chord, the "Ch" contact point will generate a C major chord, and the "M / m" corner contact point will generate a C minor chord. In contrast, if the chord board is configured so that the chord display 205 shows a C minor chord (lowercase c), a "Ch" contact point will produce a C minor chord, and an "M / m" corner contact point will produce a C major chord. Chord variations selectable by the first pad 210 further include "sus," "4," "o," "b5," "#5," "+," and "2," which are described below.

[0059]

[0091] As a further example, if the chord board is configured so that the chord display 205 indicates a B diminished chord (or a "B° chord"), then a "Ch" contact point will produce a B diminished chord. Because a diminished chord is a minor chord with a diminished fifth, a contact point on the corner of an "o" will produce a B minor chord (e.g., working in reverse to remove the diminished), and a contact point on the corner of an "M / m" will produce a B major chord. In contrast, if the chord board is configured so that the chord display 205 indicates a B minor chord (lowercase b), then a "Ch" contact point will produce a B minor chord, a contact point on the corner of an "M / m" will produce a B major chord, and a contact point on the corner of an "o" will produce a B diminished chord.

[0060]

[0092] As described above, a chord corresponding to that displayed on the chord display 205 (in the example of FIG. 2 , a C major chord) is generated by the corresponding chord player. It should be understood that each of the chord players 125 can be configured to generate chords constructed from any one of the 12 scales. Thus, the chord display 205 may display any of the 12 scales (AA# / Bb-BCC# / Db-DD# / Eb-EFF# / Gb-GG# / Ab) in both major (uppercase) and minor (lowercase) configurations. As described below, the association between each of the 12 scales (or root notes) and each of the chord players 125 can be configured in different layouts (e.g., based on the selected key, the selected progression, and / or the desired layout).

[0061]

[0093] According to further aspects of the present disclosure, the user can then use a second finger to press any of nine points on the second pad 215 to generate a selected variation over the chord generated by the selection of the first pad 210. In this exemplary embodiment, the selected variations selectable by the second pad 215 include "b11," "M7," "9," "M9," "b9," "6," "6 / 9," "11," and "7," which are described below.

[0062]

[0094] According to aspects of the present disclosure, in exemplary embodiments, a user can use a third finger to press any of nine points on the third pad 220 over (or in place of) the chord generated by selecting the first pad 210 and / or the second pad 215 to generate an inversion (or an inverted variation) of the chord selected by the first pad 210 and / or the second pad 215. Inversions selectable by the third pad 215 include "Ai," "Bi," "Ci," "Di," "Ei," "Fi," "1i," "2i," and "?", which are described below and include a thirteenth variation.

[0063]

[0095] Further, for example, if a finger is used on only the second pad 215 or only the third pad 220, the chord player 125 functions as if the bass triad (i.e., the center contact point 225 of the first pad 210) is pressed. For example, in the example of FIG. 2, if only the "7" variation is selected using the second pad 215, the chord board 100 generates a C7 chord (not just the major seventh note) without pressing the first pad 210. As a further example, in the example of FIG. 2, if only the "1i" variation is selected using the third pad 220, the chord board 100 generates a C major chord in the first inversion. As a further example, in the example of FIG. 2, if the "7" variation is selected using the second pad 215 and the "1i" variation is selected using the third pad 220, the chord board 100 generates a C7 chord in the first inversion.

[0064]

[0096] While the pads are shown in a particular configuration, the present disclosure contemplates that the three pads can be interchanged, for example, to suit left-handed / right-handed playing styles and / or player preference. Additionally, while each of the pads has an octagonal shape, providing nine options, the present disclosure also contemplates polygonal pads having more or fewer than eight angles (with corresponding more or fewer options), and pads having other non-polygonal shapes (e.g., circular pads) that provide nine options (or alternatively, more or fewer options).

[0065]

[0097] Additionally, while this disclosure contemplates that the pads can be made from a physical material that includes recesses (and / or protrusions), in other contemplated embodiments, each pad is MPE-enabled. For example, in some embodiments, each finger-operable pad may include one or more MIDI Polyphonic Expression (MPE) controllers. The pads may be any surface with touch points (e.g., finger-operable continuous controller touch points), such as photodiodes, or, as a second example, a continuous touch-sensitive circular strip or mini-touchscreen display, over which a performer can slide their finger to achieve microtones between enumerated variations. In such contemplated embodiments, for example, a circular-array MPE may provide a center point function and multiple perimeter point functions, as well as various functions between the center point function and each perimeter point function. For example, in a contemplated embodiment, when a finger slides from the center point function to the perimeter point function on the MPE controller, the chord may slide between a first chord (determined by the center point function) and a second chord (determined by the selected perimeter point function).

[0066]

[0098] As shown in FIG. 2 , each of pads 210, 215, 220 includes an indicator indicating the respective function of each of contact points 220, 225. In some embodiments, the pads may include a label or other fixed marking indicating the respective function. In other contemplated embodiments, the pads may include a configurable display (e.g., a screen or touchscreen) for each (or all) of the pads' functions, which can be used to display the current function (among multiple options). Thus, in embodiments, the respective function of each of the pad's contact points may be user-configurable. In other contemplated embodiments, the user configures the respective function of each of the pad's contact points (e.g., to their liking) and then affixes a function indicator (e.g., with adhesive) to the respective area of ​​the pad, or the function may be displayed on a screen embedded in code board 100. In embodiments, the respective functions may be user-configurable and / or user-definable, for example, via accompanying software (e.g., an iOS or Android app).

[0067]

[0099] 3 shows an exemplary view of an embodiment of the chord player 125 of the chord board 100, along with a pad layout guide 340, according to an embodiment of the present disclosure. As introduced above, chords are designated by a letter indicating the root note (e.g., C), which may be followed by a symbol or abbreviation indicating the chord quality (e.g., minor (min), augmented (aug), or diminished (o)). (If the chord quality is not specified, the chord is assumed to be either a major or minor triad by default, depending on whether the root note is uppercase or lowercase, respectively.) Furthermore, numbers are used to indicate stacked intervals above the root note (e.g., 7, 13). Furthermore, additional musical symbols or abbreviations may be used for special chord variations (e.g., ♭5, #5, add13).

[0068]

[0100] Since a triad is made up of three notes called the root note, the third note, and the fifth note, in a major triad the third note is a major third (four semitones above the root note), in a minor triad the third note is a minor third (three semitones above the root note), and in both major and minor chords the fifth note is a perfect fifth (or seven semitones above the root note), the symbols used to generate chords in this disclosure are as follows:

[0069] Pad 1: Ch generates a default chord: major, minor, or diminished.

[0070] 2 creates a sus2 chord, which replaces the third note in the triad with the major second note (two semitones above the root). M / m generates a major chord if the default is a minor chord, or a minor chord if the default is a major or diminished chord. This substitutes major and minor thirds for each other. "m" is lowercase for minor chords, and "M" is uppercase for major chords.

[0071] The Sus produces two-note chords consisting of the root note and the perfect fifth minus the third note, commonly known as "power chords." The 4 creates a sus4 chord, which replaces the third note in the triad with a perfect fourth (five semitones above the root).

[0072] O generates a diminished chord, or a minor chord if the default chord is a diminished chord. Indicates a power chord, which deletes the third note in the triad without any substitution.

[0073] The b5 produces a major chord, but replaces the perfect fifth with a flat fifth (six semitones above the root). #5 produces a major chord, but replaces the perfect fifth with a sharp fifth (eight semitones above the root). + generates augmented chords.

[0074] Pad 2: 7 will generate: 1) For major chords, it will generate a dominant seventh chord, which is a major triad (or as modified by Pad 1) that adds a minor seventh (10 semitones) above the root. 2) For minor chords (or as modified by Pad 1), it will generate a minor seventh chord, which is a minor triad (or as modified by Pad 1) that adds a minor seventh (10 semitones) above the root. 3) For diminished chords, it will generate a diminished seventh chord, which is a diminished triad (or as modified by Pad 1) that adds a diminished seventh (9 semitones) above the root.

[0075] M7 generates: 1) For a major chord (or one modified by Pad 1), it generates a major seventh chord. This is a major triad, but this time it adds a major seventh (11 semitones) above the root. 2) For a minor chord (or one modified by Pad 1), it generates a minor seventh / major seventh chord. This is a minor chord, but this time it adds a major seventh (11 semitones) above the root. 3) For a diminished chord, it generates a half-diminished seventh chord, or diminished triad. This adds a minor seventh (10 semitones) above the root.

[0076] The 9 produces a dominant ninth chord, which is a bass triad (or as modified by Pad 1) with the addition of a minor seventh note and a ninth note one octave and two semitones above the root note.

[0077] M9 produces a major ninth chord, which is a bass triad (or as modified by Pad 1) with the addition of a major seventh note and a ninth note one octave and two semitones above the root note.

[0078] The b9 produces a flat ninth chord, which is a bass triad (or modified by pad 1) with the addition of a minor seventh and a flat ninth, an octave and one semitone above the root.

[0079] 6 produces a sixth chord, which is a bass triad (or modified by Pad 1) with an added sixth note, nine semitones above the root. 6 / 9 produces a sixth chord with an added ninth note, an octave and two semitones higher than the root note.

[0080] 11 generates: 1) For major chords, generates an eleventh chord, which is a dominant seventh chord with an eleventh note added one octave and four semitones above the root. 2) For minor chords, generates a minor eleventh chord, which is a minor seventh chord with an eleventh note added one octave and four semitones above the root.

[0081] b11 produces a minor triad (or one modified by pad 1) with an added flat 11th note, which is one octave and three semitones higher than the root (no added seventh note).

[0082] Pad 3: 1i creates a bass triad (or one modified by Pad 1 and / or Pad 2), raising the root note an octave so that the third note of the chord becomes the lowest note in the triad.

[0083] 2i creates a bass triad (or one modified by Pad 1 and / or Pad 2) by raising the first and third notes by an octave, so that the fifth note becomes the lowest note in the triad.

[0084] Ai to Fi generate a bass triad (or one modified by Pad 1 and / or Pad 2) and move various note combinations within the chord down or up an octave to create different voicings for the same chord.

[0085] ? creates an expanded power chord, which is the root of the chord and the fifth note, with no third note. Here, the fifth note of the chord is lowered an octave, becoming the lowest note. This is explained further below.

[0086]

[0101] 3, the abbreviated labels for each of the pad functions are explained by the pad layout guide 340. For example, pressing the "+" area of ​​the first pad 210 generates an augmented C chord. Pressing the "b5" area of ​​the first pad 210 and the "7" area of ​​the second pad 215 generates a C7b5 chord. Thus, according to aspects of the present disclosure, a user can instantly access various chord variations of a selected root chord with one or two fingers.

[0087]

[0102] Furthermore, according to further aspects of the present disclosure, the third pad 220 can be used to generate inversions of the currently selected chord (i.e., the base chord or the chord selected by pressing one or more of the first pad 210 and the second pad 215). In other contemplated embodiments, the third pad can be configured to generate variations of the currently selected chord. This may include inversions or other chord variations, including, for example, user-programmable configurations. A chord inversion represents the relationship of the lowest note in the chord to other notes. For example, a C major triad is composed of the tones C (root or 1st), E (3rd), and G (5th). The inversion depends on which of these tones (C, E, or G) is the lowest note (or bass note) in the chord.

[0088]

[0103] A chord is in root position if its root is the lowest note. This is sometimes known as the parent chord of an inversion. For example, the root of a C major triad is C. So if C is the lowest note and its third and fifth notes (E and G, respectively) are above C, then the C major triad is in root position. In an inverted chord, the root is not the lowest note. Inversions are numbered in the order (bottom to top) of the lowest note that appears in the nearest root position chord. A C major triad (or any chord consisting of three notes) has two inversions.

[0089]

[0104] In the first inversion, the lowest note is E, the triad third, with the fifth and root stacked above it (the root shifted an octave higher), forming the minor third and minor sixth intervals, respectively, on the inverted bass of E. In the second inversion, the lowest note is G, the triad fifth, with the root and third above it (both again shifted an octave higher), forming the fourth and sixth, respectively, on the (inverted) bass of G.

[0090]

[0105] Four-note chords (such as seventh chords) are played using a similar system, but with three inversions instead of two. Five-note chords are played using a similar system, but with four inversions instead of three.

[0091]

[0106] 3, selectable inversions include the first inversion of a triad, "1i," the second inversion of a triad, "2i," and multiple inversions, "Ai" through "Fi," for chords more complex than a simple triad. For example, "Ai" may be the third inversion of a four-note (or more) chord, and "Bi" may be the fourth inversion of a five-note chord. In embodiments, the inversions, "Ai" through "Fi," may be user-configurable and / or user-definable, for example, via accompanying software (e.g., an iOS app or an Android app).

[0092]

[0107] In the example of FIG. 3 , pressing the “Ch” region of the first pad 210 generates a parent C major chord, which includes, from low to high, C (root or first), E (third), and G (fifth). According to aspects of the present disclosure, pressing the “1i” region of the third pad 220 generates a first inversion of the C major chord, which includes, from low to high, E (third), G (fifth), and C (root). Similarly, pressing the “2i” region of the third pad 220 generates a second inversion of the C major chord, which includes, from low to high, G (fifth), C (root), and E (third). When the first pad 210 is not pressed and the third pad 220 is operated, the chord player 125 functions like a bass triad (i.e., the center contact point 225 of the first pad 210 is pressed) and plays the inversion of the selected bass triad.

[0093]

[0108] Thus, according to aspects of the present disclosure, a user can instantly access various inversions of a selected root chord with a third finger. In contrast, on guitar, the first and second inversions of a chord each require completely different fingerings at different positions on the guitar neck. Furthermore, each modified chord inversion (e.g., minor, augmented, diminished, minor seventh) also requires completely different fingerings at different positions on the guitar neck, making some inversions or voicings physically impossible to play on a guitar. The same is true for piano inversions. Therefore, generating inversions on traditional instruments and smoothly moving between different fingering positions with multiple fingers to achieve the inversions can be very difficult to master. However, by implementing aspects of the present disclosure, a user can easily generate a selected inversion with one finger and quickly switch between different inversions with one finger.

[0094]

[0109] Thus, aspects of the present disclosure make the use of inversions in musical compositions readily and easily accessible to all performers, without the need to develop the dexterity necessary to form chord structures and without the need for knowledge of such chord structures.

[0095]

[0110] FIG. 4 illustrates an exemplary view of the chord player 125 of a chord board along with an instruction guide 490 according to an aspect of the present disclosure. As shown in FIG. 4, the chord player 125 includes a first pad (or pad 1) 210, a second pad (or pad 2) 215, and a third pad (or pad 3) 220. The chord player 125 also includes a chord root note display (or chord display) 205, which displays the currently supported chord (and the chord root note) of the chord player 125. In embodiments, each pad may be MPE-enabled. For example, in some embodiments, each finger-operable pad may include one or more MIDI Polyphonic Expression (MPE) controllers that detect pressure (e.g., to control velocity) and glide (e.g., to control pitch bend and / or vibrato).

[0096]

[0111] As shown in FIG. 4, the chord player 125 includes an arpeggiator section with a rotary encoder 405 for selecting a particular arpeggiation pattern (e.g., from n patterns), a display 415 for displaying the selected arpeggiation pattern for that chord player 125, and a link button 410 for linking the arpeggiators of other chord players 125 on the chord board 100. The arpeggiator converts the input chord into an arpeggio. An arpeggio is a type of scattered chord in which the notes that make up the chord are played in a pattern. An arpeggio may cover more than one octave. The arpeggiator's rotary encoder 415 allows the player to select a variety of patterns, including variations in speed, range, and mode (arpeggio movement).

[0097]

[0112] According to aspects of the present disclosure, the arpeggiator may be configured to apply different arpeggiation patterns to different chords on the chord board 100 (e.g., a first arpeggiation pattern for a C major chord on one chord player 125 and a second arpeggiation pattern for a D minor chord on another chord player 125).

[0098]

[0113] As shown in FIG. 4 , the chord player 125 also includes three memory buttons 435 (e.g., m1, m2, m3) for saving played chords and subsequently selecting saved played chords (e.g., a Csus2b9 chord may be saved to M1 and an inverted Csus4M7 chord to M2; the performer can then recall those chords by pressing M1 or M2 rather than forming the chord again using the pads). This allows for playing with one finger and allows for quicker switching between chord configurations that require multiple fingers to be played. In embodiments, the memory buttons may be illuminated buttons. In embodiments, illumination may indicate whether a chord is saved in that memory spot and indicate the chord configuration.

[0099]

[0114] The chord player 125 also includes an octave up button 425 and an octave down button 420 for selecting different octaves for the chord player 125. In music, an octave is the interval between one musical pitch and another pitch with twice the frequency. Most musical scales are notated so that they begin and end with notes an octave apart. For example, the C major scale is typically written CDEFGABC, with the first C and last C being an octave apart. Octaves are identified by various nomenclature systems. The most common are the scientific scale, the Helmholtz scale, the organ pipe scale, and the MIDI note system. In standard pitch notation, a specific octave is indicated by a subscripted number after the note name. In this system, middle C is C4 because it is the fourth C key on a standard 88-key piano keyboard. C one octave higher is C5.

[0100]

[0115] As shown in Figure 4, by pressing the octave up button 425 or the octave down button 420, a user can quickly change the octave of the chord player 125 (similar to shifting an octave up or down on a piano keyboard). In this exemplary embodiment, the currently selected octave can be indicated by illuminating one of a number of LEDs 430. As shown in Figure 4, one of the LEDs is shown to correspond to middle C (i.e., C4). In this way, a user can quickly move up or down to different octaves and easily determine the currently selected octave.

[0101]

[0116] As shown in FIG. 4 , the chord player 125 also includes a guidance indicator 440 to provide user guidance regarding the next chord player to operate (e.g., when playing a particular chord progression). In musical composition, a chord progression is a sequence of chords. Chord progressions are the foundation of harmony in the Western musical tradition, from the era of common classical music practice through the 21st century. Chord progressions are the foundation of Western popular music styles (e.g., pop music, rock music), traditional music, and genres such as blues and jazz. In these genres, chord progressions are crucial features in structuring melody and rhythm. In tonal music, chord progressions function to establish or contradict tonality. Tonality is the technical term for what is commonly understood as the "key" of a song or tune.

[0102]

[0117] In classical music theory, chord progressions such as the common I-vi-ii-V chord progression are typically represented by Roman numerals (uppercase letters correspond to major chords and lowercase letters correspond to minor chords). In rock and blues, for example, musicians often use Roman numerals to represent chord progressions. This is to make it easier to transpose songs to new keys. For example, rock and blues musicians often consider a 12-bar blues to consist of the chords I, IV, and V. In many styles of popular and traditional music, chord progressions are represented using the chord names and "qualities." For example, the common chord progression I-vi-ii-V mentioned above would be written as C major-A minor-D minor-G major in the key of C major. The "C" in the first chord, C major, indicates that the chord is built on the root note "C," and the word "major" indicates that a major chord is built on this "C" note.

[0103]

[0118] According to aspects of the present disclosure, the guidance indicator 440 provides user guidance regarding the next chord player to operate (e.g., when playing a particular chord progression). In this exemplary embodiment, the guidance indicator 440 includes three LEDs 445, 450, and 455, each of which can be illuminated to project any of a selected color or a fixed color. For example, different colors may be illuminated under one or more different chord players on the chord board to indicate the pitch from the currently operated chord player. Thus, for example, the blue LED 450 may be used to indicate which chord player (e.g., out of 12 chord players) on the chord board will generate a V chord for the currently played chord player, and the yellow LED 455 may be used to indicate which chord player (e.g., out of 12 chord players) on the chord board will generate an IV chord for the currently played chord player. Furthermore, the green LED 445 may be used to indicate the next chord player (e.g., out of 12 chord players) on the chord board to play according to the selected chord progression. Of course, it should be understood that the yellow and blue indicators can be used to indicate different intervals (e.g., ii).

[0104]

[0119] Additionally, LEDs can be used to indicate the next chord player in a modulation (orange), parallel (red), relative (white), and leading (purple). For example, in modulations, in modern Western music, a song generally remains in a single key. An exception is when chords related to chords in one key are added. Another exception is transposition to another key. In Western music, the term for transposing to another key in a way that is pleasing to the ear is called modulation. An example of using an orange light would be to indicate that a particular chord can be used to modulate to another key in a way that is pleasing to the ear in Western music.

[0105]

[0120] For example, in musical tuning and harmony, in terms of parallel keys, parallel tones, and leading tones, the Tonnetz (German for "tone network") is a conceptual lattice diagram representing tonal space first described by Leonhard Euler in 1739. Various visual representations of the Tonnetz can be used to illustrate traditional harmonic relationships in European classical music. Neo-Riemannian theory is a loose collection of ideas found in the work of music theorists such as David Lewin, Brian Hyer, Richard Cohn, and Henry Klumpenhouwer. Uniting these ideas is the central idea of ​​directly relating harmonies to one another without necessarily referring to the tonic.

[0106]

[0121] Many masterpieces of European classical music do not conform to a tonal center, and therefore not to what we know as a key. Until this theory was better understood, it was unclear how to understand how the masters of these compositions combined chords. Using Tonetz diagrams in conjunction with neo-Riemann theory, we can see three relationships between chords that transcend traditional Western musical keys: parallel, leading, and parallel.

[0107]

[0122] A parallel key relationship is the connection between a major chord and its relative minor chord. The two chords share two notes and diverge at a third. For example, A minor is composed of the notes A, C, and E. The relative chord is C major, composed of C, E, and G. Both chords share the notes C and E. A leading key relationship shares one tone, with the second tone of the first chord becoming the leading tone of the second chord. For example, C is composed of C, E, and G, and Em is composed of E, G#, and B. B is the diatonic seventh pitch of C and is the leading pitch. In other words, Em is the leading chord to C. A parallel key relationship goes from a major chord to its minor chord and vice versa. Major and minor also share two tones and are separated by only one tone. For example, a C chord contains C, E, and G, and a Cm chord contains C, Eb / D#, and G. They share C and G. Examples of using red, white, and / or purple lights include indicating that a particular chord is in the same key, parallel key, or leading relationship to the currently played chord. Thus, by implementing aspects of the present disclosure, even performers with little or no understanding of music theory can create highly sophisticated chord sequences that transcend traditional Western musical keys and traditional Western chord sequences.

[0108]

[0123] Although not shown, the present disclosure contemplates that the code board 100 may include a display (which may be user configurable) showing a current legend for the guidance indicators 440. The present disclosure also contemplates other guidance indicators, such as a multi-colored LED ring around one (or more) of the pads 210, 215, 220.

[0109]

[0124] FIG. 5 illustrates an exemplary view of the control section 115 of the chord board, the layout selector 150 for the chord section of the chord board, and an explanation guide 540, according to aspects of the present disclosure. As shown in FIG. 5, the control section 115 includes a plurality of selection knobs 505 (e.g., rotary encoders) for selecting various parameters, and a display 510 (e.g., an LCD), each with a static text label 520. Each knob 505 is used to select a parameter that is displayed on the corresponding display 510. In an exemplary embodiment, the selectable parameters include "Progression," "Groove," "Key," "Mode," "Tempo," "Quantize," and "Swing." The "Progression" parameter allows a user to select a particular progression for the chord board (e.g., I-IV-V, IV-vi-IV, i-iv-vi, etc.). The "Groove" parameter allows a user to select a particular groove for the chord board. For example, a pattern applied to a played chord progression (e.g., a strumming pattern on a guitar, or a key-press pattern applied to a series of chords to create interest, similar to how a skilled pianist plays). In music, groove refers to the effect ("feel") or "swing" sensation caused by changing patterns in a driving rhythm. For example, in jazz, groove is felt as the quality of a sustained, repeating rhythmic unit created by the musical interplay of a band's rhythm section (e.g., drums, electric or double bass, guitar, and keyboard). In embodiments, selectable grooves may include, for example, rising 8ths, rock, funky, etc. The idea of ​​groove is to apply real-time, non-destructive quantization to off-grid, non-linear clips. For example, in normal performance, when groove is not applied, a chord played by the chord player 125 is held as a constant chord until the performer releases the chord. However, when groove is applied, the chord is modulated while it is held.A groove can be conceptualized as Morse code, consisting of a series of long and short pulses in a fixed pattern, and possibly variations in other parameters such as speed and pitch bend. For example, in a rising eighth, the groove might consist of eight subdivisions per measure, starting softly (slowly) and gradually getting louder (faster), waiting until all eight subdivisions have been played to complete the measure before the next measure plays the next chord and begins again softly. Another groove might consist of a measure made up of three long pulses and two short pulses. Or two short pulses followed by one long pulse and three short pulses, all of which make up one measure. Or the groove might span multiple measures.

[0110]

[0125] The "Key" parameter allows the user to select a particular key for the chord board, for example, A, A# / Bb, B, C, C# / Db, D, D# / Eb, E, F, F# / Gb, G, or G# / Ab. The "Mode" parameter allows the user to select a particular mode for the selected key, for example, Major (or Ionian), Minor (or Aeolian), Dorian, Phrygian, Lydian, Mixolydian, Locrian, or any of the various modes used around the world. For example, other modes include Whole Tone, Whole Semi-Dimion, Semi-Whole Dimion, Minor Blues, Major Pentatonic, Minor Pentatonic, Harmonic Minor, Harmonic Major, Dorian #4, Phrygian Dominant, Melodic Minor, Lydian Augmented, Lydian Dominant, Super Locrian, 8-Tone Spanish, Bhairav, Hungarian Minor, Heijoshi, Insan, Iwato, Kumoi, Perog Serisil, Perog Tumbun, Messiaen 3, Messiaen 4, Messiaen 5, Messiaen 6, and Messiaen. Selecting a particular mode affects the layout or other features of the setting. For example, in the case of a key or progression layout, the mode, key, and progression parameters determine which chords are assigned to which chord player 125. For example, the chords for A in minor mode are a, b dim, C, d, e, F, and G. The chords for A in major mode are A, b, c#, D, E, f#, and G# dim. The chords for A in Dorian mode are a, b, C, D, e, f#dim, G, and so on. The "tempo" parameter allows the user to select a particular tempo for the chord board, for example 120 BPM. The "quantize" parameter allows the user to select a particular quantize division for the chord board, for example 1 / 4 notes, which will quantize the chord board to the selected beat. The "swing" parameter allows the user to select a particular swing setting (or amount of swing) for the chord board, for example 50%, which will cause the chord board to play chords that are offset from the grid in the sequencer.Swing refers to the technique of alternating lengthening and shortening of successive first and second notes in a two-part pulse division within a beat. For example, in swing rhythms, the pulse is divided unevenly, and therefore certain subdivisions (usually eighth or sixteenth note divisions) alternate between longer and shorter periods.

[0111]

[0126] As shown in FIG. 5 , the control section 115 also includes a “play ahead” selection button 515. According to aspects of the present disclosure, when the play ahead button is selected (e.g., pressed), the chord board 100 allows the user to select chords as fast as they like during a performance, or at any speed during pauses (by pressing different pads on different chord players), but the chords are hit (or played) according to the tempo, quantize, and swing settings during performance. That is, the user does not necessarily have to press the pads in time with the rhythm, but the chord board 100 plays the chords as if the user had pressed the pads in time with the rhythm and tempo. According to aspects of the present disclosure, by using the play ahead function, for example, even users who lack a sense of rhythm (or the ability to keep tempo) or the physical dexterity to move their fingers in time (e.g., individuals with disabilities) can easily play enjoyable music and thus enjoy the benefits of playing music. Furthermore, the play ahead function can also function as an automatic player. For example, after turning on play ahead and selecting a chord progression, selecting a key and mode, the chords will play along with the progression when transport begins.

[0112]

[0127] As shown in Figure 5, the chord section layout selector 150 of the chord board 100 includes a selection knob 505 (e.g., a rotary encoder) for selecting from various chord layouts (e.g., key, alpha (or alphabetical), piano, progression), and a display 510 (e.g., an LCD) for displaying the selected chord layout. As shown in Figure 5, the display 510 includes a static text label 520 (e.g., "Chord Layout"), which, in conjunction with the progression, key, and mode parameters, determines the chords assigned to each chord player 125.

[0113]

[0128] FIG. 6 illustrates an exemplary view of a note player 123 (or handboard) along with an explanatory guide 640 according to aspects of the present disclosure. As shown in FIG. 6 , the fingers of a user's hand 135 may be used to manipulate individual notes. The note player 123 includes a sensor pad 130 that can be manipulated by the user's hand 135 (e.g., the right hand). It should be understood that the depiction of the sensor pad 130 is an exemplary embodiment and is not intended to limit implementations of the disclosed note player 123. In an embodiment, the sensor pad 130 includes an MPE slider 645 for each finger in a respective region 635 of the sensor pad 130. In an embodiment, each MPE slider includes a center region 650, an octave plus region 660, and an octave minus region 655. Pressing a finger in the center region 650 produces a selected note, pressing a finger in the octave plus region 660 produces a note one octave higher than the selected note, and pressing a finger in the octave minus region 655 produces a note one octave lower than the selected note. Thus, as shown in this exemplary embodiment, each finger slider has a three-octave range. The MPE sliders can detect pressure (e.g., to control velocity) and glide (to control pitch bend or vibrato).

[0114]

[0129] Additionally, the handboard 110 (or note player) includes an octave up button 625 and an octave down button 620 for selecting different octaves for the handboard 123 (or note player). As shown in FIG. 6 , by pressing the octave up button 625 or the octave down button 620, a user can quickly change the octave of the handboard 123. In this exemplary embodiment, the currently selected octave can be indicated by illuminating one of a number of LEDs 630. As shown in FIG. 6 , one of the LEDs is shown to correspond to middle C (i.e., C4). In this manner, a user can quickly move up or down to different octaves and easily determine the currently selected octave on the handboard 123. Further, as shown in FIG. 6 , in an embodiment, the note player 123 also includes an arpeggiator section having a rotary encoder 405 for selecting a particular arpeggiation pattern (e.g., from n patterns), a display 415 for showing the selected arpeggiation pattern to the note player 123, and a link button 410 for linking arpeggiators from one or more chord players 125 on the chord board.

[0115]

[0130] 6, each finger of the user's hand 135 is used to manipulate an individual note (e.g., a note of the pentatonic scale) by contacting a different area of ​​the sensor pad 130. For example, in an exemplary embodiment, pressing the index finger on the corresponding index MPE slider produces a root note (corresponding to the currently playing chord being played with the other hand of the chord player 125). Additionally, in some embodiments, the user may have the option to set the handboard finger layout statically (e.g., to a user-selected key) in their preferred configuration (so that the handboard finger layout is not linked to the chord currently being played on the chord board 100).

[0116]

[0131] Further, as shown in FIG. 6 , pressing the middle finger on the corresponding middle finger MPE slider produces the root third, and pressing the ring finger on the corresponding ring finger MPE slider produces the root fifth. Furthermore, the thumb and pinky may be used to produce the root pentatonic M2 / 6 or m4 / 7 notes. For example, with respect to the pinky and thumb sliders, the major pentatonic scale is composed of the root, second, third, fifth, and sixth degrees of the major scale (the fourth and seventh degrees are omitted). In contrast, the minor pentatonic scale is composed of the root, b3, fourth, fifth, and b7 degrees of the minor scale (the second and sixth degrees are omitted). According to aspects of the present disclosure, 2 / 4 provides access to the missing fourth degree from the major pentatonic scale or the missing second degree from the minor pentatonic scale. Similarly, 6 / 7 provides access to reach the missing seventh degree from the major pentatonic scale, or the missing sixth degree from the minor pentatonic scale. While Figure 6 shows an example configuration of finger-to-note correspondences, it should be understood that in some embodiments, the configuration of the handboard 123 may be user-configurable (e.g., via an associated app).

[0117]

[0132] The sensor pad 130 may include additional areas 635 for two missing notes (i.e., notes not in the pentatonic scale) and non-diatonic passing tones (PT1, PT2, and PT3), or for accidentals, which may be useful during solo performance. Additionally, the sensor pad 130 may be configured to detect movements of other parts of the user's hands. For example, the sensor pad 130 may be configured to include areas for detecting left heel / palm contact and right heel / palm contact for shifting octaves downward and upward. Using such heel / palm detection areas, the user may more easily switch between octaves (or adjust other parameters, such as volume, modulation, effect mix, delay time, etc.).

[0118]

[0133] FIG. 7 shows an exemplary view of the sequencer section 145 of a chord board along with an instruction guide 740 according to an aspect of the present disclosure. The sequencer allows a user to set several parameters, such as the chord progression and first note, to automatically create a 16-bar sequence. As shown in FIG. 7, the sequencer section 145 may be a 16-step sequencer with eight tracks. The exemplary sequencer section 145 includes eight illuminatable track buttons 715, one for each of the eight tracks, and 16 illuminatable pads 720, one for each step. The sequencer may have N built-in patterns / sounds per track (and may be configured to receive additional purchased mode packs).

[0119]

[0134] The sequencer section 145 includes a gate controller 705 (e.g., a lighted pad or button, or a push-button rotary encoder) for adjusting a gate (e.g., the length of time the gate is held). For example, the gate value of a note represents how many steps the note will play. The user can edit the step length by pressing a gate push button (e.g., by turning a rotary controller or pressing a button to toggle an option).

[0120]

[0135] The sequencer section 145 may also include a microstep controller 745 for adjusting microsteps. The interval between successive steps is further subdivided into six microsteps. Microsteps can be used, for example, to represent the timing of "off-beats" in chords and drum performances.

[0121]

[0136] The sequencer section 145 also includes a sync controller 750 for adjusting the sync (e.g., 1 / 4, 1 / 4T, 1 / 8, 1 / 8t, etc.). The sync sets the speed of the sequencer steps relative to the tempo. For example, if the sync is "1 / 4", each step is a quarter note, if the sync is "1 / 8", each step is an eighth note, and if the sync is "1 / 8t", each note is an eighth note triplet.

[0122]

[0137] The sequencer section 145 also includes an S / E controller 755 for adjusting which pad the sequencer starts and / or ends on within the sequencer. For example, of the 16 steps in the sequencer, the S / E rotary controller 755 can be used to adjust the sequencer to start on step 2 and end on step 10 for a 9-step sequence.

[0123]

[0138] The exemplary sequencer section 145 also includes four illuminated bank pads / buttons 710 for accessing four different banks (B1-B4) of the sequencer, allowing for a total of up to 64 steps per track. The sequencer section 145 also includes transport controls 725 (e.g., Play, Play from Beginning, and Record) and sequencer function controls 730 (e.g., Solo, Mute, Duplicate, Clear, and Undo). Pressing the play button while the sequencer is playing pauses the sequencer. Pressing the play button again resumes from the paused state, and pressing the play from start button resumes playback from the beginning of the sequence.

[0124]

[0139] As shown in FIG. 7 , the exemplary sequencer section 145 also includes control knobs 505 (e.g., rotary encoders) for adjusting the sequencer's track type, track groove, and time signature, and a corresponding display 510 (e.g., LCD) with static labels 520. In an exemplary embodiment, selectable track types may include rhythm tracks, bass tracks, solo tracks, etc. In an exemplary embodiment, selectable track grooves may include samba, salsa, rumba, etc. In an exemplary embodiment, selectable time signatures may include 4 / 4, 6 / 8, 5 / 4, 7 / 4, 1 1 / 4, 2 / 4, etc. Track grooves are the same as the grooves described above (see FIG. 5 ), but are specific to tracks within the sequencer.

[0125]

[0140] 8A shows an exemplary depiction of a chord pad 800 and a function guide 840 according to a further aspect of the present disclosure. As shown in FIG. 8A, the chord pad 800 includes a power and volume (mute) control section 155 (including a power switch and a mute switch), a setup control section 815, and a sequencer control section 845. According to an aspect of the present disclosure, the chord pad 800 includes a chord player section 820 operable to generate chords by a user pressing one or more pads with their fingers.

[0126]

[0141] As shown in FIG. 8A , the chord player section 820 includes one chord player 825 and is operable to assign any of 12 scales (AA# / Bb-BCC# / Db-DD# / Eb-EFF# / Gb-GG# / Ab) to the chord player 125 via selection by a chord selection knob 850 (e.g., a rotary encoder). The chord player 825 includes a chord root note display 205, which is operable to display the chord and root note currently associated with the chord player 825. As shown in FIG. 8A , the chord player 825 includes a first pad (or pad 1) 210, a second pad (or pad 2) 215, and a third pad (or pad 3) 220. In the exemplary configuration shown in FIG. 8A , the chord pad 800 is set to play a C chord (as indicated by the chord root note display 205). However, the user can rotate the chord selection knob 850 to allow the chord player 825 to select a different root note (e.g., F # It can be configured to play chords with

[0127]

[0142] According to aspects of the present disclosure, the chord pad 800 can use the sequencer section 845 to program a sequence of eight chords, or the user can press the play ahead button 515 to turn on the play ahead function, select a chord progression, select a key and mode, and then start transport to automatically progress and play the chords. The sequencer section 845 also includes transport controls 725 (e.g., play, play from beginning, and record) and sequencer function controls 730 (e.g., solo, mute, duplicate, clear, and undo). The exemplary sequencer section 845 includes eight illuminated pads 860, one for each step. According to further aspects of the present disclosure, chords may be selected at rest (at any speed) and then played at a selected tempo.

[0128]

[0143] FIG. 8B shows another exemplary depiction of a chord pad 875 including a single chord generator section 880, according to aspects of the present disclosure. In contrast to chord pad 800 (which uses a chord selection knob (e.g., a rotary encoder) to select the root note of a chord in chord player 825), chord pad 875 includes a chord selector 865 within a keyboard layout with multiple (e.g., 12) illuminatable pushbuttons 870. In the depiction of FIG. 8B , the pushbuttons 870 are labeled with note labels (e.g., A, B, C, D, E, F, G), but it should be understood that the pushbuttons 870 may or may not include note labels 885. Furthermore, in embodiments, the note labels 885 may be static or user-configurable. By pressing one of the pushbuttons 870, the user can select a new root chord note for chord player 825 (which is then displayed in chord root note display 205).

[0129]

[0144] As shown in FIG. 8B , each of the push buttons 870 may be illuminated in one or more different colors to indicate, for example, the root note of the currently selected chord or the root note of the next chord (e.g., in a selected chord progression). For example, yellow may be used to indicate the root note of the currently selected chord. As shown in FIG. 8B , the yellow-illuminated push button 870 corresponds to the root note of “C” (indicated by note label 885), which corresponds to the root note of the chord indicated by chord root note display 205. Furthermore, in an exemplary and non-limiting embodiment, green and blue may be used as a color-guiding progression to indicate the next chord and the further chord in the progression, respectively. When the root note of the next chord arrives, the user may press the green-illuminated push button 870 to change the root note of the currently selected chord (from the root note of “C” to the root note of “G#” in the example of FIG. 8B ). If the user then presses a green lit pushbutton 870, the currently blue lit pushbutton 870 will switch to green to indicate the next pushbutton 870 (e.g., in the selected chord progression). Additionally, similar to what was described above, the LEDs on the pushbuttons 870 may be used to indicate modulation (orange), parallel (red), relative (white), and leading (purple) chord selections based on the root note of the currently selected chord (indicated by the chord root note display 205).

[0130]

[0145] As shown in FIG. 9 (and FIGS. 10-14), the chord board 100 includes a chord player section 120 having 12 individual chord players 125, each corresponding to one of the 12 scales (AA# / Bb-BCC# / Db-DD# / Eb-EFF# / Gb-GG# / Ab). As mentioned above, each of the chord players 125 shown in the exemplary embodiment of FIG. 9 (and FIGS. 10-14) shows the root note of the chord displayed on its pad; however, it should be understood that these root notes displayed on the pads are shown in FIG. 9 (and FIGS. 10-14) for ease of understanding the present disclosure. In this exemplary embodiment, they are not actually displayed on any of the pads. Instead, as mentioned above, each of the chord players 125 includes a dedicated chord root note display 205 operable to display the currently supported chord and chord root note corresponding to the respective chord player 125.

[0131]

[0146] According to a further aspect of the present disclosure, the association between each of the 12 scales (or root notes) and each of the chord players 125 can be configured in different layouts (e.g., based on a selected key and / or a desired layout). As shown in FIG. 9 (and FIGS. 10-14), the chord board 100 includes a layout selector 150 operable to select a layout for the chord players 125 (i.e., select an association between each of the 12 scales (or chord root notes) and each of the chord players 125) from among various layouts (e.g., key, alpha, piano, progression). As shown in FIG. 9 (and FIGS. 10-14), the chord board 100 includes a setup control section 115 for selecting a key and progression, among other parameters.

[0132]

[0147] FIG. 9 illustrates an exemplary layout of chord board 100 configured in the key of C major, an I-IV-V-ii progression, and a piano layout, according to an embodiment of the present disclosure. As shown in FIG. 9, setup control section 115 currently indicates the selection of the key of C and the I-IV-V-ii progression. Also, layout selector 150 currently indicates the selection of piano. According to an embodiment of the present disclosure, in the piano layout, the chord board mimics the layout of a piano, with sharp / flat root notes (corresponding to the black keys on the piano) in the back row of chord players 125 and unsharp / flat root notes (corresponding to the white keys on the piano) in the first two rows of chord players 125. The left-most chord player, located in the center row, is configured as a C chord player, and the other chord players in the first two rows ascend from C (i.e., d, e, F, G, a, B). Furthermore, as shown in FIG. 9, uppercase letters represent major chords and lowercase letters represent minor chords. Thus, with this example layout and keys, pressing the center portion of the first pad (or pad 1) on the C chord player (top right above the pad labeled "C") will produce a C major chord, and pressing the center portion of the first pad (or pad 1) on the D chord player (top right above the pad labeled "d") will produce a D minor chord.

[0133]

[0148] 10 illustrates an exemplary layout of a chord board 100 configured with a key of C major, an I-IV-V-ii progression, and a progression layout, according to an embodiment of the present disclosure. As shown in FIG. 10, the setup control section 115 currently indicates the selection of the key of C major and the I-IV-V-ii progression. Also, the layout selector 150 currently indicates the selection of Prog. (progression). According to an embodiment of the present disclosure, the progression layout causes the chord board 100 to arrange chords in a way that allows the chord progression to be easily played (e.g., in the order of the selected chord progression from left to right on the chord board 100).

[0134]

[0149] In an I-IV-V-ii progression in the key of C major, the chords are C major (I)-F major (IV)-G major (V)-D minor (ii). Thus, as shown in Figure 10, when the chord board 100 is in the progression layout for the key of C major, the left-most chord player 125 located in the center column is configured as a C major chord player, i.e., an I chord (the center portion of the first pad (or pad 1) produces a C major chord), the next chord player 125 in the center column is configured as an F chord player, i.e., an IV chord (the center portion of the first pad (or pad 1) produces an F major chord), the next chord player 125 in the center column is configured as a G chord player, i.e., a V chord (the center portion of the first pad (or pad 1) produces a G major chord), and the last chord player 125 in the center column is configured as a D chord player, i.e., an ii chord (the center portion of the first pad (or pad 1) produces a D minor chord). As shown in Figure 10, the sharp chord (i.e., C # , D # , F # , G # , and A # ) are placed in the back row of the chord player, and the remaining chords (e, a, and B°) are placed in the front row of the chord player 125.

[0135]

[0150] According to aspects of the present disclosure, when chord board 100 is configured in a progression layout, a user can very easily know where to move their hand (and fingers) next on chord board 100 to play the next chord in the chord progression. For example, a user can play a progression (and repeat) by simply moving their left hand from left to right along the center row of chord player 125. In this way, the chord board provides a more convenient way to create and enjoy music.

[0136]

[0151] 11 shows an example layout of a chord board configured in the key of A minor, an i-iv-v-ii progression, and a progression layout, according to an embodiment of the present disclosure. As shown in FIG. 11, the setup control section 115 currently shows the selection of the key of A minor and the i-iv-v-ii progression. Also, the layout selector 150 currently shows the selection of Prog. (progression).

[0137]

[0152] In the i-iv-v-ii progression in the key of A minor, the chords are A minor (i)-D minor (iv)-E minor (v)-B diminished (ii). 10, if the chord board 100 is in an A minor key progression layout, the leftmost chord player 125 located in the center column is configured as an A minor chord player, i.e., an i chord (the center portion of the first pad (or pad 1) produces an A minor chord), the next chord player 125 in the center column is configured as a D minor chord player, i.e., an iv chord (the center portion of the first pad (or pad 1) produces a D minor chord), the next chord player 125 in the center column is configured as an E minor chord player, i.e., a v chord (the center portion of the first pad (or pad 1) produces an E minor chord), and the last chord player 125 in the center column is configured as a B diminished chord player, i.e., an ii chord (the center portion of the first pad (or pad 1) produces a B diminished chord). As shown in FIG. 11, a sharp chord (i.e., a C # , D # , F # , G # , and A # ) are placed in the back row of the chord player 125, and the remaining chords (C, F, and G) are placed in the front row of the chord player 125.

[0138]

[0153] As described above, according to aspects of the present disclosure, when chord board 100 is configured in a progression layout, a user can very easily know where to move their hands (and fingers) on chord board 100 next to play the next chord in a chord progression. Furthermore, a user can easily switch between different keys while playing the same progression. In this way, chord boards provide a more convenient way to create and enjoy music. Comparing the layouts of Figures 9-11 shows how a chord board can be easily reconfigured to play in different keys and / or different progressions according to aspects of the present disclosure.

[0139]

[0154] FIG. 12 illustrates an example layout of chord board 100 configured with the key of A minor, an i-iv-v-ii progression, and a key layout, according to an embodiment of the present disclosure. As shown in FIG. 12, the setup control section 115 currently indicates the selection of the key of A minor and the i-iv-v-ii progression. Also, the layout selector 150 currently indicates the selection of the key. According to an embodiment of the present disclosure, using the key layout, chord board 100 places chords in the first two rows of chord player 125, starting with the chord selected by key (via the setup control section 115), from left to right on chord board 100. The chords in the first two rows of chord player then ascend based on the selected key.

[0140]

[0155] Thus, as shown in FIG. 12, in the key and key layout of Am, the first two rows of chord players 125 from left to right are A minor chord players (the center portion of the first pad (or pad 1) produces an A minor chord), the next chord player 125 is configured as a B diminished chord player (the center portion of the first pad (or pad 1) produces a B diminished chord), the next chord player 125 is configured as a C major chord player (the center portion of the first pad (or pad 1) produces a C major chord), and the next chord player 125 is configured as a B diminished chord player (the center portion of the first pad (or pad 1) produces a C major chord). The player 125 is configured as a D minor chord player (the center portion of the first pad (or pad 1) produces a D minor chord), the next chord player 125 is configured as an E minor chord player (the center portion of the first pad (or pad 1) produces an E minor chord), the next chord player 125 is configured as an F major chord player (the center portion of the first pad (or pad 1) produces an F major chord), and the last chord player 125 is configured as a G major chord player (the center portion of the first pad (or pad 1) produces a G major chord). As shown in FIG. 12, the sharp chords (i.e., C # , D # , F # , G # , and A # ) are located in the back row of the chord player 125. When configured in a key layout, according to aspects of the present disclosure, the chord board 100 allows a user to easily navigate between different chords in a selected key. In this way, the chord board 100 provides a more convenient way to create and enjoy music.

[0141]

[0156] FIG. 13 shows an example layout of a chord board configured in the key of Gb major (or G flat), an I-IV-V-ii progression, and a key layout according to an embodiment of the present disclosure. As shown in FIG. 13, the setup control section 115 currently indicates the selection of the key of Gb major and the I-IV-V-ii progression. Also, the layout selector 150 currently indicates the selection of the key. According to an embodiment of the present disclosure, using the key layout, the chord board 100 places chords in the first two rows of the chord player 125, starting with the chord selected by key (via the setup control section 115), from left to right on the chord board 100. The chords in the first two rows of the chord player ascend based on the selected key.

[0142]

[0157] Thus, in the key and key layout of Gb, the first two rows of chord players 125 from left to right are Gb major chord players (the center portion of the first pad (or pad 1) produces a Gb major chord), the next chord player 125 is configured as an Ab minor chord player (the center portion of the first pad (or pad 1) produces an Ab minor chord), the next chord player 125 is configured as a Bb minor chord player (the center portion of the first pad (or pad 1) produces a Bb minor chord), and the next chord player 125 is configured as a Cb major (or B) chord. 12, the remaining chords (i.e., C, D, E, G, and A) are arranged in the back row of the chord players 125.

[0143]

[0158] FIG. 14 illustrates an example layout of a chord board 100 configured in the key of A minor, an i-iv-v-ii progression, and an alpha (or alphabet) layout, according to an embodiment of the present disclosure. As shown in FIG. 14, the setup control section 115 currently indicates the selection of the key of A minor and the i-iv-v-ii progression. Also, the layout selector 150 currently indicates the selection of the alpha layout. According to an embodiment of the present disclosure, using the alpha (or alphabetical) layout, the chord board 100 arranges chords in the first two rows of the chord players 125 in alphabetical order from left to right on the chord board 100. Thus, the chord players 125 in the middle row are A, B, C, and D, and the chord players 125 in the front row are E, F, and G. As shown in FIG. 14, the chords in the sharp chords (i.e., A, B, C, and D) are arranged in the first two rows of the chord players 125. # , C # , D # , F # , and G # ) are positioned in the back row of chord players 125. According to aspects of the present disclosure, in an alpha layout, the placement of the chord layout does not change (e.g., based on the selected progression setting). Instead, the left-most chord player 125 in the middle row is always configured as an A minor chord player, and the right-most chord player 125 in the front row is always configured as a G major chord player (changing keys can affect whether the center of the first pad (or pad 1) produces a major, minor, or diminished chord).

[0144]

[0159] Thus, as shown in FIG. 14, if the chord board 100 is in an alpha layout in the key of Am, the left-most chord player 125 located in the center column is configured as an A minor chord player (the center portion of the first pad (or pad 1) produces an A minor chord), the next chord player 125 in the center column is configured as a B diminished chord player (the center portion of the first pad (or pad 1) produces a B diminished chord), the next chord player 125 in the center column is configured as a C major chord player (the center portion of the first pad (or pad 1) produces a C major chord), and the last chord player 125 in the center column is configured as a D minor chord player (the center portion of the first pad (or pad 1) produces a D minor chord).

[0145]

[0160] The leftmost chord player 125 in the front row is configured as an E minor chord player (the center portion of the first pad (or pad 1) produces an E minor chord), the next chord player 125 in the front row is configured as an F minor chord player (the center portion of the first pad (or pad 1) produces an F major chord), and the last chord player 125 in the front row is configured as a G major chord player (the center portion of the first pad (or pad 1) produces a G major chord). As shown in FIG. 14, sharp chords (i.e., A # , C # , D # , F # , and G # ) are positioned in the back row of the chord player 125. According to aspects of the present disclosure, when configured in the alpha layout, the relative positions of the chords remain fixed, thus allowing the user to more easily move between different chords regardless of the selected key. In this way, chord board 100 provides a more convenient way to create and enjoy music.

[0146]

[0161] 15 is a diagram illustrating an example depiction of a Chord Board Baby 1500, according to aspects of the present disclosure. As shown in FIG. 15, Chord Board Baby 1500 includes a power and volume (mute) control section 155 (including a power switch and a mute switch) and a setup control section 1515 (including, e.g., progression, key, and / or layout selection controls). In an embodiment, a lock feature or control (e.g., a switch) allows a user to lock the control of one of the knobs or knobs in the setup control section 1515 to prevent selected settings from being accidentally changed.

[0147]

[0162] According to aspects of the present disclosure, the Chord Board Baby 1500 includes a chord player section 1520 operable for a user to generate chords by pressing a single pad with a finger. As shown in FIG. 15 , in this exemplary embodiment of the present disclosure, the chord player section 1520 includes fewer than 12 individual chord players 1525 (e.g., seven chord players), with each chord player 1525 corresponding to one of the 12 scales (e.g., AA# / Bb-BCC# / Db-DD# / Eb-EFF# / Gb-GG# / Ab). Thus, the chord player section 1520 includes seven chord players 1525. As described herein, the association between each of the seven tones (or root notes) and each of the chord players 1525 can be configured in different layouts (e.g., based on a selected key or a selected progression and / or a desired layout). Each of the chord players 1525 includes a dedicated chord root note display 205, operable to display the root note corresponding to the respective chord player 1525.

[0148]

[0163] As shown in FIG. 15 , in this exemplary embodiment, the chord player 1525 includes a first pad (or pad 1) 210 (but not a second or third pad) to provide a more simplified interface (e.g., one that can be used by babies, young children, developmentally disabled individuals, musically challenged individuals, or the elderly). The chord player 1525 also includes an octave up button 425 and an octave down button 420 for selecting different octaves for the chord player 1525. By pressing the octave up button 425 or the octave down button 420, a user can quickly change the octave of the chord player 1525. In this exemplary embodiment, the currently selected octave can be indicated by illuminating one of a number of LEDs 430. In this manner, a user can quickly navigate up and down to different octaves and easily determine the currently selected octave. As shown in FIG. 15, each chord player 1525 also includes a guidance indicator 440 to provide user guidance regarding the next chord player to operate (e.g., when playing a particular chord progression).

[0149]

[0164] FIG. 16 shows an example depiction of a chord board starter 1600 according to an embodiment of the present disclosure. As shown in FIG. 16, the chord board starter 1600 includes a power and volume (mute) control section 155 (including a power switch and a mute switch) and a setup control section 1515 (including, for example, progression, key, and / or layout selection controls). As shown in FIG. 16, in the chord board starter 1600, the chord player section 1620 includes fewer than 12 individual chord players 1525 (e.g., seven chord players), with each chord player 1525 corresponding to one of the 12 scales (e.g., AA# / Bb-BCC# / Db-DD# / Eb-EFF# / Gb-GG# / Ab). As described herein, the association between each of the seven tones (or root notes) and each of the chord players 125 is configurable in different layouts (e.g., based on the selected key, progression, and / or desired layout). As shown in FIG. 16 , the chord board starter 1600 includes a layout selector 150 operable to select a layout for the chord players 125 (i.e., to select an association between each of the 12 scales (or chord root notes) and each of the chord players 125), each of which includes a root note display 205.

[0150]

[0165] As shown in FIG. 16 , each chord player 125 also includes an octave up button 425 and an octave down button 420 for selecting a different octave for the chord player 125. By pressing the octave up button 425 or the octave down button 420, a user can quickly change the octave of the chord player 125. In this exemplary embodiment, the currently selected octave can be indicated by illuminating one of a number of LEDs 430. In this manner, a user can quickly move up or down to different octaves and easily determine the currently selected octave. As shown in FIG. 16 , each chord player 125 also includes a guidance indicator 440 and a memory button 435 for providing user guidance regarding the next chord player to operate (e.g., when playing a particular chord progression).

[0151]

[0166] FIG. 17 shows an example depiction of a Chord Board Junior 1700 according to an embodiment of the present disclosure. As shown in FIG. 17 , the Chord Board Junior 1700 includes a power and volume (mute) control section 155 (including a power switch and a mute switch) and a setup control section 1515 (including, for example, progression, key, and / or layout selection controls). As shown in FIG. 17 , in the Chord Board Junior 1700, the chord player section 120 includes 12 individual chord players 125, each corresponding to one of 12 scales (AA# / Bb-BCC# / Db-DD# / Eb-EFF# / Gb-GG# / Ab). As described herein, the association between each of the 12 scales (or root notes) and each of the chord players 125 can be configured in different layouts (e.g., based on the selected key, progression, and / or desired layout). As shown in FIG. 17, the Chord Board Junior 1700 includes a layout selector 150 operable to select a layout for the chord players 125 (i.e., to select an association between each of the 12 scales (or chord root notes) and each of the chord players 125).

[0152]

[0167] 18 shows an example depiction of a chord board standard 1800 according to an embodiment of the present disclosure. As shown in FIG. 18, the chord board standard 1800 includes a chord side 1805 and a note side 110 (or "handboard") according to an embodiment of the present disclosure.

[0153]

[0168] According to aspects of the present disclosure, the chord side 1805 includes a chord player section 120 operable for a user to generate chords by pressing one or more pads with the left hand, and the note side 110 includes a note player 123 (or "handboard") operable for a user to generate one or more individual notes by pressing and manipulating one or more fingers of the right hand 135 on the sensor pad 130.

[0154]

[0169] 18, in the chord board standard 1800, the chord player section 120 includes 12 individual chord players 125, each corresponding to one of the 12 scales (AA# / Bb-BCC# / Db-DD# / Eb-EFF# / Gb-GG# / Ab). As shown in FIG. 18, the chord side 105 includes a layout selector 150, which is operable to select the layout of the chord players 125 (i.e., select the association between each of the 12 scales (or chord root notes) and each of the chord players 125).

[0155]

[0170] As shown in FIG. 18, the chord board standard 1800 also includes a power and volume (mute) control section 155 (including a power switch and a mute switch), a setup control section 1515 (no sequencer control section).

[0156]

[0171] Figure 19 shows an exemplary depiction of a chord board 100 (or chord board pro) according to aspects of the present disclosure. Comparing the embodiments of Figures 15-19, it should be understood that aspects of the present disclosure, taken alone or in combination, can provide different benefits to a user.

[0157]

[0172] 20 illustrates an exemplary depiction of a standalone handboard 2010 musical note generator, according to an embodiment of the present disclosure. The standalone handboard 2010 is operable to generate one or more individual notes by a user pressing and / or manipulating one or more fingers of the user's right hand 135 on a sensor pad 130. As shown in FIG. 20, the fingers of the user's hand 135 are used to manipulate the individual notes. The standalone handboard 2010 includes a sensor pad 130 that can be manipulated by the user's hand 135 (e.g., right hand).

[0158]

[0173] Additionally, the standalone handboard 2010 (or note player) includes an octave up button 625 and an octave down button 620 for selecting a different octave for the handboard 2010 (or note player). By pressing the octave up button 625 or the octave down button 620, a user can quickly change the octave of the standalone handboard 2010. In this exemplary embodiment, the currently selected octave can be indicated by illuminating one of a number of LEDs 630. In this manner, a user can quickly move up or down to different octaves and easily determine the currently selected octave for the handboard 2010. The standalone handboard 2010 may also include an arpeggiator section having a rotary encoder 405 for selecting a particular arpeggiation pattern (e.g., from n patterns) and a display 415 for indicating the selected arpeggiation pattern for the handboard 2010 (or note player). In some embodiments, the configuration of the standalone handboard 2010 may be user-configurable (e.g., via an associated app) to select a key for the handboard 2010. In other contemplated embodiments, the standalone handboard 2010 may have a key selector knob (e.g., a rotary controller). In other contemplated embodiments, the standalone handboard receives chord and / or key information via MIDI, and the finger sensors on the sensor pad 130 are configured for a pentatonic scale that matches the chord and / or key.

[0159] System environment

[0174] Aspects of embodiments of the present disclosure (e.g., the code board) can be implemented by a dedicated hardware-based system that performs the specified functions or operations, or a combination of dedicated hardware and computer instructions and / or software, as described above. The control system may be implemented and executed from a server in a client-server relationship, or may communicate operational information to and execute on a user workstation. In one embodiment, the software elements include firmware, resident software, microcode, etc. In contemplated embodiments, the control system may be incorporated into the code board, making it standalone. In contemplated embodiments, the code board and control system may be virtually implemented on a touchscreen.

[0160]

[0175] As will be appreciated by those skilled in the art, aspects of the present disclosure may be embodied as a system, method, or computer program product. Accordingly, aspects of embodiments of the present disclosure may take the form of an entirely hardware embodiment, an entirely software embodiment (including firmware, resident software, microcode, touch screen, etc.), or an embodiment combining software and hardware aspects, all of which may be referred to generally herein as a "circuit," "module," or "system." Furthermore, aspects of the present disclosure (e.g., a control system) may take the form of a computer program product embodied in any tangible medium of expression having computer-usable program code embodied in the medium.

[0161]

[0176] Any combination of one or more computer usable or computer readable media can be utilized. The computer usable or computer readable medium can be, for example, but not limited to, an electronic, magnetic, optical, electromagnetic, infrared, touch screen, or semiconductor system, apparatus, device, or propagation medium. More specific examples (a non-exhaustive list) of computer readable media include an electrical connection with one or more wires, a portable computer diskette, a hard disk, a random access memory (RAM), a read-only memory (ROM), an erasable programmable read-only memory (EPROM or flash memory), optical fiber, a portable compact disc read-only memory (CDROM), an optical storage device, a transmission medium such as that supporting the Internet or an intranet, a magnetic storage device, a USB key, Bluetooth, and / or a mobile telephone.

[0162]

[0177] In the context of this specification, a computer-usable medium or computer-readable medium may be any medium that can contain, store, communicate, propagate, or transport a program used by or in connection with an instruction execution system, apparatus, or device. A computer-usable medium may include a propagated data signal in which the computer-usable program code is embodied, either in baseband or as part of a carrier wave. The computer-usable program code may be transmitted using any suitable medium, including, but not limited to, wireless, wired, fiber optic cable, RF, etc.

[0163]

[0178] Computer program code for carrying out operations of the present disclosure can be written in any combination of one or more programming languages, including object-oriented programming languages ​​such as Java, Smalltalk, C++, and traditional procedural programming languages ​​such as the "C" programming language, or similar programming languages. The program code may run entirely on the user's computer, partially on the user's computer, as a standalone software package, partially on the user's computer and partially on a remote computer, entirely embedded in a code board, or entirely on a remote computer or server. In the latter scenario, the remote computer may be connected to the user's computer through any type of network. This may include, for example, a local area network (LAN) or a wide area network (WAN), and connections to external computers may be made (e.g., via the Internet using an Internet Service Provider). Furthermore, in embodiments, the present disclosure may be embodied in a field programmable gate array (FPGA).

[0164]

[0179] 21 illustrates an exemplary system that may be used in accordance with embodiments described herein. The system 3900 is shown generally and may include a computer system 3902, which may be shown generally. The computer system 3902 may operate as a standalone device or may be connected to other systems or peripheral devices. For example, the computer system 3902 may include or be included in any one or more computers, servers, systems, communication networks, cloud environments, or may be integrated into a code board.

[0165]

[0180] The computer system 3902 can operate as a server in a network environment or as a client user computer in a network environment. The computer system 3902, or portions thereof, can be implemented as or incorporated into a variety of devices, such as a personal computer, tablet computer, set-top box, personal digital assistant, mobile device, palmtop computer, laptop computer, desktop computer, communication device, wireless telephone, trusted personal device, web appliance, or any other machine capable of executing a set of instructions (sequential or other instructions) that specify actions to be performed by the device. Furthermore, while a single computer system 3902 is shown, additional embodiments can include any collection of systems or subsystems that individually or collectively execute instructions or perform functions.

[0166]

[0181] FIG. 21 illustrates an exemplary environment for implementing aspects of the present disclosure. As shown in FIG. 21, a computer system 3902 can include at least one processor 3904, such as, for example, a central processing unit, a graphics processing unit, or both. The computer system 3902 can also include computer memory 3906. The computer memory 3906 can include static memory, dynamic memory, or both. The computer memory 3906 can additionally or alternatively include a hard disk, random access memory, cache, or any combination thereof. Of course, those skilled in the art will understand that the computer memory 3906 can comprise any combination of known memories or a single storage.

[0167]

[0182] 21 , computer system 3902 can include a computer display 3908, such as a liquid crystal display, an organic light emitting diode, a flat panel display, a solid-state display, a cathode ray tube, a plasma display, or any other known display. Computer system 3902 can include at least one computer input device 3910, such as a keyboard, a remote control device with a wireless keypad, a microphone coupled to a voice recognition engine, a camera such as a video camera or a still camera, a cursor control device, or any combination thereof. Those skilled in the art will appreciate that various embodiments of computer system 3902 can include multiple input devices 3910. Moreover, those skilled in the art will further appreciate that the exemplary input devices 3910 listed above are not exhaustive, and that computer system 3902 can include any additional or alternative input devices 3910.

[0168]

[0183] 21 , system 3900 may include a chord board controller 2180 operable to control a virtual chord board (e.g., using a touchscreen of a tablet) in accordance with the present disclosure, a handboard controller 2185 operable to control a virtual handboard (e.g., using a touchscreen of a tablet) in accordance with the present disclosure, a sequencer controller 1275 operable to control a sequencer in accordance with the present disclosure, a synthesizer module 1290, and a sound module 1295.

[0169]

[0184] Furthermore, aspects of the present disclosure may take the form of a computer program product accessible from a computer-usable or computer-readable medium providing program code for use by or in connection with a computer or any instruction execution system. Software and / or computer program products may be implemented in the environment of FIG. 21. For purposes of this description, a computer-usable or computer-readable medium may be any apparatus that can contain, store, communicate, propagate, or transport a program for use by or in connection with an instruction execution system, apparatus, or device. The medium may be an electronic, magnetic, optical, electromagnetic, infrared, or semiconductor system (or apparatus or device), or propagation medium. Examples of computer-readable storage media include semiconductor or solid-state memory, magnetic tape, removable computer diskettes, random access memory (RAM), read-only memory (ROM), rigid magnetic disks, and optical disks. Current examples of optical disks include compact disc-read-only memory (CD-ROM), compact disc-read / write (CD-R / W), and DVD.

[0170]

[0185] Although this specification describes components and functions that may be implemented in particular embodiments with reference to particular standards and protocols (e.g., MIDI, pads), the present disclosure is not limited to such standards and protocols. Such standards are periodically replaced by faster or more efficient equivalent standards having essentially the same functionality. Accordingly, replacement standards and protocols having the same or similar functionality are considered equivalents thereof.

[0171]

[0186] Although a computer-readable medium may be described as a single medium, the term "computer-readable medium" includes a single medium or multiple media, such as a centralized or distributed database and / or associated caches and servers that store one or more sets of instructions. The term "computer-readable medium" is also intended to include any medium that can store, encode, or carry a set of instructions for execution by a processor or that can cause a computer system to perform any one or more of the embodiments disclosed herein.

[0172]

[0187] The computer-readable medium may comprise a non-transitory computer-readable medium and / or a transitory computer-readable medium. In certain non-limiting, exemplary embodiments, the computer-readable medium may include solid-state memory, such as a memory card or other package containing one or more non-volatile read-only memories. Additionally, the computer-readable medium may be a random access memory or other volatile re-writable memory. Additionally, the computer-readable medium may include a magnetic-optical medium or an optical medium, such as a disk, tape, or other storage device for capturing a carrier wave signal, such as a signal communicated over a transmission medium. Accordingly, the present disclosure is deemed to include any computer-readable medium or other equivalent and successor medium capable of storing data or instructions.

[0173]

[0188] While the specification describes particular embodiments of the present disclosure, those skilled in the art can devise variations of the present disclosure without departing from the inventive concept.

[0189] One or more embodiments of the present disclosure may be referred to herein, individually and / or collectively, by the term "invention" merely for convenience, without any intention to voluntarily limit the scope of the present application to any particular disclosure or inventive concept. Furthermore, although specific embodiments have been illustrated and described herein, it should be understood that any subsequent arrangement designed to achieve the same or similar purpose may be substituted for the specific embodiment shown. The present disclosure is intended to cover all subsequent adaptations or modifications of the various embodiments. Combinations of the above embodiments, as well as other embodiments not specifically described herein, will be apparent to those skilled in the art upon review of the description.

[0174]

[0190] The subject matter disclosed above should be considered illustrative rather than limiting, and the appended claims are intended to cover all such modifications, extensions, and other embodiments that fall within the true spirit and scope of the present disclosure. Accordingly, to the maximum extent permitted by law, the scope of the present disclosure shall be determined by the broadest permissible interpretation of the claims and their equivalents, and shall not be restricted or limited by the foregoing detailed description.

[0175]

[0191] Accordingly, the novel architecture is intended to embrace all such alterations, modifications, and variations that fall within the spirit and scope of the claims. Furthermore, to the extent that the term "includes" is used in either the detailed description or the claims, such term is intended to be as inclusive as the term "comprising," and "comprising," when used, is to be interpreted as a transitional term in the claims.

[0176]

[0192] While the present disclosure has been described with reference to specific embodiments, those skilled in the art will recognize that various changes may be made and elements thereof may be substituted with equivalents without departing from the true spirit and scope of the present disclosure. While exemplary embodiments have been described above, these embodiments are not intended to describe all possible forms of embodiments of the present disclosure. Rather, the words used herein are words of description rather than limitation, and it is understood that various changes may be made without departing from the spirit and scope of the present disclosure. Furthermore, modifications may be made without departing from the essential teachings of the present disclosure. Furthermore, features of various implementing embodiments may be combined to form further embodiments of the present disclosure.

Claims

1. 1. A musical instrument comprising a chord player section having at least one chord player operable to play a selected chord, the at least one chord player comprises a first finger-operable pad having a first central point feature and a plurality of first peripheral point features; the first center point function and the plurality of first surrounding point functions are each operable to generate a primary chord having a chord root note, or a variation of the primary chord having the chord root note.

2. the at least one chord player: a second finger operable pad having a second central point feature and a plurality of second peripheral point features; 2. The musical instrument of claim 1, wherein the second center point function and the plurality of second surrounding point functions are each operable to generate variations of the primary chord with the root note of the chord varying with the selection of the first pad, if any.

3. the at least one chord player: a third finger operable pad having a third central point feature and a plurality of third peripheral point features; 3. The musical instrument of claim 2, wherein the third center point function and the plurality of third surrounding point functions are each operable to generate variations of the primary chord with the root note of the chord varying with the selection of the first pad, if any, and with the selection of the second pad, if any.

4. 10. The musical instrument of claim 1, wherein each finger-operable pad comprises a MIDI Polyphonic Expression (MPE) controller.

5. 10. The musical instrument of claim 1, wherein each finger-actuable pad has an octagonal shape and nine selectable functions.

6. The musical instrument of claim 1 , wherein the chord player section comprises a plurality of chord players, at least seven chord players.

7. 7. The musical instrument of claim 6, wherein the chord player section comprises twelve chord players.

8. a chord player layout selector operable to select a layout of the chord players, which is an association between each of the chord players and the root note of each chord, the layout comprising: Key layout, Progression layout, Piano layout, and Alphabet Layout 7. The musical instrument of claim 6, comprising one of:

9. The musical instrument of claim 6 , wherein each of the plurality of chord players further comprises one or more guidance indicators operable to provide user guidance regarding the next chord player to operate.

10. 10. The musical instrument of claim 9, wherein the guidance indicators include an indicator showing an interval from a currently operating chord player, an indicator showing at least one of a modulation chord, a parallel chord, a parallel chord, and a leading chord, and / or an indicator showing the next chord player playing according to a selected chord progression.

11. The musical instrument of claim 1 , wherein the at least one chord player further comprises an arpeggiator.

12. 10. The musical instrument of claim 1, wherein each of the at least one chord player comprises a chord root note display operable to display the respective chord player's currently corresponding chord and chord root note.

13. 10. The musical instrument of claim 1, wherein each of said finger operable pads comprises eight perimeter point functions.

14. the at least one chord player:

10. The musical instrument of claim 1, further comprising an octave controller operable to selectively change the octave of the selected chord.

15. 10. The musical instrument of claim 1, further comprising a key selector operable to select a key root for the instrument.

16. 10. The musical instrument of claim 1, further comprising a mode selector operable to select a mode for the instrument from among Major (or Ionian), Minor (or Aeolian), Dorian, Phrygian, Lydian, Mixolydian, and Locrian.

17. The musical instrument of claim 1 , further comprising a progression selector operable to select a chord progression.

18. a note player operable to generate individual notes in selected keys, the chord player section being located on a first side of the instrument and the note player being located on a second side of the instrument; 2. The musical instrument of claim 1, wherein the layout of the note player corresponds to a currently played chord in the chord player, and three finger areas of the note player in the currently played chord correspond to a root note, a third note, and a fifth note of the currently played chord, respectively.

19. 20. The musical instrument of claim 18, wherein the note player includes a MIDI Polyphonic Expression (MPE) controller for each finger.

20. The musical instrument of claim 18 , wherein the note player further comprises an arpeggiator.

21. 7. The musical instrument of claim 6, further comprising a play ahead function whereby selected chords may be selected sequentially at a speed faster than the selected tempo while the chord player is still playing the selected chord at the selected tempo, or may be selected while paused at any speed and then played at the selected tempo.

22. The musical instrument of claim 1 , wherein the chord player further comprises one or more guidance indicators operable to provide user guidance regarding the next chord player to operate.

23. a note player operable to generate individual notes in selected keys; a layout of the note player corresponding to a selected chord, and three finger areas of the note player in the selected chord corresponding to the root note, third note, and fifth note of the selected chord in the selected key.

24. 24. The musical instrument of claim 23, wherein the layout of the note player corresponds to the selected chord in the selected key, and wherein five finger areas of the note player in the selected chord correspond to five notes of a pentatonic scale corresponding to the selected key.

25. 24. The musical instrument of claim 23, wherein the three finger areas include areas for the note player's index finger, middle finger, and ring finger, corresponding respectively to the root note, the third note, and the fifth note of the chord in the selected key.

Images