Code Card 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 disclosure relates to a musical instrument, and more specifically to a manually controlled chord-generating and / or note-generating instrument, which may be physically embodied or virtually embodied on a touchscreen. [Background technology]

[0002]

[0002] Research has shown that learning music can improve academic performance in areas including mathematics, science, geography, history, foreign languages, physical education, and vocational training. Studies have shown that students with experience playing piano or keyboard score 34% higher on tests that measure activity in the spatial-temporal lobe, the part of the brain used when performing mathematics, science, and engineering.

[0003]

[0003] Studies have shown that music education can be used to improve students' cognitive abilities. When students sing melodies along with lyrics, they are multitasking using multiple areas of their brain. Music has a positive impact on language development, increases IQ and spatial-temporal skills, and improves test scores. For example, music education is also known to have the effect of increasing the overall IQ of children, especially during their peak developmental period. Spatial ability, verbal memory, reading comprehension, and mathematical ability have been shown to improve in parallel with music education (primarily through learning an instrument). Researchers have also noted a clear correlation between attendance rates and increased IQ, indicating that students' engagement in music education leads to increased IQ along with attendance rates. Through music and music education, fine motor skills, social behavior, and emotional well-being can also be improved. Learning an instrument improves the fine motor skills of students with physical disabilities. Students can improve their emotional well-being by finding meaning in songs and connecting them to their daily lives. Through social interaction involving playing in groups such as jazz and concert bands, students learn social skills, which can lead to emotional and mental well-being.

[0004]

[0004] Thus, the benefits that incorporating music, especially music making, brings to human well-being are well established. Despite these obvious benefits of music making, there are still many people who do not learn or try 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 burdensome task. In the case of the guitar, for example, it can usually take months of daily practice to progress to the point where one can actually produce a musical tone. Furthermore, in the case of the guitar and piano, for example, the player needs to memorize different fingerings for various chords and develop the dexterity to quickly move between different fingerings to achieve the desired chord changes. In other words, with musical instruments, it usually takes a considerable amount of time for a user to learn how to play the instrument in order to actually make music.

[0005]

[0005] Because of such obstacles, many people do not attempt to play a musical instrument. Even if they begin to learn to play an instrument, some may give up before reaching a sufficient level of proficiency. As a result, many people never experience or maintain the happiness that playing music brings. [Overview of the project] [Problems that the invention aims to solve]

[0006]

[0006] Therefore, there is a need for a musical instrument with an intuitive interface for music creation that does not impede immediate musical satisfaction.

[0007] Furthermore, among musicians who are proficient in instruments that do not have easy access to chords, such as wind instruments or drums, there are many who do not have the time or opportunity to learn traditional chord-based instruments that can provide accompaniment, or singers who do not play instruments at all and rely on other musicians or recorded background tracks to sing along.

[0007]

[0008] Therefore, in order 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 allows for easy and effortless playing of advanced chord sequences without requiring significant time and effort to master. [Means for solving the problem]

[0008]

[0009] Aspects of the present disclosure relate to a musical instrument comprising a chord player section having at least one chord player operable to play a selected chord, wherein at least one chord player comprises 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 the root note of a chord, or a variation of a primary chord having the root note of a chord.

[0009]

[0010] In embodiments of the present disclosure, at least one chord player further comprises a finger-operable second pad having a second center point function and a plurality of second peripheral point functions, each operable to generate variations of a primary chord having the root note of a chord, which are varied depending on the selection of a first pad, if any.

[0010]

[0011] In further embodiments of the present disclosure, 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, each operable to generate variations of a primary chord having the root note of a chord, wherein the third center point function and the plurality of third peripheral point functions are varied, if any, by the selection of a first pad and, if any, by the selection of a second pad.

[0011]

[0012] In additional embodiments of the present disclosure, the pads operable by each finger comprise a MIDI Polyphonic Expression (MPE) controller.

[0013] In further embodiments of the present disclosure, each of the pads operable by a finger 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 of at least seven chord players.

[0015] In other embodiments of the present disclosure, the chord player section comprises twelve chord players.

[0013]

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

[0014]

[0017] In further embodiments 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 be operated.

[0015]

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

[0016]

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

[0020] In embodiments of the present disclosure, each of at least one code player includes a root note display of the code operable to display the currently corresponding code of each respective code player and the root note of the code.

[0017]

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

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

[0018]

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

[0024] In additional embodiments of the present disclosure, the musical instrument further includes a mode selector operable to select the mode of the musical 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 includes a progression selector operable to select a chord progression.

[0026] In embodiments of the present disclosure, the musical instrument is a note player operable to generate individual notes in a selected key, wherein a code player section is disposed on a first side of the musical instrument and the note player is disposed on a second side of the musical instrument, the layout of the note player corresponding to the code currently being played on the code player, and three finger regions of the note player in the currently played code respectively correspond to the root note, the third note, and the fifth note of the currently played code.

[0020]

[0027] In further embodiments of the present disclosure, the note player includes a MIDI polyphonic expression (MPE) controller for each finger.

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

[0021]

[0029] In further embodiments of the present disclosure, the instrument further includes a play-ahead function, which may be selected sequentially at a speed faster than the selected tempo while the chord player is still playing the selected chords at the selected tempo, or selected while paused at any speed and then played at the selected tempo.

[0022]

[0030] In additional embodiments of the present disclosure, the code player further comprises one or more guidance indicators that are operable to provide user guidance regarding the next code player to be operated on.

[0023]

[0031] Further aspects of the present disclosure relate to a musical instrument comprising a note player operable to generate individual notes in a selected key, wherein the layout of the note player corresponds to a selected chord, and the three finger regions of the note player in the selected chord correspond 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 layout of the note player corresponds to a selected chord in a selected key, and the five finger regions of the note player in the selected chord correspond to the five notes of the pentatonic scale corresponding to the selected key.

[0025]

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

[0026]

[0034] By implementing aspects of this disclosure, we can provide a musical instrument with an intuitive interface for music creation that does not impose obstacles (e.g., extensive knowledge and / or physical dexterity) to achieving immediate musical satisfaction. For example, learning to play the piano or guitar typically requires months of daily practice to progress to a point where one can actually produce musical tones. The performer must learn different fingerings for various chords and simultaneously develop the dexterity to quickly move between these fingerings to achieve desired chord changes. In contrast, embodiments of this disclosure provide a musical instrument that does not require extensive knowledge or dexterity regarding chord fingering, and allows for immediate musical satisfaction. In other words, with the instruments of this disclosure, it does not take much time for the user to learn how to play the instrument in order to actually make music. Furthermore, by implementing aspects of this disclosure, we can provide a musical instrument with an intuitive interface for music creation that does not require significant time and effort to learn in order to easily and effortlessly play advanced chord sequences, thus offering new creative avenues for both beginners and experienced musicians.

[0027]

[0035] Therefore, by implementing the aspects of this disclosure, more people will be able to more easily access and experience music, and as a result, experience the happiness-bringing benefits that musical performance brings.

[0028]

[0036] Novel features of this instrument, relating both its structure and its operation, as well as its further purposes and advantages, can be understood by reading the following description in conjunction with the accompanying drawings illustrating embodiments of this disclosure. However, it should be clearly understood that the drawings are for illustrative and explanatory purposes only and are not intended to define the scope of this disclosure. For a more complete understanding of this disclosure, as well as other purposes and further features, one can refer to the following detailed description of embodiments of this disclosure in conjunction with the following illustrative and non-limiting drawings. [Brief explanation of the drawing]

[0029] [Figure 1]

[0037] This figure shows an exemplary depiction of a chord board, including a chord section and a note section, according to an aspect of this disclosure. [Figure 2]

[0038] This figure shows an exemplary view of the code player and pad operation guide of a codeboard according to an aspect of the present disclosure. [Figure 3]

[0039] This figure shows an exemplary view of the code player and pad layout guide of a codeboard according to an aspect of the present disclosure. [Figure 4]

[0040] This figure shows an exemplary view of the code player section of a code board according to an aspect of the present disclosure. [Figure 5]

[0041] This figure shows an exemplary view of the control section of a codeboard and the code section layout selection of the codeboard according to an aspect of the present disclosure. [Figure 6]

[0042] This figure shows an exemplary view of the note section of a chord board according to an aspect of the present disclosure. [Figure 7]

[0043] This figure shows an exemplary view of the sequencer section of a codeboard according to an aspect of the present disclosure. [Figure 8A]

[0044] This figure shows an exemplary depiction of a codepad including a single code player section according to an aspect of the present disclosure. [Figure 8B]

[0045] This figure shows another exemplary depiction of a codepad including a single code player section, according to an aspect of the present disclosure. [Figure 9]

[0046] This figure shows an exemplary layout of a chord board consisting of the key of C, an I-IV-V-II progression, and a piano layout, according to an aspect of the present disclosure. [Figure 10]

[0047] This figure shows an exemplary layout of a codeboard comprising key C, I-IV-V-ii progression, and progression layout according to an aspect of the present disclosure. [Figure 11]

[0048] This figure shows an exemplary layout of a codeboard comprising the key, i-iv-v-ii progression, and progression layout of Am according to an aspect of this disclosure. [Figure 12]

[0049] This figure shows an exemplary layout of a codeboard consisting of Am's keys, i-iv-v-ii progression, and key layout according to an aspect of this disclosure. [Figure 13]

[0050] This figure shows an exemplary layout of a codeboard comprising the keys of Gb, the I-IV-V-ii progression, and the key layout according to an aspect of this disclosure. [Figure 14]

[0051] This figure shows an exemplary layout of a codeboard according to an aspect of the present disclosure, consisting of an A minor key, an i-iv-v-ii progression, and an alpha (or alphabet) layout. [Figure 15]

[0052] This figure shows an exemplary depiction of a codeboard baby according to the embodiments of this disclosure. [Figure 16]

[0053] This figure shows an exemplary depiction of a codeboard starter according to the embodiments of this disclosure. [Figure 17]

[0054] This figure shows an exemplary depiction of Codeboard Junior according to the aspects of this disclosure. [Figure 18]

[0055] This figure shows an exemplary depiction of a codeboard standard according to the embodiments of this disclosure. [Figure 19]

[0056] This figure shows an exemplary depiction of a codeboard (or codeboard pro) according to the aspects of this disclosure. [Figure 20]

[0057] This figure shows an exemplary depiction of a standalone handboard note generator according to an aspect of the present disclosure. [Figure 21]

[0058] This figure shows an exemplary environment for carrying out an aspect of this disclosure. [Modes for carrying out the invention]

[0030]

[0059] Novel features of this disclosure, relating to both the structure and operation of this disclosure, as well as further objectives and benefits of this disclosure, will be understood by reading the following description in conjunction with the accompanying drawings illustrating embodiments of this disclosure. However, it should be clearly understood that the drawings are for illustrative and explanatory purposes only and are not intended to define the scope of this disclosure.

[0031]

[0060] In the following description, various embodiments of the Disclosure will be described with reference to the accompanying drawings. Where necessary, this specification will discuss detailed embodiments of the Disclosure, but it should be understood that the disclosed embodiments are merely illustrative examples of embodiments of the Disclosure that may be embodied in various alternative forms. The drawings are not necessarily to scale, and some features may be exaggerated or reduced to show details of certain components. Accordingly, the specific structural and functional details disclosed herein should not be construed as limiting, but merely as representative grounds to teach those skilled in the art how to utilize the Disclosure in various ways.

[0032]

[0061] The details provided herein are illustrative and are for illustrative purposes only, and are presented to provide the most useful and readily understandable explanation of the principles and conceptual aspects of the embodiments of the embodiments of the disclosure. In this regard, no attempt is made to provide structural details of the embodiments of the disclosure in more detail than is necessary for a basic understanding of the embodiments of the disclosure, and it will be clear to those skilled in the art, in conjunction with the drawings, how the forms of the embodiments of the disclosure can actually be embodied.

[0033]

[0062] In this specification, the singular forms "a," "an," and "the" include the plural form unless explicitly stated otherwise in the context. In this specification, the indefinite article "a" can mean not only one but also multiple, and does not necessarily limit the noun it refers to to the singular form.

[0034]

[0063] Unless otherwise specified, all numerical terms used in this specification and in the claims should be understood to be modified in all examples by the term "about." Therefore, unless otherwise indicated, the numerical parameters described herein and in the claims are approximations and may vary depending on the desired characteristics sought by the embodiments of this disclosure. Each numerical parameter should be interpreted with regard to significant figures and common rounding rules, although this should not be considered an attempt to limit the application of the doctrine of equivalents to the claims.

[0035]

[0064] Furthermore, any enumeration of numerical ranges within this specification shall be deemed a disclosure of all numbers and ranges within that range (unless expressly indicated otherwise). For example, if the range is about 1 to about 50, it shall be deemed 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 a specific value given, or it may be any other value in its vicinity. Generally, the terms “about” and “approximately” when referring to a value are intended to represent a range within ±5% of that value. For example, the phrase “about 100” refers to a range of 100 ± 5, i.e., from 95 to 105. Generally, when the terms “about” and “approximately” are used, it can be expected that similar results or effects from this disclosure will be obtained within a range of ±5% of the indicated value.

[0037]

[0066] As used herein, the terms "and / or" indicate that only one or all 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 not present, i.e., "A only and B not present."

[0038]

[0067] The term "substantially parallel" means that the deviation from a parallel position is less than 20°, and the term "substantially perpendicular" means that the deviation from a perpendicular position is less than 20°. 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 features, characteristics, or parameters are fully realized or met, or realized or met to such an extent that they do not adversely affect the intended outcome.

[0040]

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

[0041]

[0071] The various embodiments disclosed herein can be used individually and in various combinations, unless otherwise stated.

[0072] In music, a chord is a harmonic set of pitches / frequencies consisting of multiple notes (also called "pitches") that sound as if they are playing simultaneously. For many practical and theoretical purposes, arpeggios and broken chords (where the notes of a chord are played sequentially 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 key or "home key"), the most frequently used chord is the triad. It's called a triad because it consists of three distinct notes: a root note and two notes a third and a fifth above the root note. Chords with three or more notes, including additional tone chords, extended chords, and tone clusters, are used in modern classical music, jazz, and virtually every other musical genre.

[0043]

[0074] A chromatic scale (or twelve-tone scale) is a set of twelve pitches used in tonal music, where notes are separated by semitone intervals. The chromatic scale is a scale with twelve pitches, each being a semitone, also known as a half-step, which is either higher or lower than the adjacent pitch. As a result, in 12-tone equal temperament (the most common tuning system in Western music), the chromatic scale covers all twelve available pitches. That is, AA# / Bb-BCC# / Db-DD# / Eb-EFF# / Gb-GG# / Ab That is the case. Therefore, there is only one chromatic scale. As a result, the notes of the equal-tempered chromatic scale are arranged at equal intervals.

[0044]

[0075] Almost all Western instruments, including the piano and most fretted instruments, are designed to produce chromatic scales. (Other instruments with continuously changing pitches, such as the trombone and violin (and other fretless instruments), can also produce microtones, or notes between notes played on a piano.) Most music uses subsets of the chromatic scale, such as the diatonic scale. While the chromatic scale is fundamental to Western music theory, the entire chromatic scale is rarely used directly in compositions or improvisations.

[0045]

[0076] MIDI (Musical Instrument Digital Interface) is a technical standard that describes a communication protocol, digital interface, and electrical connector for connecting various electronic musical instruments, computers, and associated audio devices for music playback, editing, and recording. The specification originates from the paper "Universal Synthesizer Interface" presented by Dave Smith and Chet Wood of Sequential Circuits at the Audio Engineering Society conference in New York in 1981. Up to 16 channels of MIDI data can be transmitted over a single MIDI cable, with each channel routed to a different device. Each interaction with a key, button, knob, or slider is translated into a MIDI event specifying musical instructions such as the pitch, timing, and volume of a note. One common MIDI application involves playing a MIDI keyboard or other controller, using it to trigger a digital sound module (including synthesized musical tones) to produce sound, which the audience then hears produced by an amplifier (e.g., a keyboard amplifier). MIDI data can be transferred via MIDI or USB cables, or recorded and edited or played back on a sequencer or digital audio workstation.

[0046]

[0077] A MIDI controller is any hardware or software that generates and sends MIDI-enabled instrument digital interface (MIDI) data, typically to trigger sounds or control parameters in electronic music performance. While MIDI controllers most often use musical keyboards to transmit data about the pitch of notes being played, they can also trigger other effects. Such devices provide a musical keyboard and other actuators (e.g., pitch bend and modulation wheels), but do not produce sound themselves; their sole purpose is to drive other MIDI devices. Electronic instruments, including synthesizers, samplers, drum machines, and electronic drums, are used to play music in real time and can transmit MIDI data streams of performance. While some controllers are keyboard-only, many incorporate other real-time controls such as sliders, knobs, and wheels. They typically include connectors for sustain and expression pedals.

[0047]

[0078] A MIDI keyboard, or controller keyboard, is typically a piano-style electronic music keyboard, often with additional buttons, wheels, and sliders, used to send MIDI signals or commands to other music devices or computers via a USB or MIDI 5-pin cable. MIDI keyboards without an onboard sound module cannot produce sound on their own, although some MIDI keyboard models include both a MIDI controller and a sound module, which can be operated independently. When used as a MIDI controller, MIDI information about the keys or buttons pressed by the performer is sent to a receiving device that can create sound 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 This could be a digital or analog hardware instrument with MIDI capabilities, such as a synthesizer, electronic piano, or drum machine.

[0048]

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

[0049]

[0080] A control surface is a hardware device that provides various controls by sending real-time controller messages via MIDI or in a proprietary format. Control surfaces allow, for example, programming software devices without the discomfort of excessive mouse movement, or adjusting 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 devices, or they may be designed to work with specific software.

[0050]

[0081] A sequencer stores and retrieves MIDI data and sends that data to MIDI-compatible instruments to reproduce the performance.

[0082] While software synthesizers offer great power and versatility, some performers feel that the immediacy of the performance experience is somewhat diminished by having to divide their attention between a MIDI keyboard and a computer keyboard and mouse. In contrast, devices dedicated to real-time MIDI control offer ergonomic advantages and provide a stronger connection to the instrument than interfaces accessed through a mouse or computer keyboard.

[0051]

[0083] Figure 1 shows an exemplary depiction of the music controller for a musical instrument, a “chordboard” 100. The chordboard 100 includes a chord side 105 and a note side 110 (or “handboard”), as described in the embodiments of this disclosure. In embodiments of this disclosure, the chordboard 100 may be a MIDI controller or may include a built-in sound module or synthesizer. As shown in Figure 1, the chord side 105 is positioned on the left side of the chordboard 100 so that it can be played with the user’s left hand (not shown), and the note side 110 is positioned on the right side of the chordboard 100 so that it can be played with the user’s right hand 135. (This disclosure also considers the opposite configuration, where the chord side 105 is positioned on the right side of the chordboard so that it can be played with the user’s right hand, and the note side 110 is positioned on the left side of the chordboard so that it can be played with the user’s left hand, in which case the note side layout is for the left hand.)

[0052]

[0084] According to aspects of the present disclosure, the chord side 105 includes a chord player section 120 that can be operated to generate chords by the user pressing one or more pads with their left hand, and the note side 110 includes a note player 123 that can be operated to generate one or more individual notes by the user manipulating one or more fingers of their right hand 135 on a sensor pad 130. Thus, according to aspects of the present disclosure, a user of the chord board 100 can play songs that they accompany themselves in a manner similar to that of a pianist (for example, playing chords with one hand and a lead line or melody with the other).

[0053]

[0085] As shown in Figure 1, in a particular embodiment of the present disclosure, the chord player section 120 includes 12 individual chord players 125, each chord player 125 corresponding to one of the 12 notes (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 notes (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). Thus, in one exemplary layout, the top left chord player 125 may be configured to play a C# chord, as shown in Figure 1, and in another exemplary layout, the top left chord player 125 may be configured to play an A# chord (see, for example, Figure 14). As shown in Figure 1, the chord side 105 includes a layout selector 150, which is operable to select a layout for the chord player 125 (i.e., to select an association between each of the 12 notes (or root notes of the chords) and each of the chord players 125).

[0054]

[0086] Each of the chord players 125 shown in the exemplary embodiment of Figure 1 displays the root note of a chord on its pad, but please understand that these root notes displayed on the pads are shown in Figure 1 for the sake of facilitating understanding of this disclosure. In this exemplary embodiment, none of the pads actually display anything. Instead, as described below, each of the chord players 125 includes a dedicated chord root note display and is operable to display the root note corresponding to each chord player 125. However, please also understand that this disclosure envisions pads that include a configurable display or other indication (e.g., color illumination) that can be used to indicate the root note of a corresponding chord instead of a dedicated root note display.

[0055]

[0087] As shown in Figure 1, the codeboard 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 the codeboard 100 has appropriate jacks and connectors on its back, for example. For example, the codeboard 100 may include a headphone jack (e.g., 6.35 mm (1 / 4 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 AC power jack), a CV connector, a line output, and / or an audio output. The codeboard 100 may be connected to an AC power source using the power jack, but this disclosure also assumes that the codeboard 100 may be powered using a battery (e.g., a DC power source) or by USB. Therefore, the codeboard 100 may have a suitable battery compartment for housing one or more batteries. A control voltage (i.e., CV) is a DC electrical signal used to manipulate the values ​​of components in an analog circuit. Control voltages are used in various ways for all purposes in various types of electronic circuits and may be used to control electronic musical instruments.

[0057]

[0089] Figure 2 shows an exemplary view of an embodiment of the chord player 125 and pad operation guide 240 of a chordboard according to an aspect of the present disclosure. As shown in Figure 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 central 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 the root note of the chord) currently corresponding to the chord player 125. In the example in Figure 2, the chord display 205 of the chord player 125 is "C", which indicates a C major chord. (The lowercase "c" represents a C minor chord.) Therefore, pressing one or more of the pads 210, 215, and 220 of this chord player, or one or more of the contact points 220, 225, will generate several variations of the C chord, as described below.

[0058]

[0090] In an exemplary operation, the 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 major chords: root, third, fifth; for minor chords: root, minor (or flat) third, and fifth). For example, as shown in Figure 2, pressing the center contact point 225 (labeled "Ch") of the first pad 210 generates the chord corresponding to what is displayed on the chord display 205 (a C major chord in the example in Figure 2). 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 one of several selected chord variations. For example, pressing the corner contact point "M / m" plays either a minor or major chord that the "Ch" contact point does not play. That is, if the chord display 205 shows a C major chord, the "Ch" contact point generates a C major chord, and the corner contact point "M / m" generates a C minor chord. In contrast, if the code board is configured such that the code display 205 shows a C minor chord (lowercase c), the "Ch" contact point generates a C minor chord, and the "M / m" corner contact point generates a C major chord. The chord variations selectable by the first pad 210 further include "sus", "4", "o", "b5", "#5", "+", and "2", which are described below.

[0059]

[0091] As an additional example, if the chord board is configured so that the chord display 205 shows a B diminished chord (or "B° chord"), the "Ch" contact point will produce a B diminished chord. Since a diminished chord is a minor chord with a diminished fifth, the "o" corner contact point will produce a B minor chord (for example, by working in reverse to remove the diminished chord), and the "M / m" corner contact point will produce a B major chord. In contrast, if the chord board is configured so that the chord display 205 shows a B minor chord (lowercase b), the "Ch" contact point will produce a B minor chord, the "M / m" corner contact point will produce a B major chord, and the "o" corner contact point will produce a B diminished chord.

[0060]

[0092] As described above, the chord corresponding to what is displayed on the chord display 205 (a C major chord in the example in Figure 2) 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 tones. Thus, the chord display 205 may display any of the 12 tones (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 tones (or root notes) and each of the chord players 125 can be configured in different layouts (for example, based on the selected key, selected progression, and / or desired layout).

[0061]

[0093] According to further aspects of the present disclosure, the user can then use a second finger to press one of the nine dots on the second pad 215 to generate a selected variation on top of the code generated by the selection on 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] In aspects of the present disclosure, in exemplary embodiments, a user may generate inversions (or inverted variations) of the code selected by the first pad 210 and / or the second pad 215 by pressing one of the nine points on the third pad 220 with a third finger on top of (or instead of on top of) the code generated by the selection of the first pad 210 and / or the second pad 215. The 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] Furthermore, if, for example, only the second pad 215 or only the third pad 220 is used, the chord player 125 will function as if the bass triad (i.e., the center contact point 225 of the first pad 210) is pressed. For example, in the example in Figure 2, if only the "7" variation is selected using the second pad 215, the chord board 100 will generate a C7 chord (not just the major seventh note) even without pressing the first pad 210. As an additional example, in the example in Figure 2, if only the "1i" variation is selected using the third pad 220, the chord board 100 will generate a first inversion of a C major chord. As an additional example, in the example in Figure 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 will generate a first inversion of a C7 chord.

[0064]

[0096] While the pads are shown in a specific configuration, this disclosure assumes that the three pads can be interchanged, for example, to suit the left / right playing style and / or the player's preference. Furthermore, each pad has an octagonal shape and offers nine options, but this disclosure also assumes polygonal pads with more or fewer than eight sides (with corresponding more or fewer options), and pads with other non-polygonal shapes (e.g., circular pads) that offer nine (or more or fewer) options.

[0065]

[0097] Furthermore, while this disclosure assumes that the pads can be fabricated from a physical material including recesses (and / or protrusions), in other assumed embodiments, each pad is MPE-enabled. For example, in some embodiments, each finger-operable pad may comprise one or more MIDI polyphonic expression (MPE) controllers. The pad may be any surface having touch points (e.g., finger-operable continuous controller touch points), such as photodiodes, or, as a second example, a continuous touch-sensor circular strip or mini touchscreen display, where a performer can slide their finger to produce microtones between enumerated variations. In such assumed embodiments, for example, a circular array MPE may, in addition to providing a center point function and multiple circumferential point functions, provide a variety of functions between the center point function and each circumferential point function. For example, in assumed embodiments, when a finger slides from a center point function to a circumferential 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 a selected circumferential point function).

[0066]

[0098] As shown in Figure 2, each of the pads 210, 215, and 220 includes an indicator for each of the contact points 220, 225, indicating their respective functions. In some embodiments, the pads may include labels or other fixed marks indicating their respective functions. In other conceivable embodiments, the pads may include a configurable display (e.g., a screen or touchscreen) for each (or all) of the functions, which can be used to display the current function (from among several options). Thus, in these embodiments, each of the functions of each of the pad's contact points may be user-configurable. In other conceivable embodiments, the user may configure each of the functions of each of the pad's contact points (e.g., to their preference) and then attach function indicators (e.g., with adhesive) to each area of ​​the pad, or display the functions on a screen embedded in the codeboard 100. In these embodiments, each function may be user-configurable and / or user-definable, for example, via accompanying software (e.g., an iOS app or an Android app).

[0067]

[0099] Figure 3 shows an exemplary view of an embodiment of the chord player 125 of the chord board 100 according to an aspect of the present disclosure, along with the pad layout guide 340. As described above, chords are specified by a letter indicating the root note (e.g., C), which may be followed by a symbol or abbreviation indicating the quality of the chord (e.g., minor (min), augmented (aug), or diminished (o)). (If the quality of the chord is not specified, the chord is assumed by default to be either a major triad or a minor triad, depending on whether the root note is uppercase or lowercase.) In addition, 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 changes (e.g., ♭5, #5, add13).

[0068]

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

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

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

[0071] Sus generates a two-note chord consisting of the root note and the third note from the perfect fifth. This is commonly known as a "power chord." 4 generates a sus4 chord. This replaces the third note in the triad with a perfect fourth (five semitones above the root note).

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

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

[0074] Pad 2: 7 generates the following: 1) For major chords, it generates a dominant seventh chord, which is a major triad (or one modified by pad 1) with a note a minor seventh (10 semitones) above the root. 2) For minor chords (or one modified by pad 1), it generates a minor seventh chord, which is a minor triad with a note a minor seventh (10 semitones) above the root. 3) For diminished chords, it generates a diminished seventh chord, which is a diminished triad with a note a diminished seventh (9 semitones) above the root.

[0075] M7 generates the following: 1) If it's 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 note that is a major seventh (11 semitones) above the root. 2) If it's a minor chord (or one modified by pad 1), it generates a minor seventh / major seventh chord. This is a minor chord, but it adds a note that is a major seventh (11 semitones) above the root. 3) If it's a diminished chord, it generates a half-diminished seventh chord, i.e., a diminished triad. This adds a note that is a minor seventh (10 semitones) above the root.

[0076] 9 generates a dominant ninth chord, which is a bass triad (or one modified by pad 1) with the minor seventh note and the ninth note added, which is one octave and two semitones higher than the root note.

[0077] M9 generates a major ninth chord. This is a bass triad (or one modified by pad 1) with the major seventh note and the ninth note added, which is one octave and two semitones higher than the root note.

[0078] b9 generates a flat ninth chord. This is a bass triad (or one modified by pad 1) with the minor seventh note and the flat ninth note added, which is one octave and one semitone higher than the root note.

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

[0080] 11 is generated as follows: 1) In the case of a major chord, it generates an eleventh chord. This is a dominant seventh chord with an eleventh note added that is one octave and four semitones higher than the root note. 2) In the case of a minor chord, it generates a minor eleventh chord. This is a minor seventh chord with an eleventh note added that is one octave and four semitones higher than the root note.

[0081] b11 generates a minor triad with the 11th flat added (or modified by pad 1). This is one octave and three semitones higher than the root (the 7th note is not added).

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

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

[0084] From Ai to Fi, a bass triad (or one modified by pad 1 and / or pad 2) is generated, and different combinations of notes within the chord are lowered or raised by an octave to create different voicings for the same chord.

[0085] The ? represents the root and fifth notes of the chord, and generates an inverted power chord without the third note. Here, the fifth note of the chord is lowered by an octave, becoming the lowest note. This will be explained further below.

[0086]

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

[0087]

[0102] Furthermore, according to further aspects of this disclosure, the third pad 220 can be used to generate inversions of the currently selected chord (i.e., the basic chord, or the chord selected by pressing one or more of the first pad 210 and the second pad 215). In other conceivable embodiments, the third pad may be configured to generate variations of the currently selected chord. This may include inversions or other chord variations, for example, a user-programmable configuration. Chord inversions represent the relationship between the lowest note in the chord and the other notes. For example, a C major triad consists of the tones C (root or 1st), E (3rd), and G (5th). The inversions depend 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 when 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. Therefore, if C is the lowest note and its third and fifth notes (E and G, respectively) are higher than C, then the C major triad is in root position. In inverted chords, the root is not the lowest note. Inversions are numbered (from bottom to top) in order of the lowest notes appearing 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 third of the triad, with the fifth and root stacked on top of it (the root shifted an octave higher), forming minor third and minor sixth intervals on top of the inverted E bass. In the second inversion, the lowest note is G, the fifth of the triad, with the root and third above it (both shifted an octave higher again), forming the fourth and sixth intervals on top of the (inverted) G bass.

[0090]

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

[0091]

[0106] As shown in Figure 3, the selectable inversions include the first inversion of a triad, "1i", the second inversion of a triad, "2i", and multiple inversions "Ai" to "Fi" for chords more complex than simple triads. 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" to "Fi" may be user-configurable and / or user-definable, for example, via accompanying software (e.g., an iOS or Android app).

[0092]

[0107] In the example in Figure 3, pressing the "Ch" area of ​​the first pad 210 generates a parent chord, a C major chord, which includes the notes C (root or 1st), E (3rd), and G (5th) from low to high. According to an aspect of this disclosure, pressing the "1i" area of ​​the third pad 220 generates a first inversion of the C major chord, which includes the notes E (3rd), G (5th), and C (root) from low to high. Similarly, pressing the "2i" area of ​​the third pad 220 generates a second inversion of the C major chord, which includes the notes G (5th), C (root), and E (3rd) from low to high. When the third pad 220 is operated while the first pad 210 is not pressed, 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 an inversion of the selected bass triad.

[0093]

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

[0094]

[0109] Thus, according to the embodiments of this disclosure, the use of inversions in musical compositions becomes easily and readily accessible to all performers, without the need to acquire the dexterity required to form chord structures, nor without the need for knowledge of such chord structures.

[0095]

[0110] Figure 4 shows an exemplary view of the chord player 125 of the chord board, along with an explanatory guide 490 according to aspects of the present disclosure. As shown in Figure 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 that displays the chord (and the root note of the chord) currently associated with the chord player 125. In embodiments, each pad may be MPE-enabled. For example, in some embodiments, each finger-operable pad may have one or more MIDI polyphonic expression (MPE) controllers that detect pressure (e.g., to control speed) and glide (e.g., to control pitch bend and / or vibrato).

[0096]

[0111] As shown in Figure 4, the chord player 125 includes an arpeggiator section comprising a rotary encoder 405 for selecting a specific arpeggiation pattern (for example, from n patterns), a display 415 for displaying the selected arpeggiation pattern for the 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 an input chord into an arpeggio. An arpeggio is a type of broken chord in which the notes that make up the chord are played in a pattern. Arpeggios can cover more than one octave. Using the arpeggiator's rotary encoder 415, the performer can select various patterns, including variations in speed, range, and mode (the movement of the arpeggio).

[0097]

[0112] According to aspects of this disclosure, the arpeggiator may be configured to apply different arpeggiation patterns to different chords on the chord board 100 (for example, 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 Figure 4, the chord player 125 also includes three memory buttons 435 (e.g., m1, m2, m3) for saving played chords and then selecting the saved played chords (for example, a Csus2b9 chord may be saved to M1 and a Csus4M7 chord in its inversion 1i to M2, and then the player can recall those chords by pressing M1 or M2 instead of using the pads to form the chords again). This allows for playing with one finger and faster switching between chord configurations that would otherwise require playing with multiple fingers. In embodiments, the memory buttons may be illuminated buttons. In embodiments, illumination can indicate whether a chord is saved in that memory spot and indicate the chord configuration.

[0099]

[0114] The Chord Player 125 also includes octave up button 425 and octave down button 420 for selecting different octaves of the Chord Player 125. In music, an octave is the interval between one musical pitch and another musical pitch that has twice the frequency of that pitch. Most scales are written so that they begin and end an octave apart. For example, the C major scale is usually written as CDEFGABC, where the first C and the last C are an octave apart. Octaves are identified by various nomenclature. The most common are the scientific scale, the Helmholtz scale, the organ pipe scale, and the MIDI sound system. In standard pitch notation, a particular octave is indicated by a subscript number after the note name. In this notation, middle C is C4, because this note is located in the fourth C key on a standard 88-key piano keyboard. C one octave up is C5.

[0100]

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

[0101]

[0116] As shown in Figure 4, the chord player 125 also includes a guidance indicator 440 to provide user guidance on the next chord player to operate (for example, when playing a specific chord progression). In musical pieces, a chord progression is a sequence of chords. Chord progressions are the foundation of harmony in the Western musical tradition, from the time of the general practice of classical music to 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 a defining feature in constructing melody and rhythm. In tonal music, chord progressions have the function of establishing or contradicting tonality. Tonality is the technical term for what is commonly understood as the "key" of a song or piece.

[0102]

[0117] Common chord progressions, such as I-vi-ii-V, are typically represented in classical music theory using Roman numerals (uppercase letters for major chords and lowercase letters for minor chords). For example, in rock and blues, musicians often use Roman numerals to represent chord progressions. This is to make it easier to transpose songs to new keys. For instance, rock and blues musicians often consider a 12-bar blues to consist of I, IV, and V chords. In many styles of popular and traditional music, chord progressions are represented using chord names and "qualities." For example, the aforementioned common chord progression I-vi-ii-V is 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 this disclosure, the guidance indicator 440 provides user guidance regarding the next chord player to operate (for example, 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 chord player currently being operated. Thus, for example, the blue LED 450 may be used to indicate which chord player on the chord board (for example, out of 12 chord players) produces a V chord relative to the chord player currently being played, and the yellow LED 455 may be used to indicate which chord player on the chord board (for example, out of 12 chord players) produces an IV chord relative to the chord player currently being played. Furthermore, the green LED 445 may be used to indicate the next chord player on the chord board (for example, out of 12 chord players) to be played according to a selected chord progression. Naturally, it should be understood that the yellow and blue indicators can be used to indicate different pitches (for example, ii).

[0104]

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

[0105]

[0120] For example, in musical tuning and harmony, the tonic, relative keys, and leading tone are represented by the tone network (Tonnetz) (German for "tone network"), a conceptual grid diagram representing the tonal space, first described by Leonhard Euler in 1739. Various visual representations of the tone network can be used to illustrate traditional harmonic relationships in European classical music. Neo-Riemannian theory loosely combines ideas found in the works of music theorists such as David Lewin, Brian Hyer, Richard Cohn, and Henry Klumpenhouwer. The central idea that brings these ideas together is the direct relationship between harmonies, without necessarily referring to the tonic.

[0106]

[0121] Many masterpieces of European classical music do not adhere to tonality, and therefore not to what we know as keys. Until this theory was more deeply understood, it was difficult to understand how the masters of these pieces combined chords. When Tonetz diagrams are used in conjunction with the new Riemann theory, we can see three relationships between chords that go beyond the traditional keys of Western music: relative keys, leading tones, and parallel tonics.

[0107]

[0122] The relative key relationship is the connection between a major chord and its relative minor chord. The two chords share two notes and diverge at the third. For example, A minor consists of the notes A, C, and E. The relative chord is C major, which consists of C, E, and G. Both chords share the notes C and E. The leading tone relationship involves sharing one tone, where the second tone of the first chord becomes the leading tone of the second chord. For example, C consists of C, E, and G, and Em consists of E, G#, and B. B is the seventh pitch in the diatonic scale of C and is the leading tone pitch. In other words, Em is the leading tone chord to C. The parallel key relationship progresses from a major chord to its minor chord and vice versa. Major and minor also share two tones, separated by only one. For example, a C chord contains C, E, and G, and a Cm chord contains C, Eb / D#, and G. These share C and G. Examples of using red, white, and / or purple lights include indicating that a particular chord is in a parallel key, relative key, or leading tone relationship with the chord currently being played. Thus, by implementing aspects of this disclosure, 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, this disclosure assumes that the codeboard 100 may include a display showing the current legend of the guidance indicator 440 (which may be user-configurable). This disclosure also assumes other guidance indicators, such as a multicolored LED ring around one (or more) of the pads 210, 215, and 220.

[0109]

[0124] Figure 5 shows an exemplary view of the control section 115 of a codeboard, the layout selector 150 for the code section of the codeboard, and the explanatory guide 540 according to an aspect of the present disclosure. As shown in Figure 5, the control section 115 includes a number of selection knobs 505 (e.g., rotary encoders) and a display 510 (e.g., LCD) each with a static text label 520 for selecting various parameters. Each knob 505 is used to select a parameter displayed on the corresponding display 510. In an exemplary embodiment, the selectable parameters include “Progress,” “Groove,” “Key,” “Mode,” “Tempo,” “Quantize,” and “Swing.” The “Progress” parameter allows the user to select a specific progression of the codeboard (e.g., I-IV-V, IV-vi-IV, i-iv-vi, etc.). The “Groove” parameter allows the user to select a specific groove of the codeboard. For example, patterns applied to a played chord progression (e.g., a guitar strumming pattern, or applying a keypress pattern to a series of chords to create an intriguing effect, similar to how a skilled pianist might play). In music, groove refers to the feeling or "swing" sensation resulting from variations in patterns within a driving rhythm. In jazz, for example, groove is perceived as the quality of continuously repeating rhythmic units created by the interaction of the music played by the band's rhythm section (e.g., drums, electric bass or double bass, guitar, and keyboards). In embodiments, selectable grooves may include, for example, rising 8th, rock, funky, etc. The idea of ​​groove is to apply real-time, non-destructive quantization to non-linear clips that are off-grid. For example, in normal playing, if no groove is applied, a chord played by chord player 125 is held as a constant chord until the performer releases it. However, if groove is applied, the chord modulates while it is held.A groove can be conceptualized as a 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 an ascending octave, the groove consists of eight subdivisions per measure, starting softly (slowly) and gradually increasing in volume (faster), waiting for all eight subdivisions to be played and the measure to complete, before the next measure plays the next chord and starts softly again. 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 a groove that spans multiple measures.

[0110]

[0125] The "Key" parameter allows the user to select a specific key on the codeboard, such as 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 specific mode for the selected key. For example, they can choose major (or Ionian), minor (or Aeolian), Dorian, Phrygian, Lydian, Mixolydian, Locrian, or one of the various modes used around the world. For example, other modes include whole tone, whole-half dimion, half-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, Bailav, Hungarian minor, Hirajoshi, Insan, Iwato, Kumoi, Perogserisil, Perogtunbun, Messiaen 3, Messiaen 4, Messiaen 5, Messiaen 6, and Messiaen. Selecting a particular mode affects the layout of the settings or other functions. For example, in the key or progression layout, the mode, key, and progression parameters determine which chords are assigned to which chord player 125. For example, the chords of A in minor mode are a, bdim, C, d, e, F, G. The chords of A in major mode are A, b, c#, D, E, f#, G#dim. The chord for A in Dorian mode is a, b, C, D, e, f#dim, G. The same applies to the following. The "tempo" parameter allows the user to select a specific tempo for the chord board, for example, 120 BPM. The "quantize" parameter allows the user to select a specific quantization division for the chord board, for example, a quarter tone, which quantizes the chord board to the selected beat. The "swing" parameter allows the user to select a specific swing setting (or amount of swing) for the chord board, for example, 50%, which causes the chord board to play chords offset from the grid in the sequencer.Swing refers to a technique, for example, in a two-part pulse division within a beat, where consecutive first and second notes are alternately lengthened and shortened. For example, in a swing rhythm, the pulse is divided unevenly, and therefore specific subdivisions (usually eighth notes or sixteenth notes) are repeated alternately in long and short periods.

[0111]

[0126] As shown in Figure 5, the control section 115 also includes a “Pre-Play” selection button 515. According to an aspect of this disclosure, when the Pre-Play button is selected (for example, pressed), the Chordboard 100 allows the user to select chords as quickly as they like during playback or at any speed during pauses (by pressing different pads on different chord players), while during playback, the chords are hit (or played) according to the tempo, quantize, and swing settings. That is, the user does not necessarily need to press the pads in time with the rhythm, but the Chordboard 100 plays the chords as if the user were pressing the pads in time with the rhythm and tempo. According to an aspect of this disclosure, by using the Pre-Play function, users who lack a sense of rhythm (or the ability to keep tempo) or who lack the physical dexterity to move their fingers in time (for example, people with disabilities) can easily play pleasant music and thus enjoy the benefits of playing music. Furthermore, the Pre-Play function can also function as an automatic player. For example, if Pre-Play is turned on, a chord progression is selected, and the key and mode are selected, the chords will play in time with the progression when transport is started.

[0112]

[0127] As shown in Figure 5, the code section layout selector 150 of the code board 100 includes a selection knob 505 (e.g., a rotary encoder) for selecting from various code layouts (e.g., key, alpha (or alphabetical order), piano, progression) and a display 510 (e.g., an LCD) for displaying the selected code 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 code to be assigned to each code player 125.

[0113]

[0128] Figure 6 shows an exemplary view of the note player 123 (or handboard) along with an explanatory guide 640 according to aspects of the present disclosure. As shown in Figure 6, the fingers of the 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 the implementation forms of the disclosed note player 123. In the embodiment, the sensor pad 130 includes an MPE slider 645 for each finger within each area 635 of the sensor pad 130. In the embodiment, each MPE slider includes a central area 650, an octave plus area 660, and an octave minus area 655. Pressing the central region 650 with a finger produces the selected note, pressing the octave-plus region 660 with a finger produces a note one octave higher than the selected note, and pressing the octave-minus region 655 with a finger produces a note one octave lower than the selected note. Thus, as shown in this exemplary embodiment, each finger slider has a range of three octaves. The MPE slider can detect pressure (for example, to control speed) and glide (for controlling pitch bend and vibrato).

[0114]

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

[0115]

[0130] As shown in Figure 6, each finger of the user's hand 135 is used to manipulate individual notes (for example, notes of a pentatonic scale) by contacting different areas of the sensor pad 130. For example, in an exemplary embodiment, pressing the index finger on the corresponding index finger MPE slider generates the root note (corresponding to the chord currently being played by the other hand on the chord player 125). Furthermore, in some embodiments, in a configuration preferred by the user, there may be an option to statically set the finger layout of the handboard (for example, to a key selected by the user) (so the finger layout of the handboard is not linked to the chord currently being played on the chord board 100).

[0116]

[0131] Furthermore, as shown in Figure 6, pressing the middle finger on the corresponding middle finger MPE slider generates the third root note, and pressing the ring finger on the corresponding ring finger MPE slider generates the fifth root note. Additionally, the thumb and little finger may be used to generate the pentatonic M2 / 6 or m4 / 7 root notes. For example, with respect to the little finger and thumb sliders, the major pentatonic scale consists of the root, 2nd, 3rd, 5th, and 6th notes of the major scale (the 4th and 7th notes are omitted). In contrast, the minor pentatonic scale consists of the root, b3rd, 4th, 5th, and b7th notes of the minor scale (the 2nd and 6th notes are omitted). According to aspects of this disclosure, 2 / 4 provides access to reach the 4th note missing from the major pentatonic scale, or the 2nd note missing from the minor pentatonic scale. Similarly, 6 / 7 provides access to the missing seventh note from the major pentatonic scale, or the missing sixth note from the minor pentatonic scale. While Figure 6 shows an exemplary configuration of the finger-to-note correspondence, it should be understood that in some embodiments, the configuration of the handboard 123 may be user-configurable (for example, via an associated app).

[0117]

[0132] The sensor pad 130 may include an additional area 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. Furthermore, the sensor pad 130 may be configured to detect movement of other parts of the user's hand. For example, the sensor pad 130 may be configured to include areas for detecting left heel / palm contact and right heel / palm contact in order to shift octaves downward and upward. Using such heel / palm detection areas, the user can switch between octaves more easily (or adjust other parameters such as volume, modulation, effect mix, delay time, etc.).

[0118]

[0133] Figure 7 shows an exemplary view of the sequencer section 145 of the codeboard, along with an explanatory guide 740 according to aspects of the present disclosure. The sequencer allows the user to set several parameters, such as a chord progression and the first note, to automatically create, for example, a 16-bar sequence. As shown in Figure 7, the sequencer section 145 may be a 16-step sequencer having eight tracks. The exemplary sequencer section 145 includes eight lit-up track buttons 715, one for each of the eight tracks, and sixteen lit-up pads 720, one for each step, for a total of sixteen. 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., an illuminated pad or button, or a push-button rotary encoder) for adjusting the gate (e.g., the length of the gate hold time). For example, the gate value of a sound represents how many steps the sound will play. The user can edit the step length by pressing the gate push button (e.g., by rotating the rotary controller or by pressing a button to switch options).

[0120]

[0135] The sequencer section 145 may also include a microstep controller 745 for adjusting microsteps. The pitch between consecutive steps is further subdivided into six microsteps. Microsteps can be used, for example, to represent "offbeat" timing in chord 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 it is "1 / 8T", each note is a triplet of eighth notes.

[0122]

[0137] The sequencer section 145 also includes an S / E controller 755 for adjusting within the sequencer which pads the sequencer starts and / or ends from. For example, with 16 steps in the sequencer, the S / E rotary controller 755 can be used to adjust the sequencer so that, for a 9-step sequence, it starts at step 2 and ends at step 10.

[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 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 button from the beginning resumes playback from the beginning of the sequence.

[0124]

[0139] As shown in Figure 7, the exemplary sequencer section 145 also includes a control knob 505 (e.g., a rotary encoder) for adjusting the track type, track groove, and time signature of the sequencer, and a corresponding display 510 (e.g., an LCD) with static labels 520. In the exemplary embodiment, selectable track types may include rhythm tracks, bass tracks, solo tracks, etc. In the exemplary embodiment, selectable track grooves may include samba, salsa, rumba, etc. In the 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 grooves described above (see Figure 5), but are specific to the track in the sequencer.

[0125]

[0140] Figure 8A shows an exemplary depiction of the code pad 800 and function guide 840 according to a further aspect of the present disclosure. As shown in Figure 8A, the code 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 code pad 800 includes a code player section 820 that can be operated to generate codes by a user pressing one or more pads with their fingers.

[0126]

[0141] As shown in Figure 8A, the chord player section 820 includes one chord player 825, which is operable to assign one of the 12 notes (AA# / Bb-BCC# / Db-DD# / Eb-EFF# / Gb-GG# / Ab) to the chord player 825 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 Figure 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 Figure 8A, the chord pad 800 is set to play a C chord (as shown in the chord root note display 205). However, the user can rotate the chord selection knob 850 to change the chord player 825 to a different root note (for example, F # It can be configured to play chords that have a chord.

[0127]

[0142] According to aspects of the present disclosure, the chord pad 800 may use a sequencer section 845 to program a sequence of eight chords, or the user may press the pre-play button 515 to turn on the pre-play function, select a chord progression, select a key and mode, and then the chords will automatically progress and play when transport is started. 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). An 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 during pause (at any speed) and then played at the selected tempo.

[0128]

[0143] Figure 8B shows another exemplary depiction of a chord pad 875, including a single chord generator section 880, according to an aspect of the present disclosure. In contrast to the chord pad 800 (which uses a chord selection knob (e.g., a rotary encoder) to select the root note of a chord for the chord player 825), the chord pad 875 includes a chord selector 865 within a keyboard layout with a plurality of illuminable push buttons 870 (e.g., 12). In the depiction of Figure 8B, the push buttons 870 are labeled with note labels (e.g., A, B, C, D, E, F, G), but it should be understood that the push buttons 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 push buttons 870, the user can select a new root chord note for the chord player 825 (which is then displayed on the chord root note display 205).

[0129]

[0144] As shown in Figure 8B, each of the push buttons 870 may light up 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 (for example, in a selected chord progression). For example, yellow may be used to indicate the root note of the currently selected chord. As shown in Figure 8B, the push button 870 lit yellow corresponds to the root note of "C" (indicated by the note label 885), which corresponds to the root note of the chord indicated by the chord root note display 205. Furthermore, in exemplary and non-limiting embodiments, green and blue may be used as color-guided progressions to indicate the next chord and the chord after that in a progression, respectively. When the moment for the root note of the next chord arrives, the user may press the push button 870 lit green to change the root note of the currently selected chord (from the "C" root note to the "G#" root note in the example in Figure 8B). Subsequently, when the user presses the push button 870 which is lit green, the push button 870 which is currently lit blue switches to green, indicating the next push button 870 (for example, in the selected chord progression). Furthermore, as described above, the LEDs of the push buttons 870 may be used to indicate chord selections for modulation (orange), parallel key (red), related (white), and leading tone (purple), based on the root note of the currently selected chord (indicated by the chord root note display 205).

[0130]

[0145] As shown in Figure 9 (and Figures 10-14), the chord board 100 includes a chord player section 120 having 12 individual chord players 125, each chord player 125 corresponding to one of the 12 musical scales (AA# / Bb-BCC# / Db-DD# / Eb-EFF# / Gb-GG# / Ab). As stated above, each of the chord players 125 shown in the exemplary embodiment of Figure 9 (and Figures 10-14) displays the root note of the chord displayed on its pad, but please understand that these root notes displayed on the pads are shown in Figure 9 (and Figures 10-14) for the sake of facilitating understanding of this disclosure. In this exemplary embodiment, none are actually displayed on any of the pads. Instead, as stated above, each of the chord players 125 includes a dedicated chord root note display 205 which is operable to display the currently corresponding chord and the root note of the chord corresponding to each chord player 125.

[0131]

[0146] According to further aspects of this disclosure, the association between each of the 12 tones (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 Figure 9 (and Figures 10-14), the chord board 100 includes a layout selector 150 which is operable to select a layout for the chord players 125 from a variety of layouts (e.g., key, alpha, piano, progression) (i.e., select an association between each of the 12 tones (or root notes of a chord) and each of the chord players 125). As shown in Figure 9 (and Figures 10-14), the chord board 100 includes a setup control section 115 for selecting the key and progression among other parameters.

[0132]

[0147] Figure 9 shows an exemplary layout of the chord board 100 configured in the key of C major, with an I-IV-V-II progression and a piano layout, according to an aspect of the present disclosure. As shown in Figure 9, the setup control section 115 currently indicates the selection of the key of C and the I-IV-V-II progression. The layout selector 150 also currently indicates the selection of piano. According to an aspect 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 a piano) in the back row of the chord player 125 and non-sharp / flat root notes (corresponding to the white keys on a piano) in the front two rows of the chord player 125. The leftmost chord player located in the center row is configured as a C chord player, and the other chord players in the front two rows are in ascending order from C (i.e., d, e, F, G, a, B). Furthermore, as shown in Figure 9, uppercase letters represent major chords and lowercase letters represent minor chords. Therefore, in this exemplary layout and key, pressing the center of the first pad (or pad 1) of the C chord player (to the upper right of the pad labeled "C") generates a C major chord, and pressing the center of the first pad (or pad 1) of the D chord player (to the upper right of the pad labeled "d") generates a D minor chord.

[0133]

[0148] Figure 10 shows an exemplary layout of a chord board 100 comprising the key of C major, an I-IV-V-II progression, and a progression layout according to an aspect of the present disclosure. As shown in Figure 10, the setup control section 115 currently indicates the selection of the key of C major and the I-IV-V-II progression. The layout selector 150 also currently indicates the selection of Prog. (progression). According to an aspect of the present disclosure, the progression layout arranges the chords on the chord board 100 so that the chord progression can be easily played (for example, in the order of the selected chord progression from left to right on the chord board 100).

[0134]

[0149] In the 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). Therefore, as shown in Figure 10, if the chord board 100 is a progression layout in the key of C major, the leftmost chord player 125 in the center column is configured as a C major chord player, i.e., an I chord (the central part of the first pad (or pad 1) generates 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 central part of the first pad (or pad 1) generates 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 central part of the first pad (or pad 1) generates 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 central part of the first pad (or pad 1) generates a D minor chord). As shown in Figure 10, the sharp code (i.e., C # , D # F # , G # , and A # The chords (e, a, and B°) are placed in the back row of the chord player, while the remaining chords are placed in the front row of the chord player 125.

[0135]

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

[0136]

[0151] FIG. 11 shows an exemplary layout of a chord board composed of the key of A minor, the i-iv-v-ii progression, and the progression layout according to an aspect of the present disclosure. As shown in FIG. 11, 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 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). Therefore, as shown in FIG. 10, when the chord board 100 is in the progression layout of the A minor key, the leftmost chord player 125 arranged in the central column is configured as an A minor chord player, that is, an i chord (the central portion of the first pad (or pad 1) generates an A minor chord), the next chord player 125 in the central column is configured as a D minor chord player, that is, an iv chord (the central portion of the first pad (or pad 1) generates a D minor chord), the next chord player 125 in the central column is configured as an E minor chord player, that is, a v chord (the central portion of the first pad (or pad 1) generates an E minor chord), and the last chord player 125 in the central column is configured as a B diminished chord player, that is, an ii chord (the central portion of the first pad (or pad 1) generates a B diminished chord). As shown in FIG. 11, the sharp chords (that is, C # 、D # 、F # 、G # 、and A # ) are arranged in the rear row of the chord player 125, and the remaining chords (C, F, and G) are arranged in the front row of the chord player 125.

[0138]

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

[0139]

[0154] Figure 12 shows an exemplary layout of a codeboard 100 comprising the key of A minor, an i-iv-v-ii progression, and a key layout according to an aspect of the present disclosure. As shown in Figure 12, the setup control section 115 currently indicates the selection of the key of A minor and the i-iv-v-ii progression. The layout selector 150 also currently indicates the selection of a key. According to an aspect of the present disclosure, using the key layout, the codeboard 100 places the codes in the first two columns of the code player 125, from left to right on the codeboard 100, starting with the code selected by the key (via the setup control section 115). The codes in the first two columns of the code player then ascend based on the selected key.

[0140]

[0155] Therefore, as shown in Figure 12, in the key and key layout of Am, the first two columns of the left-to-right chord player 125 are configured as A minor chord players (the central part of the first pad (or pad 1) generates an A minor chord), the next chord player 125 is configured as a B diminished chord player (the central part of the first pad (or pad 1) generates a B diminished chord), the next chord player 125 is configured as a C major chord player (the central part of the first pad (or pad 1) generates a C major chord), and the next chord Player 125 is configured as a D minor chord player (the central part of the first pad generates a D minor chord), the next chord player 125 is configured as an E minor chord player (the central part of the first pad (or pad 1) generates an E minor chord), the next chord player 125 is configured as an F major chord player (the central part of the first pad (or pad 1) generates an F major chord), and the last chord player 125 is configured as a G major chord player (the central part of the first pad (or pad 1) generates a G major chord). As shown in Figure 12, sharp chords (i.e., C # , D # F # , G # , and A # The ) is positioned in the rear row of the chord player 125. According to an aspect of this disclosure, when configured in the key layout, the user can easily move between different chords on the selected key. In this way, the chord board 100 provides a more convenient way to create and enjoy music.

[0141]

[0156] Figure 13 shows an exemplary layout of a codeboard according to an aspect of the present disclosure, comprising a Gb major key (or G flat), an I-IV-V-ii progression, and a key layout. As shown in Figure 13, the setup control section 115 now indicates the selection of a Gb major key and an I-IV-V-ii progression. The layout selector 150 also now indicates the selection of a key. According to an aspect of the present disclosure, using the key layout, the codeboard 100 places the codes in the first two columns of the code player 125, starting from the code selected by the key (via the setup control section 115), from left to right on the codeboard 100. The codes in the first two columns of the code player rise based on the selected key.

[0142]

[0157] Therefore, in the key and key layout of Gb, the first two columns of the left-to-right chord player 125 are configured as a Gb major chord player (the central part of the first pad (or pad 1) generates a Gb major chord), the next chord player 125 is configured as an Ab minor chord player (the central part of the first pad (or pad 1) generates an Ab minor chord), the next chord player 125 is configured as a Bb minor chord player (the central part of the first pad (or pad 1) generates a Bb minor chord), and the next chord player 125 is configured as a Cb major (or B) chord player. The next chord player 125 is configured as a chord player (the central part of the first pad (or pad 1) generates a Cb major chord), the next chord player 125 is configured as a Db major chord player (the central part of the first pad (or pad 1) generates a Db major chord), the next chord player 125 is configured as an Eb minor chord player (the central part of the first pad (or pad 1) generates an Eb minor chord), and the last chord player 125 is configured as an F diminished chord player (the central part of the first pad (or pad 1) generates an F diminished chord). As shown in Figure 12, the remaining chords (i.e., C, D, E, G, and A) are placed in the back row of chord player 125.

[0143]

[0158] Figure 14 shows an exemplary layout of a codeboard 100 configured with an A minor key, i-iv-v-ii progression, and an alpha (or alphabet) layout according to an aspect of the present disclosure. As shown in Figure 14, the setup control section 115 currently indicates the selection of the A minor key and the i-iv-v-ii progression. The layout selector 150 currently indicates the selection of the alpha layout. According to an aspect of the present disclosure, using the alpha (or alphabet) layout, the codeboard 100 places the codes in the first two columns of the code player 125 in alphabetical order from left to right on the codeboard 100. Thus, the code players 125 in the middle column are A, B, C, and D, and the code players 125 in the front column are E, F, and G. As shown in Figure 14, a sharp code (i.e., A # , C # , D # F # , and G # ) is positioned in the rear row of the chord player 125. According to an aspect of this disclosure, in the alpha layout, the arrangement of the chord layouts does not change (for example, based on the selected progression setting). Instead, the leftmost chord player 125 in the middle column is always configured as an A minor chord player, and the rightmost chord player 125 in the front column is always configured as a G major chord player (changing the key may affect whether the center of the first pad (or pad 1) generates a major chord, a minor chord, or a diminished chord).

[0144]

[0159] Therefore, as shown in Figure 14, if the chord board 100 is in the alpha layout of the key of Am, the leftmost chord player 125 located in the center column is configured as an A minor chord player (the central part of the first pad (or pad 1) generates an A minor chord), the next chord player 125 in the center column is configured as a B diminished chord player (the central part of the first pad (or pad 1) generates a B diminished chord), the next chord player 125 in the center column is configured as a C major chord player (the central part of the first pad (or pad 1) generates a C major chord), and the last chord player 125 in the center column is configured as a D minor chord player (the central part of the first pad (or pad 1) generates a D minor chord).

[0145]

[0160] The leftmost chord player 125 in the front row is configured as an E minor chord player (the central part of the first pad (or pad 1) generates an E minor chord), the next chord player 125 in the front row is configured as an F minor chord player (the central part of the first pad (or pad 1) generates an F major chord), and the last chord player 125 in the front row is configured as a G major chord player (the central part of the first pad (or pad 1) generates a G major chord). As shown in Figure 14, sharp chords (i.e., A # , C # , D # F # , and G # The chord board 100 is positioned in the rear row of the chord player 125. According to an aspect of this disclosure, when configured in an alpha layout, the relative positions of the chords remain fixed, and therefore the user can more easily move between different chords regardless of the selected key. Thus, the chord board 100 provides a more convenient way to create and enjoy music.

[0146]

[0161] Figure 15 shows an exemplary depiction of the Codeboard Baby 1500 according to an aspect of the present disclosure. As shown in Figure 15, the Codeboard 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, for example, progress, key, and / or layout selection controls). In embodiments, a lock function or control (e.g., a switch) allows the user to lock the control of one or a knob in the setup control section 1515 to prevent the selected setting from being accidentally changed.

[0147]

[0162] According to aspects of the present disclosure, the chord board baby 1500 includes a chord player section 1520 that can be operated to generate chords by a user pressing one pad with their finger. As shown in Figure 15, in this exemplary embodiment of the present disclosure, the chord player section 1520 includes fewer than 12 individual chord players 1525 (e.g., 7 chord players), each chord player 1525 corresponding to one of the 12 tones (e.g., AA# / Bb-BCC# / Db-DD# / Eb-EFF# / Gb-GG# / Ab). Thus, the chord player section 1520 includes 7 chord players 1525. As described herein, the association between each of the 7 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 tone display 205 and is operable to display the root tone corresponding to each chord player 1525.

[0148]

[0163] As shown in Figure 15, in this exemplary embodiment, the chord player 1525 includes a first pad (or pad 1) 210 (but does not include a second or third pad) to provide a simplified interface (for example, one that can be used by babies, toddlers, people with developmental disabilities, people who are not musically inclined, or the elderly). The chord player 1525 also includes an octave up button 425 and an octave down button 420 for selecting different octaves of the chord player 1525. By pressing the octave up button 425 or the octave down button 420, the 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 several LEDs 430. In this way, the user can quickly move up and down to different octaves and easily determine the currently selected octave. As shown in Figure 15, each chord player 1525 also includes a guidance indicator 440 to provide user guidance regarding the next chord player to operate (for example, when playing a particular chord progression).

[0149]

[0164] Figure 16 shows an exemplary depiction of a chordboard starter 1600 according to an aspect of the present disclosure. As shown in Figure 16, the chordboard 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, control for progression, key, and / or layout selection). As shown in Figure 16, in the chordboard starter 1600, the chord player section 1620 includes fewer than 12 individual chord players 1525 (for example, 7 chord players), each chord player 1525 corresponding to one of 12 notes (for example, AA# / Bb-BCC# / Db-DD# / Eb-EFF# / Gb-GG# / Ab). As described herein, the association between each of the 7 tones (or root notes) and each of the chord players 125 can be configured in different layouts (for example, based on a selected key, progression, and / or desired layout). As shown in Figure 16, the chordboard starter 1600 includes a layout selector 150, which is operable to select a layout for the chord players 125 (i.e., select an association between each of the 12 notes (or root notes of the chords) and each of the chord players 125), and each chord player includes a root note display 205.

[0150]

[0165] As shown in Figure 16, each chord player 125 also includes an octave-up button 425 and an octave-down button 420 for selecting different octaves of the chord player 125. By pressing the octave-up button 425 or the octave-down button 420, the 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 several LEDs 430. In this way, the user can quickly move up or down to different octaves and easily determine the currently selected octave. As shown in Figure 16, each chord player 125 also includes a guidance indicator 440 and a memory button 435 for providing user guidance about the next chord player to operate (for example, when playing a particular chord progression).

[0151]

[0166] Figure 17 shows an exemplary depiction of the ChordBoard Junior 1700 according to an aspect of the present disclosure. As shown in Figure 17, the ChordBoard 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, control for progression, key, and / or layout selection). As shown in Figure 17, in the ChordBoard Junior 1700, the chord player section 120 includes 12 individual chord players 125, each chord player 125 corresponding to one of 12 notes (AA# / Bb-BCC# / Db-DD# / Eb-EFF# / Gb-GG# / Ab). As described herein, the association between each of the 12 notes (or root notes) and each of the chord players 125 can be configured in different layouts (for example, based on a selected key, progression, and / or desired layout). As shown in Figure 17, the Chordboard Junior 1700 includes a layout selector 150, which is operable to select a layout for the chord player 125 (i.e., to select an association between each of the 12 notes (or root notes of the chords) and each of the chord players 125).

[0152]

[0167] Figure 18 shows an exemplary depiction of the chordboard standard 1800 according to an aspect of the present disclosure. As shown in Figure 18, the chordboard standard 1800 includes a chord side 1805 and a note side 110 (or “handboard”) according to an aspect of the present disclosure.

[0153]

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

[0154]

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

[0155]

[0170] As shown in Figure 18, the codeboard standard 1800 also includes a power and volume (mute) control section 155 (including a power switch and a mute switch) and a setup control section 1515 (without a sequencer control section).

[0156]

[0171] Figure 19 shows an exemplary depiction of Codeboard 100 (or Codeboard Pro) according to an aspect of this disclosure. Comparing the embodiments in Figures 15 to 19, it should be understood that the aspects of this disclosure, individually or in combination, can provide different benefits to the user.

[0157]

[0172] Figure 20 shows an exemplary depiction of a standalone handboard 2010 note generator according to an aspect 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 their right hand 135 on a sensor pad 130. As shown in Figure 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] Furthermore, the standalone handboard 2010 (or note player) includes octave-up button 625 and octave-down button 620 for selecting different octaves of the handboard 2010 (or note player). By pressing the octave-up button 625 or the octave-down button 620, the 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 several LEDs 630. In this way, the user can quickly move up and down to different octaves and easily determine the currently selected octave of the handboard 2010. The standalone handboard 2010 may also include an arpeggiator section having a rotary encoder 405 for selecting a particular arpeggiation pattern (for example, from n patterns) and a display 415 for indicating the selected arpeggiation pattern of 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) for selecting keys on the handboard 2010. In other conceivable embodiments, the standalone handboard 2010 may have a key selector knob (e.g., a rotary controller). In other conceivable embodiments, the standalone handboard receives chord and / or key information via MIDI, and the finger sensors on the sensor pad 130 are configured to match a pentatonic scale corresponding to the chord and / or key.

[0159] System Environment

[0174] Aspects of the embodiments of this disclosure (e.g., a codeboard) can be implemented as described above by a dedicated hardware-based system that performs a specified function or operation, or by a combination of dedicated hardware and computer instructions and / or software. The control system may be implemented and executed from a server in a client-server relationship, or by transmitting operation information to a user workstation and executing it on the user workstation. In one embodiment, the software elements include firmware, resident software, microcode, etc. In a hypothetical embodiment, the control system may be integrated into the codeboard to be standalone. In a hypothetical embodiment, the codeboard and control system may be virtually implemented on a touchscreen.

[0160]

[0175] As those skilled in the art will understand, embodiments of the present disclosure can be embodied as systems, methods, or computer program products. Accordingly, embodiments of the embodiments of the present disclosure can take the form of entirely hardware embodiments, entirely software embodiments (including firmware, resident software, microcode, touchscreens, etc.), or embodiments combining software and hardware embodiments, all of which may be commonly referred to herein as “circuits,” “modules,” or “systems.” Furthermore, embodiments of the present disclosure (for example, a control system) can take the form of a computer program product embodied in any tangible medium of representation having computer-readable program code embodied in the medium.

[0161]

[0176] Any combination of one or more computer-usable or computer-readable media may be used. Computer-usable or computer-readable media may, but are not limited to, electronic, magnetic, optical, electromagnetic, infrared, touchscreen, or semiconductor systems, apparatus, devices, or propagation media. More specific examples (a non-exhaustive list) of computer-readable media include electrical connections with one or more wires, portable computer diskettes, hard disks, random access memory (RAM), read-only memory (ROM), erasable programmable read-only memory (EPROM or flash memory), optical fibers, portable compact disk read-only memory (CDROM), optical storage devices, transmission media such as those supporting the Internet or intranet, magnetic storage devices, USB keys, Bluetooth, and / or mobile phones.

[0162]

[0177] In the context of this specification, a computer-usable medium or computer-readable medium may be any medium that can store, communicate, propagate, or transport programs used by or in connection with an instruction execution system, apparatus, or device. A computer-usable medium may include propagated data signals incorporating computer-usable program code as part of a baseband or 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 performing the operations of the Disclosure may be written in any combination of one or more programming languages, including object-oriented programming languages ​​such as Java, Smalltalk, and 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, run as a standalone software package, partially on the user's computer and partially on a remote computer, fully embedded on a codeboard, or fully 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, which may include, for example, a local area network (LAN) or a wide area network (WAN), and may be connected to an external computer (for example, via the Internet using an Internet service provider). Furthermore, in embodiments, the Disclosure may be embodied in a field-programmable gate array (FPGA).

[0164]

[0179] Figure 21 shows an exemplary system used according to the embodiments described herein. System 3900 is shown schematicly and may include the schematicly shown computer system 3902. Computer system 3902 may operate as a standalone device or may be connected to other systems or peripheral devices. For example, computer system 3902 may include or be included in any one or more computers, servers, systems, communication networks, or cloud environments, or may be incorporated into a codeboard.

[0165]

[0180] Computer system 3902 can operate as a server in a network environment or as a client user computer in a network environment. Computer system 3902 or any part thereof can also be implemented as, or incorporated into, various devices such as personal computers, tablet computers, set-top boxes, personal digital assistants, mobile devices, palmtop computers, laptop computers, desktop computers, communication devices, wireless telephones, trusted personal devices, web appliances, or any other machine capable of executing a set of instructions (sequential or other instructions) that specify the actions performed by the device. Furthermore, although a single computer system 3902 is shown, additional embodiments may include any set of systems or subsystems that individually or collectively execute instructions or perform functions.

[0166]

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

[0167]

[0182] As shown in Figure 21, the computer system 3902 may 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. The computer system 3902 may include at least one computer input device 3910 such as a keyboard, a remote control device having a wireless keypad, a microphone coupled to a speech 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 understand that various embodiments of the computer system 3902 may include multiple input devices 3910. Furthermore, those skilled in the art will understand that the exemplary input devices 3910 listed above are not exhaustive and that the computer system 3902 may include any additional or alternative input devices 3910.

[0168]

[0183] Computer system 3902 may also include a media reader 3912 and a network interface 3914. Furthermore, computer system 3902 may include any additional devices, components, parts, peripherals, hardware, software, or any combination thereof that are generally known and understood to be included with or within a computer system, such as output device 3916. Output device 3916 may be, but is not limited to, a speaker, audio output, video output, remote control output, or any combination thereof. As shown in Figure 21, system 3900 may include a codeboard controller 2180 that can operate to control a virtual codeboard (e.g., using a tablet's touchscreen) in accordance with this disclosure, a handboard controller 2185 that can operate to control a virtual handboard (e.g., using a tablet's touchscreen) in accordance with this disclosure, a sequencer controller 1275 that can operate to control a sequencer in accordance with this disclosure, a synthesizer module 1290, and a sound module 1295.

[0169]

[0184] Furthermore, aspects of this disclosure may take the form of a computer program product accessible from a computer-usable medium or computer-readable medium that provides program code used by or in connection with a computer or any instruction execution system. The software and / or computer program product may be implemented in the environment of Figure 21. For the purposes of this description, the computer-usable medium or computer-readable medium may be any device that can store, communicate, propagate, or transport a program used 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 a propagation medium. Examples of computer-readable storage media include semiconductor memory 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 disks-read-only memory (CD-ROM), compact disks-read / write (CD-R / W), and DVDs.

[0170]

[0185] This specification describes components and functions that can be implemented in certain embodiments by reference to specific standards and protocols (e.g., MIDI, pads), but this disclosure is not limited to such standards and protocols. Such standards are periodically superseded by faster or more efficient equivalent standards that have essentially the same functionality. Therefore, replacement standards and protocols having the same or similar functionality are considered their equivalents.

[0171]

[0186] While computer-readable media may sometimes be described as a single medium, the term “computer-readable media” includes single or multiple mediums such as centralized or distributed databases and / or associated caches and servers that store one or more sets of instructions. The term “computer-readable media” also includes any medium that can store, encode, or carry a set of instructions executed by a processor, or that can cause a computer system to execute any one or more of the embodiments disclosed herein.

[0172]

[0187] The computer-readable medium may comprise non-temporary computer-readable media and / or temporary computer-readable media. In certain non-limiting, exemplary embodiments, the computer-readable medium may include solid-state memory such as a memory card or other package housing one or more non-volatile read-only memories. Furthermore, the computer-readable medium may be random-access memory or other volatile rewritable memory. Furthermore, the computer-readable medium may include magneto-optical or optical media such as disks, tapes, or other storage devices for capturing carrier signals such as signals communicated over a transmission medium. Accordingly, the disclosure is deemed to include any computer-readable medium or other equivalents and successor media capable of storing data or instructions.

[0173]

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

[0189] One or more embodiments of this disclosure may be referred to herein, individually and / or collectively, by the term “invention” for convenience only, without any intention to spontaneously limit the scope of this application to any particular disclosure or inventive concept. Furthermore, while certain embodiments are illustrated and described herein, it should be understood that any subsequent arrangements designed to achieve the same or similar objectives may be used instead of the specific embodiments shown. This disclosure is intended to cover all subsequent adaptations or variations of various embodiments. Combinations of the embodiments described above, and other embodiments not specifically described herein, will be apparent to those skilled in the art upon consideration of the description.

[0174]

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

[0175]

[0191] Therefore, the novel architecture is intended to encompass all such changes, 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 comprehensive as the term “comprising,” and “comprising” is interpreted as a transitional term in the claims when used.

[0176]

[0192] While this disclosure is described with reference to specific embodiments, those skilled in the art will understand that various modifications may be made and elements may be replaced with equivalents without departing from the true spirit and scope of this disclosure. Although exemplary embodiments have been described above, these embodiments are not intended to describe all possible forms of the embodiments of this disclosure. Rather, the terms used herein are descriptive, not limiting, and it should be understood that various modifications may be made without departing from the spirit and scope of this disclosure. Furthermore, modifications may be made without departing from the essential teachings of this disclosure. In addition, features of various implementing embodiments may be combined to form further embodiments of this disclosure.

Claims

1. A musical instrument comprising a chord player section having at least one chord player capable of playing a selected chord, The at least one code player comprises a first finger-operable pad having a first center point function and a plurality of first perimeter point functions, Each of the first center point function and the plurality of first surrounding point functions is operable to individually generate a primary chord, or a variation of the primary chord, from among the variation chords of the primary chord, wherein the primary chord has the root note of the chord, and the variation chord also has the root note of the chord. Each selected chord comprises a plurality of different notes, including the root note and one or more additional notes to the root note, wherein the one or more additional notes include one or more of the second note, the third flat, the third note, the third sharp, the fourth note, the fifth flat, the fifth note, and the fifth sharp. An instrument in which the primary chord comprises the root note, the third note or the third flat, and the fifth note or the fifth flat, and each of the variation chords comprises a different combination of the root note and one or more additional notes.

2. The aforementioned at least one code player, The system further includes a second finger-operable pad having a second central point function and multiple second peripheral point functions, The musical instrument according to claim 1, wherein each of the second center point function and the plurality of second surrounding point functions is operable to individually generate a selected variation code from among the variation codes, which, if any, changes depending on the selection of the first pad.

3. The aforementioned at least one code player, The system further includes a third finger-operable pad having a third central point function and multiple third peripheral point functions, The instrument according to claim 2, wherein each of the third center point function and the plurality of third surrounding point functions is operable to individually generate a selected variation code from the variation codes, which, if any, changes depending on the selection of the first pad and, if any, on the selection of the second pad.

4. The musical instrument according to claim 1, wherein each finger-operable pad is equipped with a MIDI polyphonic expression (MPE) controller.

5. The musical instrument according to claim 1, wherein each finger-operable pad has an octagonal shape and nine selectable functions.

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

7. The musical instrument according to claim 6, wherein the chord player section comprises 12 chord players.

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

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

10. The instrument according to claim 9, wherein the guidance indicator includes an indicator showing an interval from the chord player currently being operated, an indicator showing at least one of a modulated chord, a parallel key chord, a relative key chord, and a leading tone chord, and / or an indicator showing the next chord player to be played according to a selected chord progression.

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

12. The musical instrument according to claim 1, wherein each of the at least one chord players is equipped with a chord root note display that is operable to display the currently corresponding chord and the root note of the chord for each chord player.

13. The musical instrument according to claim 1, wherein each of the finger-operable pads has eight peripheral point functions.

14. The aforementioned at least one code player, The instrument according to claim 1, further comprising an octave controller that is operable to selectively change the octave of the selected chord.

15. The instrument according to claim 1, further comprising a key selector that is operable to select the key root of the instrument.

16. The instrument according to claim 1, further comprising a mode selector that is operable to select the instrument's mode from among major (or Ionian), minor (or Aeolian), Dorian, Phrygian, Lydian, Mixolydian, and Locrian.

17. The instrument according to claim 1, further comprising a progression selector that is operable to select a chord progression.

18. The instrument according to claim 6, further comprising a pre-play function, wherein the chord player may sequentially select chords at a speed faster than the selected tempo while still playing the selected chords at the selected tempo, and may be selected while paused at the selected or arbitrary speed, and then played at the selected tempo.

19. The musical instrument according to claim 1, further comprising one or more guidance indicators operable to provide user guidance regarding the next code player to be operated.

20. A musical instrument comprising a chord player section having at least one chord player capable of playing a selected chord, The at least one code player comprises a first finger-operable pad having a first center point function and a plurality of first perimeter point functions, The first central point function and the plurality of first peripheral point functions are each operable to generate a primary chord having the root note of the chord, or a variation of the primary chord having the root note of the chord, and the instrument, A note player capable of generating individual notes in a selected key, further comprising a note player having a chord player section positioned on a first side of the instrument and a note player positioned on a second side of the instrument, An instrument in which the layout of the note player corresponds to the chord currently being played on the chord player, and the three finger areas of the note player for the currently being played chord correspond to the root note, the third note, and the fifth note, respectively, of the currently being played chord.

21. The musical instrument according to claim 20, wherein the note player includes a MIDI polyphonic expression (MPE) controller for each finger.

22. The musical instrument according to claim 20, wherein the note player further comprises an arpeggiator.

23. A musical instrument comprising a chord player section having at least one chord player capable of playing a selected chord, The at least one code player comprises a first finger-operable pad having a first center point function and a plurality of first perimeter point functions, The first central point function and the plurality of first surrounding point functions are each capable of generating a primary chord having the root note of the chord, or a variation chord which is a variation of the primary chord that also has the root note of the chord, and therefore each point function generates a chord individually. Each selected chord comprises a plurality of different notes, including the root note and one or more additional notes to the root note, wherein the one or more additional notes include one or more of the second note, the third flat, the third note, the third sharp, the fourth note, the fifth flat, the fifth note, and the fifth sharp. An instrument in which the primary chord comprises the root note, the third note or the third flat, and the fifth note or the fifth flat, and each of the variation chords comprises a different combination of the root note and one or more additional notes.

24. The aforementioned at least one code player, The system further includes a second finger-operable pad having a second central point function and multiple second peripheral point functions, The instrument according to claim 23, wherein the second center point function and the plurality of second surrounding point functions are each operable to generate a selected variation code of the primary code from among the variation codes, which, if any, change depending on the selection of the first pad.

25. The aforementioned at least one code player, The system further includes a third finger-operable pad having a third central point function and multiple third peripheral point functions, The instrument according to claim 24, wherein the third center point function and the plurality of third surrounding point functions are each operable to generate a selected variation code of the primary code from among the variation codes, which, if any, change depending on the selection of the first pad and, if any, on the selection of the second pad.

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