DE19831409A1 - Template in form of clock showing musical scales, with layers of thin material incorporating windows or gaps and further layer - Google Patents

Abstract

The template in the form of a clock denoting musical scales is made of several relatively movable layers of thin material, at least layer of which bears symbols denoting the notes of the chromatic scale. At least one further layer shows musical scales in such a way that, with certain arrangements of the layers, freely adjustable scale symbols and freely adjustable basic notes on the one hand and scale-notes on the other hand can be clearly matched. Preferred Features: One or more layers contain gaps or windows (5) through which the selected note-symbols and their scale-symbols are visible. At least one further layer (1) has symbols for the musical intervals.

Description

The invention relates to an aid for musical harmony according to Patentan award 1 and a method for the construction of the same according to claim 14.

Such aids are particularly suitable for learning the scales that Various chord symbols belong, as they are used especially in modern jazz find.

So far, such aids are essentially only known in the form of tables, such as they are contained in the various books on harmony. Have such tables but the disadvantage of being quite confusing. An exception is a kind of clock, by means of which, however, only the simplest chords such as tonic, dominant and subdomi are used nante to a major or minor scale can be represented (circle of fifths of the company Edition DUX). This is for parts of modern music, such as the area of Jazz, not enough. The templates for do-it-yourself make another exception stencils in the book "Fundamental Harmonics" by W. Pöhlert, Zimmer mann publishing house are reproduced. However, all these templates have in common that they consist of only two mutually movable layers and therefore either only the bottom tone for a given scale or the scale for a given basic tone or can be varied.

The invention is therefore based on the object for the most important scales establishing the connection between the fundamental tone and the scale name or Chord symbol (which in modern jazz is often equivalent to a scale name is used) on the one hand and the associated tone sequence on the other hand, and with free choice of both fundamental and scale.

The invention is described in claim 1; the sub-claims contain advantage adhesive refinements and developments of this invention.

Paper and cardboard are particularly suitable as materials for carrying out the invention and plastic or a combination thereof. The simplest arrangement of this type is from three layers of this material. The lowest layer bears the names of the tones the chromatic scale, possibly several times, both over several Octaves as well as separately for the display of the scale and for the display of the respective Scale fundamental. The middle layer advantageously contains recesses for displaying the valid one tones of the underlying layer and the associated scale fundamental. Dude natively, instead of recesses, there are also markings, for example in the form of arrows, in question. The recesses or markings are arranged in the same grid as that  Tones on the layer below, but in the underlying scale type (for Example church keys) own intervals in such a way that the not to the straight tones associated with the displayed scale are just covered or not marked. The middle Lage also bears the names for scales and / or chord symbols.

The top layer again contains cutouts or bears markings. One of them is in this case designed so that only one octave including the two fundamental tones at the lower and upper end of the respective scale (13 semitones of the chromatic tonlei ter) are made visible, provided that they do not differ from the parts intended for this purpose underlying layer are covered. It is advantageous to label the displayed tones with the corresponding intervals related to the fundamental tone or with digits for abbreviation tongue of the latter. Another recess or marking draws attention to the corresponding one appropriate scale name or the corresponding chord symbol, which is on the below lying location.

Although an arrangement is also conceivable in which the different layers in one or an arrangement is special in several directions advantageous, in which the different layers are rotated against each other. this makes possible a particularly compact design and facilitates the handling of the template, because a The different layers fall apart easily by introducing an axis of rotation prevent is. If you restrict yourself to one type of scale, for example the church tone types, it is theoretically possible to use only one octave, however, reading is easier if multiple octaves are used.

A possible embodiment of the invention for the example of the scales derived from the church tonality is shown in Figs. 1, 2 and 3. From top to bottom you can see templates for three disks 1 , 2 , 3 , which form the three layers mentioned above. The areas 4 , 5 shown hatched are each to be left blank in order to provide a view of the layer (s) below. The disks are arranged one above the other in the same order as shown and connected to one another at the marked pivot point 6 by an axis in such a way that they can be rotated independently of one another. This axis can be a rivet or eyelet, for example.

The lowest disc carries the tones of the chromatic scale, in the present one the case over two three octaves. The outer ring with sound labels is used for Display of the scale tones, the inner ring for displaying the scale base tone in the corresponding the chord or scale symbol. The semitones are both as humiliations (b) of the Tones above as well as increases (#) of the one below. On the halftones are shown on the outer ring in white letters on a black background, in Based on the colors of the keys on a keyboard.

The middle disc is designed in the form of a gear wheel, the teeth (here gray) of which just cover the clay names not belonging to the corresponding scale on the layer below. In the present example, this is done for the church keys. The inner recess 4 only releases the associated scale fundamental.

The upper pane further limits the visibility of the scale tones to an octave and, through its recess 5, only the currently valid scale designation on the central pane can be seen. By turning the two lower discs against this upper one, the basic tone and scale can be set independently. The associated scale tones appear in the recess on the left.

The arrangement of the "teeth" or, in other embodiments, the position of the cutouts, windows or markings of the central disk is decisive for the function of the dial clock. An arrangement must be selected for each adjustable scale, which results from the associated sequence of whole and semitone steps:
With regard to the halftone step grid of the lowest layer, the cutouts, windows or markings are to be arranged in such a way that they lie directly next to each other for halftone steps, while they are separated by a space for whole-tone steps. These spaces show up in the present embodiment as the teeth of the gear described. A tooth with a subsequent recess is to be provided for each whole-tone step, and a double-wide recess for each half-tone step.

The fact that numerous scales result from one another by cyclically interchanging the whole-tone-semitone step sequence (the so-called modes) can advantageously be used in the design. This is the case, for example, with the church tones used in Fig. 1, and here it is possible to use all the teeth or recesses in between several times, i.e. for different set scales. The relationship between the church keys is shown in Table 1.

Table 1

Relationship between mode, scale and whole-tone semitone sequence for the church keys

It offers itself as an extension, the back also for a scale watch - for others Scale types - to use. To do this, the bottom pane from the back must also be used are labeled, while two more discs correspond to the middle and the upper chen, can be added. The additional "middle" disc (the actual middle one Disc is now the former lowest), but should advantageously be designed so that let other scale types, for example pentatonic, be set. It is also an advantage to connect the two outer panes to each other with a tab. This makes it easier handling because twisting these disks against each other is not necessary and is also not desirable.

Pentatonic scales (and a few others) come in addition to whole tone and semitone also proceeded three-half-concrete steps. These show up as - compared to whole tone steps - double wide teeth of the gear.

A possible additional extension is to add common scales on both sides in addition to the already mentioned church keys on the one hand and pentatonic on the other. It is very advantageous if one uses a line-up of the whole-tone, half-tone, three-half-concrete step sequences that have as large an overlap as possible between adjacent scales, because this enables the scale of the dial to be kept as small as possible. Tables 2 and 3 each list a possible arrangement of tone step sequences that make it possible to make do with a range of - measured in octaves of the chromatic scale - five. A double-sided scale watch with this size can therefore be equipped with the seven- and eight-tone scales on one side and with the five- and six-tone scales on the other side. Discs for such a version of the dial clock are shown in Figs. 4 to 8 Darge.

Table 2

Relationship between scale name, mode and tone sequence for eighteen different 7- and 8-tone scales

Table 3

Relationship between scale name, mode and tone sequence for eight different 5- and 6-tone scales

The hatched areas 12 to 19 are again to be left blank in order to provide a view of the panes underneath. The discs 7 , 8 and 9 are to be arranged one below the other so that the disc 9 is at the bottom, disc 7 is at the top. While with the discs 7 and 8 the appearance of the back is arbitrary, disc 9 has the same lettering on the back as on the front. On the back of the disc 9 , the discs 10 and 11 are arranged so that disc 11 comes to rest between disc 9 and disc 10 . The lettering points to the outside. The disks are, as described above in connection with Figs. 1 to 3, rotatably connected to each other by means of an axis (rivet or eyelet) in the pivot point 20 . It is very appropriate to connect the tabs 21 and 22 together, which in turn prevents the disks 7 and 10 from rotating and facilitates the handling of the arrangement. The disks 7 , 8 and 9 then form a dial for seven and eight-tone scales, while the disks 9 , 10 and 11 represent a dial for five and six-tone scales when the entire arrangement has been reversed.

The whole-tone-half-tone step sequence according to Table 1, which is the basis for the scale clock for church keys shown in Figs. Three-half concrete steps can be formed according to Table 2.

The diameter of disk 9 is advantageously chosen to be somewhat larger than that of the other disks, in particular larger than that of disks 8 and 11 . This fact enables it to hold disk 9 by compressing the lug 21/22 to a versehent pending rotation of disc 9 to prevent, during the adjustment of the discs 8 or. 11

The cutouts 12 and 14 in disk 7 or 16 and 18 in disk 10 make it possible to see scale names other than those just set in the cutouts 13 and 17 for displaying the scale tones. This makes it easier to find a desired scale and set it specifically.

It is advantageous to make the tab 24 for setting the basic tone longer than the tabs 23 and 25 for setting the respective scale. As a result, the function of tab 24 can also be seen in a position in which tab 24 and at least one of tabs 23 or 25 overlap. In addition, it is easier to turn disk 9 back into a different position relative to disk 8 or 11 by means of tab 24 .

Claims (20)

1. Arrangement in the form of a kind of template (called scale clock) for assigning the tones of a Tonieiter (scale) to the scale and chord names, characterized in that it consists of several mutually movable layers of a thin material, of which at least one layer Designations of the tones of the chromatic scale and at least one other designation of musical scales, in such a way that with certain arrangements of the positions freely adjustable scale descriptions and freely adjustable basic tones on the one hand and associated scale tones on the other can be clearly assigned to one another. 2. Arrangement according to claim 1, characterized in that one or more layers contain recesses or windows ( 4 , 5 , 13 , 15 ) through which selected sound names and associated scale names are visible. 3. Arrangement according to claim 1, characterized in that the assignment of scale tö Nomen and scale names by markings such as arrows. 4. Arrangement according to one of claims 1 to 3, characterized in that the various which layers are rotatably arranged against each other. 5. Arrangement according to one of claims 1 to 3, characterized in that the various which layers are arranged displaceable against each other. 6. Arrangement according to one of claims 1 to 5, characterized in that the designation The tones of the chromatic tones are arranged in ascending or descending order are not. 7. Arrangement according to one of claims 1 to 6, characterized in that the tonbe drawings of the chromatic tones appear several times. 8. Arrangement according to one of claims 1 to 7, characterized in that scale leg drawings appear multiple times. 9. Arrangement according to one of claims 1 to 8, characterized in that at least one further layer ( 1 , 7 ) carries designations of the musical intervals. 10. The arrangement according to claim 9, characterized in that the interval names out are written. 11. The arrangement according to claim 9, characterized in that the interval names by Digits are abbreviated. 12. Arrangement according to one of claims 1 to 11, characterized in that both Front and back layers with tone and / or scale names. 13. Arrangement according to one of claims 1 to 12, characterized in that front and on the reverse side ask different types of scales. 14. A method for constructing an arrangement (dial clock) according to one of claims 1 to 13, characterized in that the loading of the markings, recesses or windows according to claim 2 or 3, which the tone labels belonging to a scale visible make all or part of one of the sequences GHGHGHGHGGGGHGHGGHGGGHGGHGHHGHGGHDH (Table 2) or DGHHDGGGGGGDGDGGDGDHDHDH (Table 3) are derived from whole-tone, half-tone, three-half-concrete steps. 15. The method according to claim 14, characterized in that the positions of the markings, Recesses or windows in whole or in part from a partial sequence of one of the claims 14 Whole-tone, half-tone, three-half-concrete step sequences are derived.   16. The method according to claim 14, characterized in that the positions of the markings, Recesses or windows in whole or in part from an integer multiple of one of the whole-tone, half-tone, three-half-concrete step sequences mentioned in claim 14 are derived. 17. The method according to claim 14, characterized in that the positions of the markings, Recesses or windows in whole or in part from a non-integer multiple of one the whole-tone, half-tone, three-half-concrete step sequences mentioned in claim 14 are derived. 18. The method according to claim 14, characterized in that the positions of the markings, Recesses or windows in whole or in part from a permutation of one of the claims 14 whole-tone, half-tone, three-half-concrete step sequences can be derived. 19. The method according to claim 14, characterized in that the positions of the markings, Recesses or windows in whole or in part from a combination of the two in claim 14 Whole-tone, half-tone, three-half-concrete step sequences or partial sequences derived therefrom become. 20. The method according to any one of claims 14 to 19, characterized in that the assignment the sequence of markings, recesses or windows on the one hand and intermediate on the other hand clear the underlying sequence of whole-tone half ton-three-half-concrete steps is derived that a space of a unit, a whole step, a space of two units and one A half-concrete step is assigned a space of three units, one Unit the distance between two chromatically consecutive sound names the underlying layer that bears the same.