The present disclosure relates to musical instruments. More particularly, the present disclosure relates to musical instruments with moveable keys.
Traditionally an instrument key's main function is to press down and reset when released, articulating a specific note. There have been very few instruments employing keys or keyboards that move in alternative manners. Several patents have been granted that cover keyboards containing keys able to move (in any direction other than up-and-down) for the expressive control of pitch. The first and most notable of these was the Ondes Martenot (U.S. Pat. No. 1,914,831 issued to Maurice Martenot in 1931). The Ondes keyboard only plays one note at a time but allows each note to be slightly vibrated using lateral (side-to-side) key movement of a few millimeters.
A more recent reference in the patent literature regarding moving keyboards is U.S. Pat. No. 4,068,552 issued to Allen in January 1978. In this instrument each key moves longitudinally (parallel to its length) a small degree allowing the player to control various synthesized effects, including pitch transposition. The problem (as admitted in the patent) is that moving each key in this way limits the practical glissando range of any note. It would also appear to require an extraordinary level of manual dexterity to accurately control the positions of each articulated key individually. Also, sliding keys longitudinally results in no visual indication of the currently playing note values.
U.S. Pat. No. 3,693,492 issued to Ohno in 1972 disclosed keys that rocked laterally, thereby electronically controlling the quality of the articulated synthesized notes. In this patent, the lateral position of the keys did not change but merely rocked side-to-side to create various electronic effects. Other similar patents (such as U.S. Pat. No. 5,495,074 issued to Kondo, et. al. in 1996) disclosed alternative embodiments of essentially the same idea. Like the Ondes Martenot and Allen keyboard, this strategy limits the practical range of pitch transformation and provides no visual indication of note values.
Another notable recent patent related to moving keyboards is disclosed in U.S. Pat. No. 6,703,552 issued to Haken in March 2004. This patent is the basis for the Continuum keyboard, a MIDI synthesizer controller with a single touch-sensitive surface instead of multiple mechanical keys. For this device, the player slides her fingers along or across the keyboard surface for various effects, including pitch transposition. Another patent, U.S. Pat. No. 6,670,535 issued to Anderson & Anderson in December 2003 embraces a similar concept using an isometric hexagonal array rather than a linear arrangement of touch surfaces. While these instruments do provide a full range of pitch transposition as well as a visual indication of what notes are playing, they lack the haptic assurance of mechanical keys and are restricted to controlling synthesizers.
In view of the above, improvements can be made to musical instruments and keyboards.
The musical instrument and human interface disclosed herein may be viewed as the first in a new class of keyboard instruments capable of accurately producing a rarely employed style of harmony—multi-directional chord glissando. The instrument is also capable of producing familiar fixed-pitch harmony, using its sliding capabilities for embellishment.
Chordal glissando is characterized by the sounding of multiple simultaneous notes, where the pitch values of each note are free to smoothly transform in independent directions and magnitudes. One example of multi-directional chord glissando is the THX theme music often played in movie theaters before a film to demonstrate the capabilities and features of the theater's audio system. The instrument and human interface disclosed herein are unique in their capacity to produce this style of harmony uniformly across the entirety of its range. The moving keyboards disclosed herein lend themselves to this expressive capacity.
None of the prior art instruments allow for the entire keyboard to move or slide as an expressive control. Rather, the prior art references require individual keys to be moved by the fingertips, a technique that requires an extraordinary level of manual dexterity to accomplish and provides no visual or logistical feedback on the magnitude of pitch transformation.
The interface disclosed herein is the first instrument that allows one or more entire keyboards to slide, thus preserving their musical interval relationships as they do so. This functionality allows the player to clearly understand the note value and harmonic function of each key before it is articulated. Such an interface allows a logical approach to understanding the transformations involved in multi-directional chord glissando. It also separates the physical concerns of fingertip controlled note articulation and arm controlled keyboard movement. This separation results in a less physically and mentally challenging instrument interface. Put another way, the specific fingers and keys can remain actuated to play particular notes/chords, which can be maintained while allowing sliding actuation of each keyboard simultaneously.
This musical human interface may be implemented either as an electronic instrument controller or as a string instrument.
In one aspect, one or more small, mobile keyboards slide linearly alongside one or both edges of a stationary ruler. Each keyboard's linear slide vector is lateral to the length of its keys. As the keyboard slides, the keyboard smoothly transforms the pitches of any of its articulated notes in a direction and magnitude commensurate with its movement. This allows any set of pitches to be smoothly transformed across the full range of the instrument.
In one aspect, the stationary ruler includes a plurality of segments. The segments on the stationary ruler mark a plurality of sequential note locations. Each segment provides a static visual reference for any adjacent keyboard(s) as the keyboards move and become aligned with various ones of the segments. When the end of a particular key aligns with any segment of the ruler, that key becomes able to play the note indicated on the corresponding segment of the ruler. In one aspect, the ruler is easily replaceable for the exploration of alternate encodings.
Multiple keyboards on opposite (or the same) sides of the ruler allow the pitch transformations to occur in multiple directions and magnitudes simultaneously. The keyboard-ruler interface facilitates the controlled production of multi-directional chord glissando. The sliding keyboard(s) and stationary ruler provide an intuitive map of this harmonic territory. The keyboards and ruler therefore form a human interface that can be used alone as a controller for other instruments or can be used to mechanically control a stringed instrument as disclosed herein.
Various aspects of the instrument and interface disclosed herein may present one or more of the following advantages over other keyboard instruments.
In one example, where traditional stringed keyboard instruments are only capable of producing fixed pitches, embodiments of the instrument disclosed herein allow the production of both fixed and flexible pitches.
Embodiments of the human interface disclosed herein are novel in their ability to control the fluid convergence or divergence of independent chordal elements.
Unlike traditional keyboards, the human interface disclosed herein provides a simple and intuitive way to recognize sliding note values.
Embodiments of the instrument disclosed herein are unique in their ability to produce all of these results using mechanically vibrating strings.
Unlike traditional keyboards, the instrument of the present disclosure presents a consistent player interface to the hands regardless of their position.
The note identification system of traditional keyboards is often permanently encoded into the form and color of the keys. Embodiments of the human interface disclosed herein have the advantage of allowing the player to easily replace the note identification system with any preferred encoding.
Additionally, sliding a small set of mechanical keys over the full range of a keyboard instrument drastically reduces the number of mechanisms required to cover a similar range. This substantially reduces the instrument's size and weight, thereby increasing its portability, maintainability, and affordability.
With reference to
Turning to
Unlike traditional keyboards, there is no single preferred orientation of the hands to the keys 20. While the hands in
The illustrated keyboard configuration tends to lend itself to the illustrated perpendicular finger-to-key orientation. In one aspect, the lengths of the keys 20 may be staggered. However, it will be appreciated that such staggering of the key lengths is optional. The optional staggered key lengths are intended as a way to allow the player's fingertips to reach the keys with their elbows resting comfortably at their sides. In one aspect, other patterns of key lengths may also be used. The arrangement of the various key lengths may be selected based on player preference. Similarly, each key 20 may also be textured or contoured along its length to facilitate keyboard movement. In one aspect, some keys may be textured or contoured, while others are not. The selection of keys 20 that are textured or contoured can likewise be selected based on player preference.
While each key 20 is configured to move up and down to play a note, the entirety of each keyboard 10, 12 is arranged to slide laterally relative to the key lengths (along slide vector 16). This lateral movement (or sliding movement) may be controlled by the player's arms while the player's fingers press and/or pull against the edges of the keys 20. As a keyboard slides in the direction of its higher-pitched keys all of its articulable pitches raise an amount commensurate with the magnitude of its movement. That is, smoothly sliding the keyboard the width of N keys results in a smooth pitch transformation equal to N notes in that direction.
The stationary ruler 14 provides a visual reference for the keyboards' chromatic slide increments. Each uniform segment of the ruler 14 indicates one sequential chromatic note. The width of the keys 20 corresponds to the uniform segment width of the ruler 14. This segment width (and key width) should be wide enough for the player's fingers to confidently isolate one key 20 at a time, but small enough to maximize the range of the instrument given a practical arm reach and finger stretch. The actual size of each key 20 and the corresponding segment of the ruler may be configured based on a particular player, if desired.
In one aspect, while it is possible to permanently attach the ruler 14 to the instrument, the ruler 14 is preferably removable and replaceable. A replaceable ruler 14 would allow for various note identification strategies to be used depending on the desires of the particular player. There are limitless permutations of possible ruler encodings. The illustrated encoding is not intended to imply that it is preferred over any other one, and it will be appreciated by those skilled in the art how such encodings can be tailored to player-preference. In one aspect, the replaceable ruler 14 could be attached by magnets, screws, hook-and-loop fasteners (e.g., Velcro), or a temporary adhesive. The positioning of the ruler 14 relative to the rest of the instrument is apparent in
In one aspect, the human-instrument interface may be in the form of a remote electronic instrument controller, where the position of each sliding keyboard 10, 12 relative to the ruler 14, having known segment sizes, could be tracked by a linear encoder. Accordingly, combined with an electro-mechanical assembly for detecting key presses, such an arrangement provides sufficient input for an embedded CPU to convert into MIDI or OSC commands for external instrument control. Such CPUs, linear encoders, and electro-mechanical assemblies arranged to detect key presses are known in the art, and will not be described in further detail herein. The sliding arrangement shown and described can therefore be applied to such arrangements to provide similar functionality and control. Thus, as shown in
In one aspect, illustrated throughout the figures, the human interface disclosed may be arranged to control a string-based instrument. Each key 20 may articulate its strings 37 using any existing mechanism for doing so, including clavichord claves, harpsichord quills, piano actions, and electro-mechanical excitement. A piano action mode is detailed herein for reference, but that is not intended to exclude the possibility of other modes of string excitement. Regardless of the method of string excitement, the mechanism and method of pitch transformation upon the strings 37 discussed herein remains the same.
With reference to
The modern vertical piano action, illustrated herein, generally works well upside-down, as long as the sustain pedal is sacrificed. However, alternative strategies to control the volume envelope may be included in other embodiments, but are not discussed herein.
In one aspect, orienting the repetition lever 25 above the other components allows the lever 25 to be activated by the key 20 without other interposed moving linkages, thereby resulting in a more direct manual control of the associated hammers 28. This type of direct manual control may be accomplished by adhering the key 20 directly to the repetition lever 25, or to an intermediary key-wedge 21 to obtain the desired key angle. Even with the key-wedge interposed between the lever 25 and the key 20, the key 20 may be considered be directly attached to the lever 25, due to the lack of moving elements therebetween and fixed position relative to each other based on the fixed size of the key-wedge 21.
The key-wedge also permits the use of counterweights 22 to assist with resetting the key 20. In this inverted position, the piano action resets due to the damper spring (not shown). A heavy damper spring and counterweights 22 compensate for the effect gravity would have in the piano action's traditional orientation.
While the interior or middle of the key 20 is held in place by the repetition lever 25, the exterior end of the key 20 is restricted from lateral movement. Thus, lateral key movement is transferred to the sliding keyboard 10, 12 through key-plunge pin 23. The set-screw collar 24 on the end of the key-plunge pin 23 determines the resting level of each key 20. These components operate in conjunction with the slotted shelf 31 shown in
Turning now to
With reference to
The string tension is borne through a pair of header and footer plates (33 and 50, respectively). The header plate 33 (shown in
The shelf assembly includes two shelf-supports 30 using screw-nut assembly 32 to vertically adjust slotted shelf 31. Each shelf support 30 attaches to the action rail 26 using the angled bolt 39 (better viewed in
The ball ends of the strings 37 are slotted into holes in the header plate 33 and guided through a set of piezoelectric bridge saddles 36. The bridge saddles 36 shown in this embodiment are commercially available height-adjustable guitar bridge saddles, but other methods of supporting the strings 37 may be used. The control box 38 is included on the header plate 33 to house any additional circuitry, controls, and output jacks. Self-contained wireless embodiments are possible, or one could also use any commercially available wireless system or cable to connect to outside electrical processing and amplification. Such communication components are known and need not be described in further detail.
With reference to
The end of the string 37 is terminated into the footer plate 50. The strings 37 are wrapped around the posts of commercially available guitar tuning machines 52, allowing them to be tuned. The tuner block 54 provides the required thickness to install said tuning machines. The vibration-absorbing damper block, disposed between the strings 37 and the footer plate 50, is optional. When the damper block is used it reduces the sympathetic vibration of the lower extents of the strings 37. The damper block may be composed of any appropriate foam, rubber, or felt. When the taught strings 37 are pulled by the header plate 33 assembly (in response to pushing or pulling movement by the player's fingers) the strings 37 drag the footer plate 55 assembly along with them on its footer carriage 58, which rolls in footer rail 64 (shown in
With reference to
As shown in
The support panel 60 also mounts the curved fret 68 on any face intended to support strings; either one or both large faces of the support panel 60. In the shown embodiment the curved fret 68 is composed of a bent piece of abrasion-resistant metal inserted into a slot in the support panel 60. In another aspect, it is also possible to use a bent piece of wood, plastic, or any other suitably pliable material with a long, bent guitar fret inserted into a slot in its outer edge. The curved fret 68 may also be relief carved as an integral part of the support panel, with the abrasion-resistant fret material inserted into a slot in the crest of the carving. It will be appreciated that any strategy that allows the support panel 60 to maintain the string-contacting edge of abrasion-resistant fret 68 material at the proper height and curvature to serve its stated purpose will suffice. The precise function and geometry of the curved fret 68 will be discussed in further detail below with the further discussion of
With reference to
With reference to
It was discovered that the gauge and construction of various strings 37 used may vary the tensions of the strings 37 as they break over the curved fret 68 at different points along the slide vector 16. Accordingly, this may require adjustable compensation to preserve accurate tuning. The footer rail 64 assembly shown is one possible way to allow this compensation by varying the break angle of the strings 37 over the curved fret. Shifting the rail 64 toward the support panel 60 will increase the break angle, for example. The break angle compensation may therefore be performed by adjusting the footer rail 64 horizontally at each end. As the footer plate 50 assembly (detailed in
Additionally, there are other ways that this adjustment can be performed. For example, it is also possible to adjust each end of the footer rail 64 vertically, compensating the strings' tension more than their break angle. This embodiment would be similar to the one shown in
In one aspect, the T-section beam 80 is used to maintain the strength of the assembly when forming a recessed cut-away in the support panel 60 allowing room for the rails. A slot in the bottom edge of the support panel 60 (visible in
With reference to
As the strings 37 move along the curved fret 68 their contact points (along the length of the string 37) with the curved fret 68 change, thereby altering the lengths of their vibrating upper extents 94. Each string 37 is tuned so that the pitch of its vibrating upper extent 94 matches the note value of its corresponding articulating key 20 when aligned with a specific segment of the ruler 14. If the strings 37 are all the same gauge and construction they can all be tuned to approximately the same tension. It is also possible to tune some strings 37 so that they do not relate to their corresponding ruler segment. Such a tuning arrangement would allow the extension of the instrument's range or access to other useful harmonic elements.
The curvature geometry of the fret 68 is what allows the proper pitch transformations as the strings 37 slide along it. Because the ruler 14 segments are in constant intervals but the pitch segments are in logarithmic intervals, this curvature of the fret 68 performs the constant-to-logarithmic transformation. The curvature of the fret 68 is calculated by first deciding the maximum vibrating length L of the strings' upper extents 94 and the desired ruler 14 segment width W (corresponding to the key width). Vibrating length L is used to generate the note-to-note measurements using the same method used to calculate the fret positions on an equally tempered guitar. The standard procedure to make a twelve-tone equal-tempered instrument is to divide L by the constant 17.817 (the inverse of the 12th root of 2). This results in the distance along the string 37 to the first note. Subtract that value from L and use the result to repeat the process until you have calculated enough notes to cover the range of the instrument. Plot your calculated distance measurements with dots along a vertical line. Then sequentially shift each dot perpendicular to the line a distance W relative to its adjacent dot. Finally, smoothly connect the dots to draw the specific curvature of the fret 68. Thus, the curved fret 68 can be created according to the specific needs of the player, if desired.
While many details have been revealed in this document many other variations are possible. In one aspect, any number of sliding keyboards 10, 12 may be used. In another aspect, the keyboards 10, 12 may slide in alternative directions. In one aspect, different surfaces may be used for controlling keyboard movement. In one aspect, angled or shaped keys 20 may be used to improve ergonomics. In one aspect, alternate key arrangements and/or ruler layouts may be used. In one aspect, various manners of controlling the string volume envelope may be used. Embodiments with different pickups or without any electric pickups may be used. Embodiments with one or more acoustic soundboards may be used. Embodiments with keyboards moving along the same side of the ruler may be used (mentioned previously above). Embodiments using haptic feedback indicating per-segment keyboard movement may be used. Embodiments using magnets to encourage discrete key-ruler segment alignment may be used. Embodiments using keys with alternate shapes, colors, markings, or textures may be used. Embodiments using different materials than those disclosed may be used. Embodiments using alternate methods of causing string vibration may be used. Embodiments using alternate methods of attaching and detaching the ruler from the panel may be used. Embodiments simplifying alignment and setup may be used. Embodiments using various types of support stands may be used. Embodiments with cavities or depressions to reduce the support panel's weight may be used. Embodiments based on non-equally tempered or non-diatonic scales may be used. Embodiments containing electrical sound amplification mechanisms may be used.
It will be appreciated that the many variations of the above are possible, and that the above descriptions are exemplary, and that scope of the invention does not necessarily include the illustrative details described above.
Number | Name | Date | Kind |
---|---|---|---|
1853630 | Martenot | Apr 1932 | A |
1914831 | Martenot | Jun 1933 | A |
2562471 | Martenot | Jul 1951 | A |
3693492 | Ohno | Sep 1972 | A |
3818114 | Okamoto | Jun 1974 | A |
4068552 | Allen | Jan 1978 | A |
4498365 | Tripp | Feb 1985 | A |
5495074 | Kondo et al. | Feb 1996 | A |
5955690 | Yoshinaga | Sep 1999 | A |
6310609 | Morgenthaler | Oct 2001 | B1 |
6670535 | Anderson et al. | Dec 2003 | B2 |
6703552 | Haken | Mar 2004 | B2 |
7723597 | Tripp | May 2010 | B1 |
9711120 | Pogoda | Jul 2017 | B1 |
20220101815 | Battle | Mar 2022 | A1 |
Number | Date | Country | |
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20220101815 A1 | Mar 2022 | US |
Number | Date | Country | |
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63084877 | Sep 2020 | US |