LINEAR KEYBOARD ADAPTER

Abstract: An adapter (25) for use with a keyboard of a piano (30) or piano-like instrument. The adapter includes a number of keys (135, 140) equal in number to the number of keys of the underlying instrument (30), with each key in the adapter corresponding to a different key in the underlying instrument. In a preferred embodiment of the invention, all the keys (135, 140) on the adapter present an identical appearance to the user. The hidden surfaces (136, 146) of the key (135, 140) in the adapter (25) are arranged so that depression of any adapter key depresses one and only one key on the underlying instrument (30).

Description: LINEAR KEYBOARD ADAPTER DESCRIPTION Technical Field The invention relates to an adapter to overlie the keyboard of a piano or piano-like instrument so that the instrument no longer presents a conventional piano-like appearance, but instead presents an appearance which includes a series of keys of identical or substantially identical appearance. Reference to Disclosure Document Reference is made to Disclosure Document 108,729, filed June 3, 1982, which disclosure document is incorporated by this reference. Background Art The raw material in making music are sounds. Although man can in general hear sounds whose frequency ranges between 15 and 24,000 hertz, the frequency of the sounds which musicians use lie in a smaller range of about 20 to 10,000 hertz. Occasionally, other sounds are us.ed, for example certain huge organs can produce sounds on the order of 16,000 hertz. Although man can hear sounds within the large range mentioned above, the human ear cannot distinguish between two sounds when their frequencies are too close together. The arrangement of sounds in the ascending order of their frequencies which can be separately distinguished is a set of different sounds which comes to a total of about 1500. In Occidental music, musicians use a much smaller number of sounds, for example the 110 sounds in the range 21.8 hertz to 10,548 hertz, where each upper sound or tone has a frequency with a ratio of 1.06 to the next adjacent lower tone or sound. Of the 110 sounds or tones referred to above, those sounds whose frequencies have the ratio 1:2 have so many identical characteristics that they are sometimes referred to as the "same" sound. Sounds with this frequency ratio are separated by an interval of 12 different sounds. For this reason, we commonly refer to the different sounds as if there were only 12, and thus we use 12 different names over and over again. In Occidental music, there is a further reduction in the raw material of sounds employed which is connected with the election of a given tonality. The election of a given tonality by a composer is an indication to a predisposition to give a particular sound, which is called a tonic, a conspicuous role in the piece by means of using mostly a subset of sounds which are in deep connection with a tonic. With such a subset, it is possible to emphasize, reinforce, announce or simply suggest the presence of the tonic. A scale is the arrangement, in ascending order of their frequencies, of the tonic along with the subset of sounds which are in deep connection with the tonic. Since tonalities can be major or minor (major tonalities are described as affirmative and optimistic, minor tonalities as inquisitive and melancholy) , we accordingly have major and minor scales. Any major scale, for instance, has seven sounds, the role names of these sounds and the size of intervals between them are shown in Figure 14. Since 12 different sounds can be taken as tonic, we therefore have 12 different major scales. As shown in Figure 15, the election of a given tonality produces a division of the whole set of sounds into two subsets, the subset of those that belong to the scale that is being used and the subset of sounds that do not belong. This division does not mean that the election of a given tonality excludes the use of sounds outside the given scale, for with them it is possible to hide, camouflage, evade or make dissonant the presence of OMPI the tonic. They are often used in parts preceding a change of tonality. The more these "outside" sounds are used in a piece, the less firmly is the tonality established. The nomenclature of sounds in traditional notation is based on a division which the election of the C major tonality imposes on the set of sounds. Traditional notation has a first class of names for the seven sounds which belong to the C major scale: in particular C, D, E, F, G, A and B; and a second class of names for the five sounds outside of the C major scale (each of these sounds has two different names) , particularly C sharp or D flat, D sharp or E flat, F sharp or G flat, G sharp or A flat and A sharp or-B flat. It is this same division which is imposed on a piano keyboard, the white keys correspond to the sounds of the C major scale and the black keys correspond to the sounds outside the scale. Accordingly, when a major tonality that is elected whose tonic is C, then it is very convenient that the 12 sounds in an octave are classified into two different groups according to their relation to the C major scale. However, this nomenclature which is so helpful and illustrative for the C major tonality is definitely obstructive for any other tonality, for it appears to suggest a division of the set of. sounds that is not the one actually being used. Because the name division is artificial in almost every case, it must constantly be rectified by using alterations (and reiterated alterations) which leads to a rather inelegant notational system creating not only several different names for the same sound but also purely notational phenomena such as the susceptibility of chords to various interpretations. I have developed a musical notation, see "Una Nueva Notacion Musical" by Skliar et al appearing in Editorial Episteme (Buenos Aires, 1976), which provides a more rational representation of the musical structures and is as natural and * flexible as the set of sounds used in Occidental music. C FΓ However, either with this or any other system of musical notation, the piano keyboard is still a hindrance because of the artificial division between the keys associated with the sounds of the C major scale, and all the other keys. Because all the sounds used in Occidental music have equal importance, in the new system of notation no tone is designated relatively to another; each tone designation has a separate identity and is no more or less important than any other one. Accordingly, a keyboard for playing or composing music should not suggest an artificial division between sounds, as is implied by the configuration of keys in the piano keyboard and keyboard similar thereto. The conventional piano keyboard has 88 keys, 7 white keys and 5 black keys in each octave. Non-conventional pianos may have more or less than 88 keys, but each have the same 7 white keys and 5 black keys per octave. Other instruments (both those that produce music mechanically as well as the newer instruments which produce music electronically) may have more or less than 88 keys, but again the relationship of 7 white keys and 5 black keys per octave is maintained. Throughout the remainder of this application, those keyboards will be referred to as a piano keyboard, regardless of whether or not the keyboard is part of a piano, so long as it has the conventional 7 white keys and 5 black keys per octave. Although it is certainly possible to produce keyboards in which all keys give the identical appearance (which I refer to as a linear keyboard) , the usage of the new musical notation should not be restricted to instruments with a linear keyboard. It is therefore one object of the present invention to provide a linear keyboard adapter which, when used in conjunction with a piano keyboard, presents the user with the appearance of a linear keyboard. At the same time it must be said that the usefulness of the linear keyboard and the adaptor here described is not confined to the use of the new notation, they can also be advantageously used with traditional or any OMPI other kind of notation because it displays better the actual size of the represented intervals. It is another object of the present invention to provide a linear keyboard adapter for piano keyboards which is simple in construction and yet allows the advantages of the linear keyboard and the new musical notation to be achieved using instruments having a piano keyboard. In order to facilitate the acceptance of the new notation and/or the linear keyboard it may be advisable to present the user with the advantages of the linear keyboard without inhibiting reference to the conventional keyboard. To this end, it is another object to provide for a linear keyboard adapter in which several (or all) the keys are transparent. To the same end, it is another object of the invention to provide a linear keyboard adapter which gives the user some other type of clue or reference to the conventional keyboard divisions of tones of an octave. Summary of the Invention The invention meets these and other objects, by providing an adapter for piano keyboards which includes a series of adapter keys arranged parallel to each other including respective keys corresponding to black and white keys of a piano keyboard. While some adapter keys correspond to white keys of a piano keyboard and others correspond to black keys of a piano keyboard, all adapter keys may have the identical outward appearance. The adapter keys are located in an order identical to the order of black and white keys of the piano keyboard, that is adopting the notation of W for a white corresponding key and B for a black corresponding key, in any octave the sequence, starting with C is WBWBW BWBWBW, which is the same sequence as in the piano keyboard. A frame is provided for supporting the adapter keys in a predetermined relation to a piano keyboard. The frame supports the adapter keys for pivoting movement about an axis perpendicular to the longitudinal extent of the keys of the piano keyboard. The black corresponding keys (B) have a width which is less than the width of a white piano key of the piano keyboard, an upper planar surface extending over a substantial extent and a black key engaging lower surface of length equal to or shorter than the length of a black piano key. The white corresponding keys have a width less than the width of a white piano key, an upper planar surface extending over a substantial extent, and a white key engaging lower surface of length substantially equal to the length of a white piano key. With this arrangement, when the keyboard adapter is positioned over a piano keyboard, depression of any white corresponding key (W) engages one and only one white piano key and causes a production of tre corresponding sound or tone from the piano (or other instrument actuated by the piano keyboard) . Depression of any black corresponding key (B) engages one and only one black piano key and no white piano key to thus produce the sound that is ordinarily produced by the engaged black piano key, by the instrument which the piano keyboard is a component of. Thus, the invention provides: a linear keyboard adapter comprising: a series of keys arranged parallel to each other including respective keys corresponding to black and white keys of a piano keyboard, located in an order identical to the order of black and white keys of a keyboard, frame means for supporting said keys in predetermined relation to a piano keyboard. said frame means supporting said keys for pivoting movement about an axis perpendicular to the longitudinal extent of keys of said piano keyboard, said black corresponding keys having a width less than the width of a white piano key, an upper planar surface extending over a substantial extent, and a black key engaging lower surface of length equal to or shorter than the length of a black piano key, said white corresponding keys having a width less than the width of a white piano key, an upper planar surface extending over a substantial extent and a white key engaging lower surface of length substantially equal to the length of a white piano key, whereby, when said keyboard adapter is positioned over a piano keyboard, depression of any white corresponding key engages one and only one white piano key and depression of any black corresponding key engages one and only one black piano key and no white piano key. In a particularly preferred embodiment of the invention, the widths of the white and black corresponding piano keys are identical. In a relatively simple embodiment of the invention, to provide for the required pivotal movement of the white and black corresponding keys of the adapter, the different keys are merely threaded on a rail which is part of the frame means and which extends perpendicular to the longitudinal extent of the keys of the piano keyboard. For instructional or other purposes, the keys can be made translucent, and a light source can be provided within each of the different keys which is separately energizable by a multi-element control device, with a single controlled element (or switch) for each different corresponding key of the adapter. By appropriately actuating the different elements of the control device, selected sets of the adapter keys can be illuminated to identify, for example, the tonic chord of a given composition, patterns of scales, etc. The keys could, alternatively, be highlighted by other means as colored strips adhered to the key be adhesive, or magnetically, etc. It is also possible to provide some keys of a permanent distinguishment as a bump, ridge, etc., in order to give the user a clue or reference to the conventional keyboard. It should be apparent from the foregoing why it was said above that, although designed to be used with a more rational notation, the adapter is not limited to it. The adaptor can be used to provide students with a device clearly illustrating musical patterns to facilitate the practice of composition, analysis, music theory, ear training and sight reading. Brief Description of the Drawings The invention will now be further described in the following portions of this specification when taken in conjunction with the attached drawings in which like reference characters identify identical apparatus and in which: Figure 1 illustrates the frame of the adapter. Figure 2 illustrates the adapter frame positioned in relation to a conventional piano and piano keyboard. Figure 3 is a detailed view of a white corresponding key of the adapter, Figure 4 is a detail of a black corresponding key of the adapter, Figure 5 is a cross-section of the adapter installed on a piano and particularly illustrates the relation between a G FI white corresponding key of the adapter and a white piano key when the white corresponding key is in its normal or rest state, Figure 6 illustrates the same relationship when the white corresponding key is in its actuated condition, Figures 7 and 8 are a cross-section of the adapter and a piano keyboard illustrating the unactuated and actuated conditions, respectively, of a black corresponding key. Figure 9 is a plan view of the relationship between a sequence of adapter keys and the corresponding piano keys. Figure 10 is a plan view showing the adapter with some but not all of the adapter keys positioned on the frame 25, Figures 11 and 12 comprise details of the white and black corresponding adapter keys for embodiments of the invention in which the keys may be illuminated. Figure 13 is similar to Figure 10 except that it illustrates the manner in which the illuminated keys may be selectively energized. Figure 14 is a plot of the sounds of a major scale, the different sounds proceeding vertically upward and also identifying the corresponding frequencies of the sounds relative to the tonic, and Figure 15 identifies for each of the 12 different scales, those sounds which belong that are related to this scale (identified by the black areas in a vertical scale of increasing frequency, and those sounds that are not related to the tonic, indicated by open areas in the vertical scale) . Detailed Description of Preferred Embodiments As will be made clear hereinafter, the adapter of the invention comprises two major components, a series of adapter keys, some white corresponding keys (W) and some black corresponding keys (B) , and a second component which is a frame for supporting the series of adapter keys. Figure 1 illustrates the frame 25, in the absence of the adapter keys. As shown in Figure 1, the frame 25 includes a pair of generally C-shaped end elements 10 and 20 each of which includes a threaded hole, which supports a piano engaging screw 21. Located between the end elements 10 and 20 are a pair of generally parallel rails 15 and 16, for the purpose of supporting the end elements in their predetermined positions. One of the rails 15 will serve to support the different adapter keys for pivotal movement, as will be described hereinafter. The frame 25 can be fabricated from metal, wood, or various kinds of plastic. When in use, the frame 25 is an integral structure, although for ease of shipping and the like it can be fabricated so as to be readily disassembled in a manner known to those skilled in the art. Clearly the adaptor frame 25 is removably fastened to the piano as shown in Fig. 2. Figure 2 illustrates the frame 25 secured to a conventional piano 30 which has a piano keyboard including white keys 35 and black keys 40. As shown in Figure 2 , those skilled in the art will appreciate that the function of the piano engaging screws 21 can be performed by similar equivalent apparatus such as springs, suction, adhesive, etc. It should be emphasized that the showing of Figure 2 is merely illustrative, for in normal use, with the linear keyboard adapter installed on the piano 30, the piano keyboard keys 35 and 40 will not be visible. Figures 3 and 4 provide a detailed illustration of the two different types of keys in the adapter. Figure 3 is a detail of the white corresponding keys 135 (sometimes referred to as W) and Figure 4 is a detail of the black corresponding keys 140 (sometimes referred to as B) . As shown in Figure 3, the key 135 has a width 100, which is preferably less than the width of the conventional white piano key. The key 135 has an upper planar surface 137 extending over a substantial extent (which may be as long, or longer than a white piano key) and a white key engaging lower surface 136, having-a length 131 which is substantially equal to the length of a white piano key, the length of a white piano key corresponding to that dimension of the piano key which is the largest visible dimension. The key 135 also has a curved frontal surface 135 and pivots, when actuated, about axis 132. Referring now to Figure 4, key 140 has a planar surface 147 extending over a substantial extent, and a lower black key engaging surface 146 having a length 141, which is of a length equal to or shorter than the length of a black piano key. The length of a black piano key is the largest visible dimension of a black piano key. The key 140 has a width 105 which is preferably wider than the width of a black piano key, and in a preferred embodiment of the invention actually, the width 105 of the key 140 is identical to the width 100 of the key 135. The key 140 pivots about axis 142 when activated. The keys 135 and 140 can be fabricated out of any convenient material such as plastic and can be molded in a manner well known to those skilled in the art. In some embodiments of the invention, the keys 135 and 140 may actually be hollow and provided with a light source interior thereof along with power supplying leads to the respective light sources as illustrated in Figures 11-13. The purpose of this light source will become apparent further in this description. Figures 5 and 6 are a cross-section of the linear keyboard adapter when located in predetermined relation to a piano keyboard, particularly illustrating a key 135 of the adapter in relation to a corresponding key 35 of the piano keyboard, under circumstances in which the key 135 is at rest (Figure 5) and actuated (Figure 6). As shown in Figure 5, the key 135 engages the upper surface of the piano key 35 along its lower white piano key engaging surface 136, and this length is substantially equal to the length 131 of the white piano key 35. Figure 6 is similar to Figure 5 except that it illustrates that when key 135 is actuated or depressed, so is the corresponding white piano key 35. Inasmuch as Figures 5 and 6 are cross-sections, they do not illustrate the relation between the key 135 and the piano keys adjacent the key 35 which is illustrated; that relationship is shown in Figure 9, referred to hereinafter. It should be apparent, however, from Figures 5 and 6 that when key 135 is actuated or depressed, so is the corresponding key 35 of the piano keyboard and accordingly whatever sound or tone is produced by actuation of key 35 by the instrument of which the piano keyboard is a component, the same sound or tone will be produced when the adapter is positioned over the piano keyboard and the key 135 is actuated. Figures 7 and 8 are cross-sections of the adapter and the corresponding piano keyboard over which the adapter is installed, particularly illustrating a typical key 140 in both its rest (Figure 7) and actuated (Figure 8) conditions. Referring first to Figure 7, v/hen the key 140 is in its rest position, the key engages a black piano key 40 over its lower black piano key engaging surface 146. This surface has a length 141 which is equal to or less than the length 241 of the black piano key 40. Inasmuch as Figure 7 is a cross-section, it shows, in addition to a black piano key 40, an adjacent white piano key 35, since the latter has a length which is longer than the length of the black piano key 40. Referring now to Figure 8, when the key 140 is actuated, it results in actuation of the engaged black piano key 40. However, as is apparent from Figure 8, the adjacent white piano key 35 remains unactuated. Accordingly, when key 140 is actuated, the resulting depression of key 40 results in the production of a sound or tone which is that sound or tone normally produced by the actuation of the key 40 from the instrument of which the piano keyboard is a component. Figure 9 is a top plan view of a portion of the adapter overlying a piano keyboard. The keys 50, 51, 52, 53, 54, 55, 56 and 57 are each identical to the key 135 except that they overlie different white piano keys 35, and those are identified as 35-1 through 35-8. Each of the keys 35 extends between a pair of" adjacent dashed lines or between a dashed line and a solid line, the dashed line representing a hidden intersection between two white keys 35. Each of the keys 61-66 corresponds to a key 140 which engages and is associated with a different one of the black keys 4C-1 through 40-6. Each of the black keys 40-1 through 40-6 is entirely hidden and is thus shown in dashed line representation. Figure 9 should make it apparent that because the width of the keys 50-57 is less than the width of a white piano key 35, that when any of the keys 50-57 is depressed or actuated, the corresponding white piano key 35 (one of 35-1 through 35-8) is depressed or actuated, and no other white key 35 or black key 40 is actuated. Correspondingly, when any of the keys 61-66 is depressed, the engaged black key (one of 40-1 through 40-6) is engaged and depressed, but no other black key 40 nor white key 35 is engaged or depressed. Figure 10 shows the different adapter keys 135 and 140 mounted on the frame 25. More particularly, the axes 132 and 142 of the keys are aligned and coincide with rail 15. Thus, when the adapter is mounted on a typical piano keyboard, the adapter keys simply rest on the piano keys. Other mounting arrangements are available to those skilled in the art. For example, the rail 15 can be eliminated in favor of a short peg in end element 10 and a recess in end element 20. Each key has on one side a peg and on the other side a recess, the peg in end element 10 fits into the recess of the adjaent key and the peg of the key adjacent the end element fits into its recess. When assembled, the several pegs perform the function of rail 15. Figures 11 and 12 illustrate a detail of preferred embodiments of the white corresponding keys (W) 435 and black corresponding keys (B) 440; in which each of these keys 435 and 440 are actually hollow translucent keys. Accordingly, the key 435 includes an enclosed volume 335 including a light source such as typical low voltage bulb 336 coupled to power conductors 235. Similarly, the key 440 includes an enclosed volume 340 housing a light source or low voltage bulb 346 which is conductively connected to conductors 240 for the supply of electrical energy. It should be apparent to those skilled in the art that by the appropriate selection of the material from which keys 435 and 440 are molded or formed when the enclosed light source 336 or 346 is illuminated, the translucent nature of the material will make this illumination perceptible to a user. As is shown in Figure 13, which illustrates the adapter partially filled with keys 440 and 435, the conductors 235 or 240 are coupled to a switching network 500 which itself derives power from any convenient source and includes a transformer (if necessary) to reduce the typical 110 volt AC supply to a form suitable to the low voltage light sources 336 and 346. The switching network 500 includes a series of switches 501 through 588, each different switch Oϊ.iFI corresponding to a different key 435 or 440. Each of the switches 501-588 includes two positions, on and off. The operator can conveniently select those keys 435 or 440 to be illuminated by merely throwing the corresponding switch 501-588 to its on position, leaving the switches 501-588 corresponding to those keys which are not to be illuminated, in their off position. Accordingly, the operator can conveniently select certain of the keys of the adapter for illumination. Of course, the switches 501-588 could be mounted in other locations, e.g. on the frame 25. For the purpose of transient distinguishment of selected keys, the front face 143 or 133 has a slot into which colored strips are inserted or withdrawn. With translucent or transparent adapter keys, they take on the color of the insert. The strips could, alternatively, be secured magnetically. Permanent distinguishment is effected by molding bumps or ridges into the surface of selected keys, e.g. C. These bumps or ridges can be almost totally invisible but readily felt by the fingers.

Claims: LINEAR KEYBOARD ADAPTER CLAIMS 1. A linear keyboard adapter comprising: a series of keys arranged parallel to each other including respective keys corresponding to black and white keys of a piano keyboard, located in an order identical to the order of black and white keys of a piano keyboard, frame means for supporting said keys in predetermined relation to a piano keyboard, said frame means supporting said keys for pivoting movement about an axis perpendicular to the longitudinal extent of keys of said piano keyboard, said black corresponding keys having a width less than the width of a white piano key, an upper planar surface extending over a substantial extent and a black key engaging lower surface of length equal to or shorter than the length of a black piano key, said white corresponding keys having a width less than the width of a white piano key, an upper planar surface extending over a substantial extent and a white key engaging lower surface of length substantially equal to the length of a white piano key * , "" whereby when said keyboard adapter is positioned over a piano keyboard, depression of any white corresponding key engages one and only one white piano key and depression of any black corresponding key engages one and only one black piano key and no white piano key. 2. The adapter of claim 1 wherein said black corresponding keys and white corresponding keys have an identical width. * 3. The adapter of claims 1 or 2 in which said frame means includes a rail extending perpendicular to the longitudinal extent of keys of said piano keyboard, and in which each of said black corresponding keys and white corresponding keys are threaded on said rail for pivotal movement about said rail. 4. The adapter of claim 1 in which each of said black and white corresponding keys are hollow, each of said black and white corresponding keys further including lighting means for supplying illumination when energized, a switching network including a separate switch for each one of said black or white corresponding keys and means connecting said switching network to a source of electrical energy and to each of said lighting means. 5. The adapter of claim 1 in which at least one of said white corresponding keys includes distinguishing means for distinguishing said at least one key from other of the keys. 6. The adapter of claim 5 in which said distinguishing means includes an irregularity in said upper planar surface. 7. The adapter of claim 6 which said irregularity is a bump. 8. The adapter of claim 1 in which at least one of said black corresponding keys includes distinguishing means for distinguishing said at least one key from other of the keys. 9. The adapter of claim 8 in which said distinguishing means includes an irregularity in said upper planar surface. 10. The adapter of claim 9 which said irregularity is a bump. 11. The adapter of claim 1 wherein at least one of said keys includes means for transiently distinguishing said one key from other of said keys. 12. The adapter of claim 11 in which said transiently distinguishing means includes a slot in a front face of said one key. 13. The adapter of claim 11 in which said transiently distinguishing means comprises a magnet. 14. The adapter of claim 1 wherein said frame means includes means for removably attaching said adapter to a piano. OMPI

Inventors: ALLEN MARIA ROSA, ALLEN, MARIA, ROSA
Applicants: ALLEN MARIA ROSA, ALLEN, MARIA, ROSA
Application year: 1983
Main classification: G01C3
IPC codes: G10C3