U.S. patent application number 11/582608 was filed with the patent office on 2007-03-01 for morpheus music notation system.
Invention is credited to Mark Patrick Egan.
Application Number | 20070044638 11/582608 |
Document ID | / |
Family ID | 36754714 |
Filed Date | 2007-03-01 |
United States Patent
Application |
20070044638 |
Kind Code |
A1 |
Egan; Mark Patrick |
March 1, 2007 |
Morpheus music notation system
Abstract
Devices, methods and system for a morpheus music notation system
adapted for key, string, wind and percussion instruments for ease
of teaching and learning music intuitively. Intuitive morpheus
music notation system creates a simple environment revolving around
numbers and letters to enable people of all ages of any race or
colour whether they are with sight or without to learn any musical
instrument. The idea relates to all instruments, wind, brass,
stringed, bowed, percussion, keyboard, unusual global instruments,
organ & electronic instruments. Also relates to a set of hand
movements performed by conductors of music.
Inventors: |
Egan; Mark Patrick;
(Baylough, IE) |
Correspondence
Address: |
OUR PAL ASIJA;ASIJA HOUSE
7 WOONSOCKET AVENUE
SHELTON
CT
06484-5536
US
|
Family ID: |
36754714 |
Appl. No.: |
11/582608 |
Filed: |
October 18, 2006 |
Related U.S. Patent Documents
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Application
Number |
Filing Date |
Patent Number |
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11016438 |
Dec 20, 2004 |
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11582608 |
Oct 18, 2006 |
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Current U.S.
Class: |
84/483.2 |
Current CPC
Class: |
G09B 15/00 20130101;
G09B 15/06 20130101 |
Class at
Publication: |
084/483.2 |
International
Class: |
G09B 15/02 20060101
G09B015/02 |
Claims
1. A non-mathematical top down butterfly self-teaching morpheus
music notation system to play a musical instrument comprising the
steps of: a) a plurality of staves of N horizontal lines; b)
dividing said staves into left hand leda clef and right hand rama
clef; c) representing each finger of said left hand leda clef and
said right hand rama clef by an alphanumeric designation; c)
transferring said alphanumeric designation to said left hand leda
and right hand rama clefs, on said staves; and d) integrating prior
art bass and treble clefs to said left hand leda and right hand
rama clefs.
2. The non-mathematical top down butterfly self-teaching morpheus
music notation system of claim 1 wherein N is in the range of
3-8.
3. The non-mathematical top down butterfly self-teaching morpheus
music notation system of claim 2 wherein n=5.
4. The non-mathematical top down butterfly self-teaching morpheus
music notation system of claim 1 each musical note is represented
by a numeric value between 1 and 88 on plurality of staves.
5. The non-mathematical top down butterfly self-teaching morpheus
music notation system for ease of learning of claim 1 wherein each
finger of left hand leda clef and said right hand rama clef is
designated by an alpha character.
6. The non-mathematical top down butterfly self-teaching morpheus
music notation system of claim 1 for ease of learning a musical
instrument selected from a group consisting of key, string, wind
and percussion musical instruments.
7. The non-mathematical top down butterfly self-teaching morpheus
music notation system for ease of learning a musical instrument
claim 6 wherein said musical instrument is a percussion
instrument.
8. The non-mathematical top down butterfly self-teaching morpheus
music notation system for ease of learning a musical instrument of
claim 1 wherein said notation includes notation for inhaling and
exhaling.
9. A rules free method of self learning and self-teaching a musical
instrument incorporating a top down butterfly morpheus music
notation integrated structure comprising the steps of: a)
representing each musical note by a numeric value between 1 and 88
on plurality of staves; b) representing each finger of left hand
leda clef and right hand rama clef by an alphanumeric designation;
c) transferring said alphanumeric designation to said left hand
leda and right hand rama clefs, on said staves; and d) integrating
prior art bass and treble clefs to said left hand leda and said
right hand rama clefs.
10. The rules free method of self learning and self teaching a
musical instrument incorporating a top down butterfly morpheus
music notation integrated structure of claim 9 wherein said musical
instrument is an instrument which includes a keyboard.
11. The rules free method of self learning and self teaching a
musical instrument incorporating a top down butterfly morpheus
music notation integrated structure of claim 9 wherein said musical
instrument is a string instrument.
12. The rules free method of self learning and self teaching a
musical instrument incorporating a top down butterfly morpheus
music notation integrated structure of claim 9 wherein said musical
instrument is a wind instrument.
13. The rules free method of self learning and self teaching a
musical instrument incorporating a top down butterfly morpheus
music notation integrated structure of claim 9 wherein said
notation includes notation for inhaling and exhaling at the precise
time.
14. The rules free method of self learning and self teaching a
musical instrument incorporating a top down butterfly morpheus
music notation integrated structure of claim 9 adapted for a
learner with a missing finger.
Description
RELATED DOCUMENT
[0001] This is a divisional application divided from Ser. No.
11/016,438 filed on Dec. 20, 2004 by the same inventor Mark Patrick
Egan bearing the same title, "Morpheus Music Notation System" for
further prosecution of rejected claims in the office action of Aug.
10, 2006.
BACKGROUND
[0002] This invention relates generally to the art of music. More
particularly it relates to the art of teaching and learning of
music through a simplified music notation system. Even more
particularly it relates to a morpheus music notation system adapted
for key, string, wind and percussion instruments for ease of
teaching and learning music intuitively. Unlike prior art bottom up
notation systems, morpheus system is top down, which is intuitive
and even conventional in the western languages.
THE PROBLEM
[0003] All musical instruments available today pivot around the
audio spectrum of the 88 keys on a classical piano. From a primary
age children systematically learn the alphabet and to count to 100.
The traditional Musical Treble & Bass Clefs are combined with
two additional Clefs referred to as the Leda Clef (Left Hand) &
the Rama Clef (Right Hand). Both the Leda & Rama Clefs contain
five lines as is the case in traditional music Clefs. The fingers
are given letters i.e., A, B, C, D, E, (Left Hand) & F, G, H,
I, J (Right Hand). These letters are then applied to both these
Clefs and the use of the Butterfly Effect in regards to how humans
read literature in general is then functional. From the music sheet
the numbers of the exact keys are used in both Clefs i.e., C3=28
where this is the 28th key on the classical piano.
[0004] Using the notation the student recognises the numbers on the
Clefs in reference to the piano and uses the correct fingers with
the correct note no matter how complex the music is. The method
also leaves the students with the option that they never have to
learn any traditional musical theory of any level.
[0005] The morpheus notation system of this invention is adaptable
to every single musical instrument (including all key, string, wind
and percussion instruments) within the audio spectrum and makes it
possible for children, adults, elderly and the blind to learn a
musical instrument.
[0006] Problems with prior art music notation and teaching systems
are as follows.
[0007] a) Complex & Cumbersome
[0008] b) Not Intuitive
[0009] c) Expensive
[0010] d) Lack user friendliness for teacher and student
[0011] e) Tedious to teach and learn
[0012] f) Not conducive to self-teaching
[0013] g) Do not help create master musicians let alone pushing the
envelope
[0014] Another problem with prior art music notation systems is
that it can take seven to eight years for children to familiarise
themselves with traditional notation. The theory revolves around
the Bass & Treble Clefs which contain 5 lines on each stave and
symbols on these lines & spaces represent the notes to play.
Music timing involves crotchets, quavers, semibreves etc., to name
a few and notes that then create chords are laid out on the staves
in a complex method. Then you have sharps, naturals, flats to
understand. All in all standard notation is just one big algebraic
equation and to learn it requires years of practice.
[0015] For hundreds of years many people worldwide have not
bothered to undertake the chore of playing an instrument, or have
undertaken the chore of playing an instrument, but failed to
continue with it for one solitary reason. This reason is described
further with regards to the inconvenience with the Music Notation
System in place today and are as follows.
[0016] The music notation system of prior art was created thousands
of years ago by highly intelligent a person, which was absolute
genius at the time, where music was broken down into stages in
which people could learn to sing or play an instrument, under a
worldwide standard method. Unfortunately, the consequence of this,
was that because it was created by highly intelligent people, it
required highly intelligent people to understand it. People had to
start at a young age to learn music which then took eight or nine
years to even gain the standard of being a master of a particular
instrument.
[0017] The world today does not revolve around children or in
general people learning an instrument. Unfortunately, children and
people are so wrapped up in the computer technology of today i.e.,
video games, cinema, computer games, hand held games and on line
gaming etc, that many people will never experience playing a
musical instrument and will grow up in a non-expressive &
monotonous society. And yet when they become teenagers, the first
thing they do when you have your Pop Idol or Pop stars shows on TV,
is queue in their thousands outside buildings in order to become a
pop star. All a person has to do is look at these shows, to see the
worldwide interest in them.
[0018] All it really is though is taking advantage of young
teenagers, who just fancy the quick method to get on TV. When they
get there, they are so overwhelmed by the status of being a pop
star that they can't cope with it and the artists drift off into
the night, never to be seen again. Bands nowadays are not staying
as bands because society today conveys that everything we do has to
happen instantly. Music is no longer an enjoyable experience for
them and the sad thing, is that the competition within musical
artists today is disastrous.
[0019] Because of the ever increasing idea today within the record
industry that a `quick buck` is more important than breeding
talent, they constantly go back in time and cover a song or tune
and re-release it. I blame the original artists of these songs for
this recurrent trend for if they didn't give permission to record
companies, the record companies would not be able to re-release
these famous songs.
[0020] Music today has no innovation behind it and if we were to
depend on classically trained musicians to come up with new ways to
play instruments, we would be waiting a long time. For they get so
wrapped up in learning the traditional musical theory of today that
they cannot and will not step outside of it. Some of these
brilliant musicians fail to even have the ability to play simple
melodies in pubs & restaurants and in general life, without
reading from music sheets. Even the music they systematically learn
for ten & twenty years, still cannot be played without
traditional musical notation in front of them. It used to be the
case back in the 80s, 90s that only R&B music would use
previously released music to come up with rhythms, chorus lines
& hook lines, but these days every single genre of music is
using this method, which really doesn't say much for the artists
around today.
[0021] The above topics covered are just some of the disadvantages
of traditional music notation of today. To define my creation I
will reference to the disadvantages listed above to help you
understand how revolutionary the idea is and how it will change the
way the world learns musical instruments.
[0022] a) Morpheus Music notation is so basic that people whether
with sight or without from the age of five or six will be able to
learn a musical instrument (no matter how difficult general opinion
claims an instrument to be at the moment) without the need to study
the musical theory of today of any level. Nor does it require the
person to ever learn it in the future.
[0023] b) I have created this type of notation through the
stubbornness of refusing to learn traditional musical theory
myself. I have always wondered since national school where I had 6
months lessons in the piano accordion, in which I was tutored by a
blind person, that we do not necessarily need our eyes to be able
to play music. Music is an emotion not a dictatorship idea of how
and why you can only play certain music structures together.
Traditional notation orbits around strict rules that are to be
obeyed no questions asked. Don't know how many times I have browsed
the internet to find the repetitive saying that "you have to learn
musical theory to play an instrument".
[0024] Because of the simplicity of the idea a student learns how
to play an instrument using the correct finger configuration from
the very beginning. Parents will find the idea so effortless that
they will be able to explain it to their kids, their child will
understand instantly and then the child will learn to develop
his/her mind much faster, becoming a master of the instrument in an
incredible short period of time. Parents will not have to pay
immense amounts of money to tutors & teachers in order for
their child to learn an instrument, the child will be able to
develop their ability while still learning the correct way to play
an instrument. This will be done in an enjoyable atmosphere
bringing parents closer to their children spending valuable time
with them on something they can share together.
[0025] c) Because of the simplicity of the top down morpheus
concept, it means that children through word of mouth will begin to
realise how easy it is to learn an instrument and the vision of
children staring into computers, TV screens for several hours on a
daily basis will become a thing of the past. It will still occur,
but not on the scale it is today. An instrument develops the mind
rapidly. The idea means that a persons ability develops much faster
because of the freedom of the mind to think up new ideas and will
find it easy to learn less complicated music while they continue
their standard classical training on their own. Technological
advances these days in music software packages for computers enable
students to slow tempos down on difficult & complex pieces of
music without altering the pitch. With this in mind the option is
there so they can learn at their own pace and develop their ability
up to the original tempo of a piece of music gradually. The person
also develops and creates unknowingly the ability while using the
system a type of internal tempo/sync clock within their brain. This
gives unprecedented measures of natural rhythm.
[0026] d) The most advantageous thing about this new notation
system is that because more people are taking up the task of
learning an instrument, that music in general will develop at a
faster pace. Children who begin learning at an early age will have
fully matured with the instrument within a few years which will
lead to better musicians.
[0027] This in turn leads to a better standard of music and
innovation in music because of the freedom to expand the
imagination. All combined with the enjoyable experience of learning
an instrument under this system will leave record companies in
competition with each other to find a better music standard, better
bands & musicians because of the quality of musicians and
amount of musicians making innovative music. This will then leave
them with no option but to sign innovative musicians and bands and
leave the songs of the past as they should be, in the past and left
alone. All the famous music of years ago should be aloud to breathe
into our lives with the original artists, where we remember where
we were when that song was played for the first time. Society does
not need record companies going back into the past and obtaining
some brilliant piece of music and then getting some teeny bop!! kid
or band to sing it, because it looks good visually, but can't hold
its own when questioned on talent. These kids do not realise what
is involved in writing a piece of famous music, they just want to
be famous. Maybe if they were learning instruments they would
realize that the standard of music in the world today, needs a
major overhaul. They should be encouraged to change it on an
enormous scale for the better.
SUMMARY
[0028] This invention comprises methods, devices and system for
learning and teaching key, string, wind and percussion musical
instruments through a simplified morpheous music notation system.
The first skills learned in school by children are the alphabet and
the ability to count to 100. So by default by the age of five or
six 90% of the world population are adept in these two skills.
Alphabet & Numbers create a simple environment to work with,
through these is where my idea originated from. However the
enormous difference between the traditional method and all previous
methods is that my new method trains people how to create music
through their hearing and their mind.
[0029] Simplicity opens the music creativity window. Our sense of
hearing is one of the most important senses of the human body. When
a person loses their sight their brain automatically compensates
for the loss by increasing the other senses of the human body.
Their hearing becomes so acute that their audible range increases
above the normal hearing range of the general population with
sight, and most importantly they learn for the first time how to
genuinely listen. The following example explains.
[0030] In the scene from the movie Fahrenheit 9/11 directed by
Michael Moore the Ground Zero disaster was portrayed, but with one
incredible difference between everything we had seen on our TV
screens since the disaster. They had a black screen integrated with
the noise of the 2 planes crashing into the tower along with the
screams of the hundreds of people who were below. What went on in
your head at that moment was more powerful than if you had been
shown the disaster visually as well. The way silence is brilliantly
used in movies & music is another example. People need to
change the way they learn musical instruments. They need to learn
how to listen. Many occasions I have met brilliant classically
trained musicians who can't play simple songs where their reply is
"can I have the sheet music please".
[0031] Music is many thousands of years old and within these years
there have been many methods of teaching music so to find elements
of any new teaching method in prior art (as is the case with hi-fi
stereos, televisions or video recorders etc used as examples here
of prior art in mechanical devices) is not uncommon. However, the
methods in prior art still carry many disadvantages that are still
too complex for children, adults & the elderly alike to
comprehend when learning an instrument. Since music first began a
standard international method of learning music was established in
order to create an environment for people to learn music and is
explained as follows: A standard classical piano in music consists
of a series of white & black keys. The white keys are named
after the first seven letters of the alphabet A, B, C, D, E, F, G,
which indicate musical notes. Position of each note always remains
identical in relation to the specific black keys.
Musical Stave/Staff
[0032] Music is written on two staves. Each of them the `Treble
Clef` has the melody with right hand and the `Bass Clef` has the
accompaniment with the left hand. Each stave has five lines and 4
spaces. Notes are written between these lines & spaces on the
Treble Clef as follows: on 5 lines they are E, G, B, D, F notes in
the four spaces are F, A, C, E. Notes written above & below
these lines are written on small additional lines called Leger
lines. Notes for the Bass Clef are written as follows: on the lines
they are G, B, D, F, A and the notes on four spaces are A, C, E,
G.
Middle `C` Note
[0033] All `C` notes on the classical piano are located to the
immediate left of each pair of black keys and the middle `C` is
located near the centre of the piano a little off left.
Music Timing
[0034] Another factor in music is the timing of each note. Several
symbols, but the four most common ones are the quaver, semibreve,
minim & crotchet. A half increases when a dot is placed after
the note it signifies that the value of the note. For example:
minim=2 beats, a dotted minim=3 beats.
Chords
[0035] Chords are groups of notes played at the same time. This
breaks down into 3 notes consisting of C, G, C and are played
together on the piano. The 3 notes must be depressed at the same
time and should be released at the same time.
Sharps; Naturals; Flats.
[0036] a) When a Sharp is placed before a note it raises the
musical pitch of that note by half a tone. When you see it you play
the next key (black or white) to the right side of the note.
[0037] b) When a Natural symbol appears any sharpened or flattened
note returns to its original or natural state.
[0038] c) When a Flat appears it lowers the musical pitch of that
note by half a tone. One plays the next key (black or white) to the
left side of the note.
[0039] d) When a note is sharpened or flattened it remains in that
state for the rest of the bar. Unless repeated, it does not affect
the notes in the next bar.
[0040] This the basic theory that represents the traditional
notation of today, which dates back to all the famous composers
like Beethoven, Bach & Wolfgang Mozart.
PRIOR ART
[0041] A preliminary prior art patent search was conducted.
Furthermore the applicant is intimately familiar with the prior
art. Since the morpheus method was developed there have been many
examples of various methods to teach music in order to make it more
user friendly to the general population and are explained as
follows. Following is a survey of the prior art patents listed in
chronological order for ready reference of the reader.
[0042] a) Mahoney (U.S. Pat. No. 25,657) in the examples listed
represents the notes instead of in the old traditional method as
mentioned above with symbols on the musical staff and the letters
of the notes depicted between 2 lines referred to as T & B. The
length of each note is indicated by a set of new symbols created by
Mahoney. These symbols are then placed beside the letters which
represent the note length and the note to be played is shown with
the letter. However, Mahoney is creating more symbols to indicate
sharps, naturals, flats, semibreves, quavers etc and while the
method separates both the Treble & Bass Clefs there is no
structure for the student to follow with traditional type symbols
being just substituted with new symbols. There is no reference to
what fingers are to be used to play these specific notes and
difficulty in what specific notes to be played is also evident.
[0043] b) Winners (U.S. Pat. No. 41,013) there is again great
difficulty in reading the method mentioned where the Bass Clef is
to the left and the Treble Clef to the right as shown in FIGS. 1
& 2 respectively. The strips mentioned are said to be placed on
a key instrument or melodeon indicating a diagram of a certain
scale. Still no reference to the fingering used to play these notes
along with no certain structure as to how to overcome notation for
complex pieces of music.
[0044] c) Eschemann (U.S. Pat. No. 566,388) a diagram of a keyboard
is shown which contain the letters of the natural (white keys) and
the sharps/flats (black keys). He numbers the keys referring to the
black keys as the same number of its natural state key example 1=C,
1=C#. No reference to a structured musical staff nor to the fingers
of the musician. Within FIG. 1 Eschemann represents the Autoharp
with the strings labelled with their exact letters and again with
the numbering system indicated earlier.
[0045] d) Guildford (U.S. Pat. No. 608,771) indicates each octave
numbered 1-12 and these notes are then associated with no stable
structure and also do not indicate which fingers to play specific
notes.
[0046] e) Shires (U.S. Pat. No. 881,085) represents a method
whereby the length of each note is indicated by the number and also
reference to standard musical clefs, the words depict where in,the
scale the notes represent. This method is creating more symbols
with no relevant structure and no reference to fingers of the
hand.
[0047] f) Kraft (U.S. Pat. No. 1,009,671) displays a method where a
musical staff is depicted and the fret numbers in relation to each
string is shown to help the student identify the frets on a violin
but doesn't form a structure to help the student see which string
these frets are on. Also no indication as to what fingers to play
these notes are mentioned.
[0048] g) Lazard (U.S. Pat. No. 1,133,074) displays the broad
concept of numbering the fingers and thumbs of both hands from 1-5.
The notes to be played are displayed in traditional notational
format and the finger numbers are placed below each note within the
format.
[0049] The left & right hand are displayed on a complete staff
of five lines where the numbers are placed above and below the
musical staff but both fingers of each hand are associated with
different notes and the structure is confusing because of the
repetitive numbers of 1-5 along both the top and bottom of the
musical staff.
[0050] h) Kinney (U.S. Pat. No. 1,200,367) displays a method
whereby a staff is used having spaced lines to provide spaces
representing the strings of the instrument and notes having heads
of various shapes for indicating the fingers of the hand used for
fingering the strings, the positions of the notes on the staff
lines indicate the positions relative to the frets of the
fingerboard on a violin. The method is very similar to traditional
notation and proves equally complex when reading the notation.
[0051] i) Miller (U.S. Pat. No. 1,473,495) shows again the broad
concept of numbering the fingers of each hand and lines of the
musical staff depicted as the black keys of the piano. The spaces
indicate the white keys. The structure is very complex and with
regard to complex pieces of music is not manageable or useful.
[0052] j) Glenn (U.S. Pat. No. 3,331,271) shows the concept of
displaying the notation on a staff consisting of a single line. The
line is a reference for a single octave with the notes of the
octave represented in spaces within the lines. Glenn does not
separate notes played with both hands nor are the fingers of the
hands indicated to show what fingering is to be used to play the
notation.
[0053] k) Leonard (U.S. Pat. No. 3,733,956) displays a slide rule
in order to teach music. Any single key or note is not labelled
with the same number within this method in regards to finger
co-ordination and no structure or staff is shown to play specific
parts of the piano.
[0054] l) Cromleigh (U.S. Pat. No. 3,741,066) utilises a method
whereby the use of identical staves which correspond to octaves are
displayed. Again as was the case with (U.S. Pat. No. 25,657) the
use of new symbols created by Cromleigh indicate semitones either
higher or lower than the tone defined. No reference to the
fingering used to play these notes is made.
[0055] m) Leonard (U.S. Pat. No. 3,822,630) creates a device for
teaching musical relationships and notation in regard to scale
tones & chords. The use of the traditional musical staff is
indicating the notes played while numbering the fingers is only
covering a few notes within a certain scale.
[0056] n) Leonard (U.S. Pat. No. 3,890,875) depicts a slide rule
for teaching the relationship between notes, note names and the
corresponding keys on a piano. Left and right hands are numbered
1-5 where the broad concept of numbering the fingers using a mirror
image of the hands is created. A five lined musical staff is
depicted but the notes are not indicated on the musical staff.
[0057] o) Lenoard (U.S. Pat. No. 4,041,828) displays another slide
rule for teaching chords and scales. Again the use of the broad
concept of numbering the fingers is shown. A musical notation
structure is not evident nor are the numbers of the keys of the
piano.
[0058] p) Schmoywer (U.S. Pat. No. 4,480,521) shows a method which
teaches the fingering for chord triads in the root, first, second
positions so as to play chord triads in the space of a single
octave. FIG. 1 shows different displays of chord structures and the
numbers of the fingers used to play them. However there is no
reference to a musical notation sheet displaying what notes are to
be played. Simply just showing what fingers to use to play a list
of chords much like standard guitar chord books which show which
frets to hold down to play an encyclopaedia of chords.
[0059] q) Bui (U.S. Pat. No. 5,574,242) refers to a method in which
coding or indexing songs according to their highest and/or lowest
sung notes and the corresponding keys or tonalities is proposed.
Numbers 1-12 are used. No reference to a musical staff or what
notes are represented or what fingers are used in reference to the
notes.
[0060] r) Moberg (U.S. Pat. No. 6,015,947) mentions a method of
teaching music utilising traditional musical theory elements in
order to teach the method. No reference to what fingers are to be
used to play these notes.
[0061] s) Bermudez (U.S. Pat. No. 6,388,182) explains an idea that
involves the age old concept of numbering the fingers 1-5 for the
left hand and creating a mirror image of that hand and numbering
the right hand 5-1. Within this idea a single staff line is used
and the fingers used to play the notes are depicted either side of
this single staff line denoting left or right hand. A music sheet
is also used to represent a small diagram of one octave of a piano
with the correct finger numbers applied to the keys as used in FIG.
1. Along with this the music sheet contains the correct fingering
according to the invention on either side of the staff line. The
following can be seen as several disadvantages to this method of
teaching music to people.
[0062] 1. The staff line separates the left and right hand but the
way the music is depicted above and below the line is very
difficult to follow as there doesn't seem to be any solid structure
around the numbers. It appears that the mind has to create the
structure to follow the numbers. As an example in primary school
children reading from a blackboard without the ruled concept it
would be very difficult for children to follow. Even adults would
find the method difficult to follow.
[0063] 2. It appears that every time a new tune needs to be learned
by the student a new diagram of the keyboard octave is given to the
student along with the correct fingering according to the invention
for this tune only. Only the labelled notes i.e. 5,4,3,2,1,2,3,4,5
in FIG. 1 (14) are to be used. At maximum one octave is all the
notation covers at any one time and mentioned in line 6 (Detailed
Description of the preferred Embodiment) "The selection of which
set of ten keys of the eighty-eight available determines the octave
and musical key of the song being played". This idea of creating
sets of numbers i.e. 34,36 to specific keys or octaves as shown in
FIG. 3A is creating more numbers for the student to learn.
[0064] 3. In respect to FIG. 5 as an example the tune "Jingle
Bells" is laid out in the inventors format. However, the correct
method of playing Jingle Bells is to play the melody with the right
hand and the accompaniment with the left hand. The invention is
using the idea of playing the full melody with both hands beside
each other which should only be played with the right hand.
[0065] The mirror image mentioned in Line 58 (Detailed Description
of the preferred Embodiment) is an incorrect way of teaching a
student. The piano of all instruments requires the mind to separate
what's played with both hands. For example this applies to the
drums also where a drummer needs to apply the same method of
separating what's played with either hand and to what their feet
are doing.
[0066] 4. All things considered the student is still under the
control of what the tutor/teacher gives them in regards to
specially laid out music sheets. The student cannot learn a pop
tune they like from the radio unless it is given to the student in
the inventors format. This is a major disadvantage because the
teacher/tutor is still part of the student learning process so this
leads to an age old problem `if you have a dreadful teacher/tutor
you will have a dreadful student`. The child is totally dependent
on the teacher/tutor on how fast they progress in their
learning.
[0067] 5. The method applies to one octave at a time unless the
octave/key signature idea is used as shown in FIG. 3A. This in a
sense puts a limit on what the student can learn and multiple
octaves especially those used in classical music would require to
learn many sets of numbers and depict them on the piano.
[0068] 6. When a student plays a piece of music if the student
needs to change the finger to reach a different note the notation
cannot depict this as the 5,4,3,2,1, is only used in the notation.
The dexterity of the students ability does not grow because they
are using two hands to play simple melodies which should initially
be learned with the right hand only, so chord structures can be
used when introducing the left hand.
[0069] 7. The child has to eventually learn the traditional musical
theory of an instrument and in a way the invention opens the
student to learning simple melodies at the beginning with both
hands incorrectly and then the labyrinth of musical theory is
dropped on them.
[0070] 8. Sharps & Flats are depicted on the music sheet as
shown in FIG. 5 with their correct symbols. This is adding more
symbols for the student to learn. The return to Naturals of notes
is not mentioned when sharps/flats are applied, so again more
symbols are applicable.
[0071] 9. When a child begins to play the keyboard the right hand
should be initially only the melody of simple songs, but not
according to the Bermudez method of teaching. The child does under
her method acquire the feel of playing a melody with the two hands
together, but in order to play the melody in the proper way,
requires the student to re-learn the music the second time around
i.e., the melody with the right hand and the accompaniment with the
left hand. Melody involves many notes so a child because of his
schooling will naturally look to the top of any reading material
that is given to them.
[0072] Every single thing a human does for example when using eyes
to read involves instantly looking to the top and working one's way
down. In children's comics for example: the captions within each
section are laid out in a top-bottom format so a child can follow
what the characters are saying. In Bermudez method the student
automatically looks to the top of what they read which in turn
leads a student with no choice but to adapt to the notation where
ie, 5,4,3,2,1 of the melody line is bottom-top. In other words
1=thumb, 2=index finger etc. On "Away in a Manger" in FIG. 1 (10)
requires the student to read the notation from pinkie finger=5 back
up to the thumb=1.
[0073] The student can only go so far with the method and the
necessity to learn traditional musical theory is imperative in
order to progress. At any rate none of the prior art devices known
to the applicant or his attorney disclose the EXACT embodiment of
this inventor that constitutes a simple, elegant, secure, flexible,
convenient, affordable means for this system.
OBJECTIVES
[0074] Unfortunately none of the prior art devices singly or even
in combination provide for all of the objectives as established by
the inventor for this system as enumerated below.
[0075] 1. It is an objective of this invention to provide methods,
devices and system for learning and teaching of key, string, wind
and percussion musical instruments through a simplified morpheus
music notation system.
[0076] 2. Another objective of this invention is to utilize a
revolutionary music notation system that enables children, adults,
elderly & the blind to learn any musical instrument without the
prior knowledge or prerequisite to learn the traditional and prior
art music notation theory.
[0077] 3. Another objective behind this new type of notation is
that people learn instantly exactly what fingers to use in the
butterfly effect when taking up an instrument and the window of
creativity continues because of no requirement to ever learn
standard musical theory of any level.
[0078] 4. Another objective of the invention is to provide a
teaching method and music sheet where the structure involves the
traditional notation being combined with the Morpheus Notation
Clefs which enables the student to see what is happening in
traditional notation when they are playing the Morpheus Notation
system. The structure is simple to follow where the exact numbers
of the keys are represented on both clefs with the correct
fingering laid out. There is no need for the teacher/tutor to
re-organise the fingering of the keyboard every time a new song
needs to be learned. The Rama Clef (Right Hand) contains F, G, H,
I, J which starts at the top-down which is instantly recognisable
in regards to reading from the top-down. The idea centres around
the depiction of a sort of butterfly effect across both clefs
[0079] 5. Another object of the invention is to provide a teaching
method and music sheet where there is no limit to the amount of
octaves to be represented on both clefs which is so important when
students begin to learn classical piano music.
[0080] Chord progressions, complex piano solos requiring the full
length of an eighty-eight note classical piano using both hands and
the ability of the left hand operating at the melody section in
some cases of classical music is totally manageable.
[0081] 6. Another object of the invention is to provide a teaching
method and music sheet where the invention will become so useful to
music publishing companies that the notation will appear for
popular songs. The idea of a student about to begin playing the
instrument will search consistently in the stores for this
unsophisticated method. This leads to what I think should be the
initial goal of anyone learning an instrument `to learn the
instrument without the help of tutors or teachers`. This is where I
believe the creativity involved in playing an instrument comes into
play. The student is not under the control of any teacher/tutor and
because the method is so easy adults and the elderly will begin to
pick up the idea of playing an instrument.
[0082] 7. Another object of the invention is to provide a teaching
method and music sheet where the full audio spectrum of all
instruments revolves within the eighty-eight notes of a piano hence
all the notes can easily be represented on both clefs in the
correct fingering method instantly.
[0083] 8. Another object of the invention is to provide a teaching
method and music sheet where the student is instantly learning the
fingering co-ordination involved in playing the keys on the piano.
This will develop their mind which leads to experimentation in
playing the instrument. No strict line on how far the student can
progress and because of the ease of the Morpheus Notation method
their ability will develop at a very fast pace.
[0084] 9. Another object of the invention is to provide a teaching
method and music sheet where the student never requires the need to
learn traditional musical theory of any level. I believe, this is
the only way that new ideas will develop in a students mind where
traditional musical theory requires the student to follow a strict
set of rules i.e., that some notes, chords cannot be played over
each other.
[0085] With no boundaries using Morpheus Notation the mind will
develop new ideas in playing an instrument in a sense being able to
step outside of the norm.
[0086] 10. Another object of the invention is to provide a teaching
method and music sheet where there is no use of
sharps/flats/naturals symbols in Morpheus Notation. Only
represented on the traditional Musical Clefs (Treble/Bass Clefs)
above the Morpheus Notation within the Anubis Tree. The black keys
in the notation with its numeric value is indicated in bold font
and the standard white notes in normal font. This helps the student
differentiate instantly the black notes from the white notes i.e.,
41=C3#; 40=C3.
[0087] 11. Another object of the invention is to provide a teaching
method and music sheet where the Rama Clef on the Morpheus Notation
depicts exactly how humans read with the brain i.e., top-down. No
complications where the notation adapts to people instead of the
reverse.
[0088] 12. Another object of the invention is to provide a teaching
method and music sheet where the method is adaptable to every
instrument in the world today and to instruments that have not even
been invented as of yet because the base or origin of the notation
revolves around the scale of the music audible spectrum that covers
the human hearing range and this base is always to be used to
create each type of technique whatever the instrument.
[0089] 13. Another object of the invention is to provide a teaching
method and music sheet where the method increases the hearing
ability of the student and also creates unknowingly to the student
a type of internal tempo/sync clock within the brain which leads to
unprecedented natural rhythm.
[0090] 14. Another object of the invention is to provide a teaching
method and music sheet where adults will be encouraged to learn a
musical instrument in a simple environment which otherwise under
present methods of teaching instruments to people prevents them
from doing so.
[0091] 15. Another objective of this invention is that it be
versatile enough to include all types of musical instruments such
as wind instruments, brass instruments, stringed, bowed,
percussion, keyboard, organ, electronic and the global collection
of unusual instruments could benefit from this new type of
notation. The idea can also be applied to a laid out system of
movements from a conductor of music. When fully trained the
qualified conductor can bring his own method into play i.e.,
creativity. Even the trainee conductors could be taught the initial
system in a simple way where different hand movements assigned a
specific number create various expressions on the music. These
specifically assigned numbers could then be placed on the music
sheet to determine the expressional or emotional changes taking
place, while the music is being played by the orchestra.
[0092] 16. Another objective of this invention is that it obviates
music tutors, teachers etc., such that self-teaching children,
adults, elderly etc., an instrument is practical.
[0093] 17. Another objective of this invention is that even the
blind can self teach a musical instrument in conjunction with
Braille.
[0094] 18. Another objective of this invention is that it can be
popularized and maintained with ease.
[0095] 19. Another objective of this invention is to make it
suitable for users of a broad range of ages and situations.
[0096] 20. Another objective of this invention is that its use
requires no additional training or skill on the part of the student
or the teacher.
[0097] 21. Another objective of this invention is that it be
capable of multiple uses in music.
[0098] 22. Another objective of this invention is that it use
little or no additional energy except the normal human energy of
the user.
[0099] 23. Another objective of this invention is that the
invention be intuitive user friendly
[0100] 24. Another objective of this invention is that it be
environmentally friendly and use materials which are harmonious
with the environment
[0101] 25. Another objective of this invention is that it be safe
in normal as well as unusual situations.
[0102] 26. Another objective of this invention is that the devices
and components of its system be strong, long lasting and made from
durable materials.
[0103] 27. Another objective of this invention is that it meet all
international federal, state, local and other private conventions,
standards guidelines, regulations and recommendations with respect
to safety, environment, energy consumption.
[0104] Other objectives of this invention reside in its simplicity,
elegance of design, ease of manufacture, service and use and even
aesthetics as will become apparent from the following brief
description of the drawings and the detailed description of the
concept embodiment.
[0105] Unfortunately none of the prior art devices singly or even
in combination provide all of the features established by the
inventor for this system as enumerated below.
[0106] a) Affordable and Cost effective
[0107] c) Easy to learn and teach
[0108] d) Intuitive
[0109] e) User Friendly
[0110] e) Easy to manufacture, use and maintain.
[0111] f) Suitable for people of all ages and gender in all types
of situations.
[0112] g) Easily adaptable for other uses
BRIEF DESCRIPTION OF THE DRAWINGS
[0113] These objects and features of the invention shall now be
described in relationship to the following drawings.
[0114] a) FIG. 1 shows a classical piano layout 10 and the numeric
value of each key
[0115] b) FIG. 2 shows a morpheus music sheet vis-a-vis a standard
scale.
[0116] c) FIG. 3 shows a complex piece of music for the guitar and
corresponding Morpheus Guitar Notation.
[0117] d) FIG. 4 shows a diagram of a clarinet along with how the
Morpheus Wind Notation could be adapted for a wind instrument.
[0118] e) FIG. 5 is flow chart of the morpheus music notation
system as applied to key, string, wind and percussion
instruments.
DETAILED DESCRIPTION OF THE BEST MODE PREFERRED EMBODIMENT
[0119] The foregoing and other objects, aspects, uses and
advantages of the present invention will be more fully understood
from the following detailed description when viewed in conjunction
with the accompanying drawings in which FIG. 1 shows a classical
piano layout 10 and the numeric value of each key 12. and FIG. 2
shows the music sheet 18, 20, 22 and 24 from Morpheus Notation and
how it could be used to display a difficult piece of music, the
example shown being "Bohemian Rhapsody" by Queen.
[0120] Also shown is a standard scale represented on a music
notation sheet. Also shows how the letters are laid out in regards
to the fingering of the hand 14 and 16 and how it applies to the
Morpheus Notational staff 18 and 20 using the butterfly effect 26.
Also shown is a standard example of the traditional Guitar
Tablature 32 being used in the world today and includes the
notation sheet proposed for Morpheus Guitar Notation 34 indicating
the differences in the traditional and the proposed new
invention.
[0121] FIG. 3 represents a complex piece of music for the guitar is
also shown and how it could be represented on the Morpheus Guitar
Notation music sheet. FIG. 4 shows a diagram of a clarinet 40 along
with how the Morpheus Wind Notation could be adapted for a Wind
instrument 50 and 52. Shows a music notation sheet for Morpheus
Notation for traditional musical clefs i.e., Bass & Treble
Clefs 22 and 24, Morpheus Key Notation for a Key instrument i.e.,
Leda & Rama Clefs 18 and 20, Morpheus String Notation for a
Stringed instrument 34, Morpheus Wind Notation for a Wind
instrument 50,52 and 54 and Morpheus Percussion Notation for
Percussion instruments 58. Also shows how the letters are laid out
in regards to the fingering of the hand 14 and 16 and how it
applies to the Morpheus Notational staff.
[0122] The `Morpheus Notation System of this invention enables
children, adults, elderly & the blind to learn a musical
instrument in a revolutionary way, where all the notes are arranged
in a simplistic method. There is no condition to learn traditional
musical theory to use the method. Person learns the instrument in a
non-complex way where the idea can be applied to the absolute
variety of worldwide instruments across the music spectrum. From 22
and 24 in FIG. 2 you will see that the musical stave components of
10 lines (5 for Bass Clef/5 lines for Treble Clef) have not been
altered. However, they are no longer referred to as notes where 18
and 20 signify the specific fingers of the left & right hands
which are laid out in a butterfly effect as indicated in 14, 16 and
26. Humans unconsciously look to the top of any reading material
given to them. It's an automatic response that is learned at a
primary age where we read `the black board from the top-down`. Also
the occurrence of the black notes are indicated on each type of
notation by having the numeric value in bold font instead of
standard font i.e., 28=C3 29=C3# as shown in 70. In 72 this shows
how chords are represented on each type of tablature. The symbols
of traditional music notation are replaced with the exact numeric
value 28 of the 88 notes on a classical piano. The piano is the
base instrument of all musical instruments where the A0 (first
note) and C8 (last note) cover the frequency range of all musical
instruments.
[0123] This idea can then be transferred to the notation of all
other instruments. The Alphabet & Numbers create a simple
environment which opens the music creativity window. The enormous
difference however with the traditional method is that the Morpheus
Music Notation system teaches the person unsuspectingly learning
the instrument how to create music with the help of their minds and
their hearing. Rules of traditional music notation stifle a persons
imagination in an incredible way because of the rules set out
thousands of years ago, but because of the non-complex idea of
Morpheus Music Notation System it allows the mind to wander which
then leads to creation.
Solution to Problems of Prior Art Music Notation.
[0124] In 22, 24 and 30 shows the difference in traditional
notation of today and applicant's new method 18,20 and 28 referred
to as Morpheus Music Notation. Reference numbers 28 on the newly
titled clefs of `Rama Clef` (Right Hand) 18 & the `Leda Clef`
(Left Hand) 20 indicate the exact keys that are depressed on a full
length 88 note classical piano 12.
[0125] The Stave Lines A, B, C, D, E (Left Hand) 20 & J, I, H,
G, F (Right Hand) 18 teaches the person instantly what fingers to
use with these notes and also in regards to the butterfly effect 26
which represents how humans naturally read literature. To signify
chords a border is placed around the numeric values as shown in 72.
Humans have an audible range from 20 Hz-20,000 Hz. Above the C8
(4186 Hz) are the natural occurrence of harmonics in instruments,
some can be controlled for instance guitar, others occur naturally
and because the piano 10 is the instrument in the audio spectrum,
where the first note AO resonates at a frequency of 27.5 Hz and the
highest note C8 resonates at 4186 Hz all other instruments resonate
within these ranges.
[0126] In all teaching in present times the fingers are numbered 5,
4, 3, 2, 1,: 1, 2, 3, 4, 5. The idea centres around in picturing a
mirror image of both hands to help the student. However, when a
student is playing the piano in order to be a master of the
instrument it requires both hands to be totally independent of each
other.
[0127] The inventor Has referred to the method as Morpheus Notation
because the idea is metamorphic where it can be applied to all the
global instruments. The word Morpheus encapsulates the concept as
envisioned by the inventor.
[0128] The Anubis tree combines the traditional notation method 22,
24 and 30 with my new method 18, 20 and 28. This enables people to
have choice and by including the traditional method on top, this
helps people to become accustomed to the new method, especially for
people who have spent years learning in the traditional way
already. But they would start the new method from the very
beginning and start afresh again to begin the musical creative
journey. A grid 74 is also added to the Anubis Tree to enable the
person to see the tempo involved when these notes are pressed on
the classical piano. It will consist of vertical lines 74
indicating each beat within the bar and lighter additional vertical
lines if applicable to show the breakdown of these beats within the
bar.
[0129] The top down morpheus method of teaching and learning a
musical instrument has the potential to revolutionize the way
people learn music. More people will be taking up the task of
learning an instrument whatever their age.
[0130] Braille systems can be applied to each type of technique for
various instruments, where the notation adapts to the instrument,
not the traditional way that instruments adapt to the notation. New
instruments that are invented will be immediately adaptable to the
notation as the structure sees it, the boundaries are infinity.
Because the idea is numbers & alphabetically based it will be
easy for instrument manufacturers to apply Braille to an instrument
indicating the specific range of numbers on a certain instrument,
in a clear & terse manner. Every type of instrument i.e., Key,
String, Wind, Percussion, etc., will have a different method, which
will make it simple for music publishers to print books and music
sheets specifically for playing exclusive instruments like
clarinets and flute to name a couple. The student can comprehend it
instantly and not spend years learning the theory of traditional
music notation.
[0131] This in turn will develop their own ideas because they are
feeling within themselves what they are playing which will bring
about new ways of playing an instrument. It will negate the vision
of seeing musicians stare into traditional music sheets while
playing in concerts. They will be able to adapt to any type of
music which is a huge advantage to a child who is learning
classical music, for they will be able to play standard music that
they see in music videos on MTV for example. This will in turn
develop better musicians, better music standards and even maybe the
possibility of another Wolfgang Mozart. The one difference however
is that Wolfgang Mozart could picture his music in his head before
he even played it and had it calculated in his mind how he would
like it to be.
[0132] The new Mozart will create on what they are feeling inside
which is much more powerful. An example of this is how the famous
composer Vangelis writes soundtracks for movies. He sits in front
of the screen watching the film and composes the music there and
then by judging the emotions of what the actors should or could be
feeling at that very moment.
[0133] Women will begin to get to the standard & innovation of
their male counterparts. As is the case nowadays, if someone were
to ask who are the best drummers, guitarists, composers, bass
players etc., in the world at the moment?. You unfortunately only
think of man. Because of the freedom of the mind women will begin
to create on an ingenious level which can only be good for
music.
Development of Morpheus Notation for Music Publishers.
[0134] a) Stage I: Traditional sheet music obtained along with the
disc for the piece of music.
[0135] b) Stage II: Transfer all traditional notation into the
specific keys on the classical piano 10 i.e., whether note is C5 or
a D5 on the classical piano 12.
[0136] c) Stage III: Use the full 88 note classical piano layout 10
to number the specific keys on the piano 12 i.e., C5 changes to 52,
D5 changes to 54, taking into account what fingers are used to play
these notes 18 and 20.
[0137] d) Stage IV: Add both the Leda 20 Rama 18 Clef of Morpheus
Notation to the Bass 24/Treble 22 Clefs of traditional music
notation, now referred to as the Anubis Tree 22, 24, 30 & 18,
20 and 28.
[0138] e) Stage V: Numbered key notation 28 from the exchange in
stage three is used and placed as specific numbers 28 of the
classical piano 10 on both the Leda 20 Rama 18 Clef. The exact
fingers used to play these notes i.e. whether C5 was played with
left index finger etc is placed on the correct line in reference to
the fingers of the hand 14 and 16.
[0139] e) Stage VI: The person who reads the music uses the
Morpheus Notation 18, 20 and 28 only and listens to the how the
music is played ignoring the traditional notation above it 22, 24
and 30.
[0140] As can be gleaned from the accompanying drawing FIG. 5 the
Flowchart delineates the different techniques applicable for the
Morpheus Music Notation System to the list of instruments as
mentioned above is further explained as follows:
[0141] a) Morpheus Keyed Notation I (110)
[0142] b) Morpheus Keyed Notation II (112)
[0143] c) Morpheus Keyed Notation III (114)
[0144] d) Morpheus String/Fret Notation (120)
[0145] e) Morpheus String/Non-Fret Notation (122)
[0146] f) Morpheus String Plucked Notation (124)
[0147] g) Morpheus Wind Notation I (130)
[0148] h) Morpheus Wind Notation II (132)
[0149] i) Morpheus Percussion Notation (140)
Morpheus Keyed Notation (I)
[0150] Reference: Pianos, Keyboards, Organs, Harpsichords,
Clavichords, Pianofortes, Pipe Organs & Synthesizers. Within
this technique a music notation sheet is created where the above
list of instruments is to be represented on the Leda (Left Hand)
& Rama (Right Hand) Clefs.
[0151] Each clef consisting of 5 lines each where these lines are
directly related to the finger configuration as mentioned in the
Butterfly Effect. The exact numeric value of the note or key is
placed on the lines of either clef depending on the specific finger
used to play the numeric value i.e., note or key on the instrument.
Letters A, B, C, D, E, F, G, H, I, J in consecutive order are
assigned to each finger which is directly related to layout of the
Clef structure. This enables a novice to understand instantly which
note/key to press and with what finger configuration. With respect
to Pipe Organs or other similar instruments an advancement on this
technique could be where one could also develop an idea whereby the
extra keyboards say for example those used with Pipe Organs where a
possible set up of up to seven separate keyboards or more are
assigned a number or letter (Manual Keyboards & Pedal
Keyboards). This letter or number could be placed beside the
numeric value of the note which would then indicate to a novel
person the relevant keyboard the note is to be played from on the
Pipe Organ.
Morpheus Keyed Notation (II)
[0152] Reference: Dulcimers, Vibraphones, Xylophones, Cimbaloms.
Within this technique a music notation sheet is created where the
above list of instruments is to be represented on two separated
lines on a staff. Each line indicating a row of wooden blocks
(xylophones); strings (dulcimers, cimbaloms); metal bars
(vibraphones) which are laid out. Both hands use hammers
independently or in unison to strike the wooden blocks for example:
xylophones. So an additional row of wooden blocks would be
represented by another line within the staff to indicate a third or
more supplementary rows of wooden blocks. Each wooden block in the
xylophone example is assigned a numeric value or letter which is
then placed on the relevant line on the staff to indicate the
correct wooden block to strike within the correct row of blocks.
This enables a novice to strike the correct wooden block, string,
metal bar within the correct row of wooden blocks, strings &
metal bars. An advancement of this idea could also lead to a letter
or number being assigned to both hands.
[0153] So A=Left Hand & B=Right Hand where this letter is then
placed beside the numeric value on the line within the staff, which
would then help even further so a novel person would know which
hand to use to strike the wooden blocks, strings, metal bars. The
wooden block is used only as an example, so the idea also applies
to Dulcimers, Vibraphones & Cimbaloms. In all cases within the
technique the first/top line on the staff indicates the uppermost
row of strikable blocks etc which makes it simple for a novel
person to read as in the Butterfly Effect on how people view
reading material i.e., top to bottom.
Morpheus Keyed Notation (III)
[0154] Reference: Button & Piano Accordions or similar
instruments. Within this technique a music notation sheet is
created where the above list of instruments is to be represented on
two separate clefs where the right side (melody) of the accordion
or similar instrument and its relevant note/keys/buttons are
indicated by the exact numeric value of this note.
[0155] It relates to where the note is represented by the layout of
the classical piano as explained in Morpheus Keyed Notation (I).
Accordions are arranged in categories according to the amount of
buttons they contain on the left side (accompaniment). 12 bass (=12
buttons) and all the way up to 120 bass (=120 buttons). To explain
the idea further the 120 bass will be used as an example. Because
the left side (accompaniment) of the accordion is relatively
different in its layout to the right side (melody) the second clef
would contain 6 lines i.e., 6 rows of buttons available on left
side of the 120 bass accordion and each row contains 20 depressible
buttons (20.times.6=120). Each button within each row is assigned a
letter or numeric value for example 1-20. This numeric value is
then placed on the relevant line on the clef where the innermost
row of buttons is referenced to the uppermost line on the clef and
outermost row of buttons is the bottom line on the clef. This again
is using the Butterfly Effect in how people view reading material
but the reverse of how the buttons are represented on the clef is
also true.
[0156] This enables a novel person to view the correct button/key
on the correct row of buttons on the accompaniment side and the
correct note/key on the melody side with the correct finger
configuration as used in the Rama (Right Hand) Clef in Morpheus
Keyed Notation (I). An advancement of this idea is where the
fingers of the left hand are named with the letters or numbers
i.e., A, B, C, D, E in consecutive order and then this letter
placed beside the numeric value on the Left (Accompaniment) Clef,
thus a novel person would then know which finger to use to play the
buttons on the Left side of the accordion.
Morpheus String/Fret Notation
[0157] Reference: Guitars (1-12 Strings), Mandolins, Banjos,
Sitars. Within this technique a music notation sheet is created
where the above list of instruments is to be represented on a stave
or staff of 1-12 lines which is directly proportional to the amount
of strings the instrument has.
[0158] The numeric value of the fret is placed on the relevant line
on the staff in relation to the specific string. Each technique is
to be developed where the top line on the staff represents the
specific string that a novel person sees when looking down on the
instrument while being held as in the Butterfly Effect. This idea
creates the top-bottom view of reading material. Each finger is
named with a letter or number i.e., A, B, C, D, E, F, G, H, I, J in
consecutive order and then this letter is placed beside the numeric
value of the fret.
[0159] This enables a novel person to pick up a fretted stringed
instrument for the first time and using the music sheet created
reads the sheet from top-down so the uppermost line on the staff is
the top string they see when looking down on the instrument, the
numeric value of the fret informing the novel person of the correct
fret and the letter as assigned in the finger configuration informs
them of the correct finger to use to play the fret.
Morpheus String/Non-Fret Notation
[0160] Reference: Cellos, Violins, Violas, Double Bass, Fiddles.
Within this technique a music notation sheet is created where the
above list of instruments is to be represented on one clef and the
amount of lines within the clef is directly related to the quantity
of strings on each of the above mentioned non-fret instruments. As
an example the violin contains four strings thus it is represented
on a staff of four lines.
[0161] Each note within the scale of each string on the violin is
assigned the exact numeric value it relates to on how the note
sounds on a classical piano layout. This numeric value is then
placed on the line indicating the relevant string and with the
finger configuration chart i.e., A, B, C, D, E, F, G, H, I, J the
letter is placed beside the numeric value within the staff lines. A
compact disc or cassette is then produced with the complete scale
of each string and how it should correctly sound as is the
difficulty in playing non-fretted instruments. The author of the
compact disc or cassette for example would quote "40" i.e., which
is the 40.sup.th key on the classical piano and this tone is then
played from the violin.
[0162] These kinds of instruments are played with a bow in order to
make the tone or sound from the violin so the breathing movements
used in Morpheus Wind Notation (II) could be applied here where an
analogy of the bow movement could be related to breathing movements
where <=inhale: the bow is pushed over the strings of the violin
to the left and >=exhale: the bow is pushed over the strings of
the violin to the right. These two symbols "<, >" could be
placed either above the numeric value or above the staff to
indicate bow movement over the strings of the instrument.
[0163] Sometimes the fingers are used to pluck the strings of the
violin, so the symbols would not be placed above the numeric value
thus informing the novel person not to use the bow to play the
specific note. In all ideas for the technique the Butterfly Effect
is used in how the staff lines are structured in that when a person
holds the violin the left hand is spread across the strings from
right to left so the string to the right of the instrument i.e.,
"G" is the uppermost line on the staff.
[0164] All the above would enable a novel person to play the
correct note with the correct finger configuration and correct bow
movement.
Morpheus String/Plucked Notation
[0165] Reference: Harps or similar instruments. Within this
technique a music notation sheet is created where the above list of
instruments is to be represented on the previously mentioned Leda
(Left Hand) & Rama (Right Hand) Clefs as used in Morpheus Keyed
Notation (I) because the Harp is an instrument that is played with
both hands as are keyboard instruments. Each of the two clefs
within the staff would contain as before five lines each. The
finger configuration of naming the fingers of each hand with
letters or numbers i.e., A, B, C, D, E, F, G, H, I, J and the use
of the Butterfly Effect in relation to how these letters relate to
each clef is applicable. Many harps have a range of about two
octaves or more but the exact numeric value the string relates to
on the classical piano layout is used. This numeric value is then
placed on the relevant line of each staff in reference to finger
configuration used to play the specific string on the harp.
[0166] This enables a novel person to see using the music sheet the
correct string to be played and with the correct finger. An
advancement of the technique could display an idea whereby the
upper, middle and lower part of the harp are named with any letters
for example: U=Upper M=Middle, L=Lower respectively or with
numbers. These letters or numbers are then placed beside the
numeric value of the note on the line within the staff because the
harp can produce different harmonics on different areas of the
string. This would help a novel person to play the correct numeric
value on the correct area of the specific string. Any numbers or
letters could be used to display the idea where the harp could be
split into several sections to indicate a specific area on the
string. Another advancement on the technique could be where the
breathing movements as used in Morpheus Wind Notation (II) could be
applicable i.e., <=inhale: string is plucked toward the body and
>=exhale: string is plucked away from the body.
[0167] These symbols "< or >" are then placed above the
numeric value or above the staff so a novel person would be able to
see which direction the strings of the harp are being plucked.
Other use of several different symbols could be used to indicate
the same.
Morpheus Wind Notation (I)
[0168] Reference: Recorders, Flutes, Tin Whistles, Piccolos. Within
this technique a music notation sheet is created where the above
list of instruments is to be represented on one clef and the
quantity of lines on the staff is directly related to the amount of
holes on the instrument covered by the fingers of each hand. So for
example a tin whistle has six holes so the clef would have six
lines. Another single line is then added to the staff separate from
the other six lines. The note played on the tin whistle is directly
related to the exact numeric value it represents on the classical
piano layout. This numeric value is then placed on the single line
and the finger configuration idea where the fingers of the hand are
named with letters or numbers i.e., A, B, C, D, E, F, G, H, I,
J.
[0169] The relevant letter in what fingers are covering the holes
are then placed on the relevant line where the top line on the
staff represents the uppermost hole on the tin whistle when looking
down on the instrument when playing it. This enables a novel person
to see what hole is being covered, with which fingers. An
advancement of this technique could also include the breathing
movements used in Morpheus Wind Notation (II) i.e., <=inhale and
>=exhale. These symbols are then placed above the numeric value
or above the staff to indicate the breathing movement involved in
playing the note on the tin whistle. The clef could be separated by
three lines each indicating the upper three holes on the tin
whistle and the lower three holes on the tin whistle, but ideally
the 6 lines should be on the clef together.
Morpheus Wind Notation (II)
[0170] Reference: Clarinets, Bassoons, Bagpipes, Saxophones,
Trumpets, French Horns, Trombones, Baritone Horns, Oboes, Tubas.
Within this technique a music notation sheet is created where the
above list of instruments is to be represented on two separate
clefs within the staff and the amount of lines in each clef is
directly proportional to the amount of depressible valves/keys or
buttons on the instrument and the clef is split in two where one
represents the left hand (upper clef) and the other for the right
hand (lower clef).
[0171] As an example a Clarinet would contain a staff of two clefs
each clef containing twelve lines each i.e., the clarinet has
twenty four depressible keys, through common knowledge of clarinets
we know that twelve of them are depressed with the left hand and
the other twelve are depressed with the right hand.
[0172] Finally an additional single line is placed below the two
clefs where the exact numeric value of the note on the clarinet
represents the specific key on the classical piano layout. The
twenty four keys of the clarinet are labelled 1-12 (left hand) and
1-12 (right hand) or 1-24 and the finger configuration where the
fingers of the hand are named with letters or numbers i.e., A, B,
C, D, E, F, G, H, I, J is used.
[0173] The letters are then placed on the line that relates to the
specifically depressed key on the clarinet. This enables a novel
person to see what numeric value they are playing with reference to
the classical piano, what keys are being depressed on the
instrument and with the correct finger configuration.
[0174] As before the advancement on the technique could also
include breathing movements i.e. <=inhale and >=exhale, where
the symbols are placed above the numeric value or above the staff
to indicate breathing movements involved in playing the numeric
value i.e., note on the clarinet. The clarinet is used as an
example but the idea applies to all the above referenced
instruments.
(4A)--Morpheus Percussion Notation
[0175] Reference: Standard Non-Artificial Drum Kit referred to as
(DK1) & the Artificial Synthesized Drum Kit referred to as
(DK2). Within this technique a music notation sheet is created
where the above DK1 & DK2 are represented on a staff of six
lines.
[0176] Three lines are used to identify DK1 which should be heavier
line font style compared with the three lines used to represent
DK2. The six lines are just a guide and keeps the staff slender and
easy to read, but more lines could be used, but ideally six lines
is more than enough for both DK1 & DK2 to be represented on.
DK1 refers to a non-artificial Drum Kit containing seventeen
different percussive sounds that are available on standard drum
kits that include a snare, hi-hat, cymbals to name a few. DK2
refers to an artificial Drum Kit containing a list of the many
synthesized percussive sounds available on synthesizers of today.
These two Drum Kits are represented on the full clef containing six
lines or independently where for example a standard drummer would
only need the notation sheet for the DK1 i.e., three lines, or vice
versa in regards to DK2.
[0177] On the three lower lines a list of seventeen various
percussive sounds are assigned a number or letter i.e., 1-17 in no
particular order. These numbers are then placed on either of the
three lower lines. This enables a novel person to see using the
music sheet what percussive sound is being played and the timing
involved using a structure involving bars of music in the form of a
grid when exactly these sounds are played.
[0178] On the upper three lines a list of available percussive
sounds synthetically created using a synthesizer are assigned a
number or letter. These numbers or letters i.e., 18-400 are then
placed on either of the upper three lines. This enables a novel
person to see what sound is being played and using bars of music in
the form of a grid when the sound is being played. An advancement
of this technique could also display how the sounds are related
within the stereo field especially applicable to DK2. For example a
letter or number L=Left, C=Centre, R=Right.
[0179] This letter is then placed beside the assigned number within
the clef where this identifies to a novel person using the music
sheet where the sound is originating from within the stereo field.
Ideally an international standard list of synthetic percussive
sounds from synthesizers could be created, much like the worldwide
list of GM Sounds in relation to MIDI (Musical Instrument Digital
Interface) that were created many years ago as a set standard for
GM sounds. This would lead to international music notation books
being printed under a set standard.
Advantages of Morpheus Notation
[0180] The applicant feels that the people who can change the way
music is today DIY (Do It Yourself) who self teach themselves how
to play a particular instrument. It is like going back to the idea
when composers first started writing music when traditional
notation began. There was no such thing as people teaching people
how to play an instrument. You had to create the ideas on your own.
Some of the greatest musicians, the world has ever seen began by
teaching themselves how to play an instrument i.e. Wolfgang Mozart
(composer), Edward Van Halen (guitar), Jimi Hendrix (guitar) &
Mike Oldfield (assortment of instruments).
[0181] The advantages of this type of notation are endless. No
requirement for musical theory, the technique is adaptable to suit
any instrument, but with the base (classical piano) idea or the
origin always used to form each type of technique. The window of
creativity is opened on a profound level where boundaries have not
been set which in turn gives the freedom to experiment.
[0182] However the one important breakthrough is that the blind
will be able to learn any instrument with the use of this notation
system. Braille can be inducted into the Anubis Tree, which will
indicate the numbers and beats within the bar. Braille numbers can
also be applied to the instrument with set guidelines on how to
produce these sets of numbers. Children once shown the method will
not need the presence of an adult or tutor and more people will
begin to learn instruments because of the simplicity of the
idea.
[0183] In all the above techniques mentioned the central idea where
a tone or key on a classical piano is referred to as its direct
numeric value between 1-88 on the classical piano layout and this
numeric value is then placed on the relevant staff is crucial to
the structure of Morpheus Music Notation System.
[0184] The idea of using the finger names to identify the lines on
each of the clefs is an ideal way of creating a simple structure
for music. One could also place the key value on the relevant staff
i.e. instead of the numeric value of "40","C4" or "C" is placed on
the relevant staff, but in order for the idea to be developed
across all the above instruments a set of numbers for the notes and
assigned letters for finger configuration enables the structure to
be created within a simple environment where you are not mixing
letters with letters or numbers with numbers and the Butterfly
Effect in how people view reading material is applicable. The
numeric value on the classical piano could also be any set of
consecutive or alternate numbers, letters, range of values which
could be used instead of the above mentioned 1-88 and A, B, C, D,
E, F, G, H, I, J. These values could also be placed on the spaces
within the lines of each staff in each case, but having them on the
line creates a simple structure to be viewed in a solid manner by a
novel person for the first time.
[0185] Any particular order could be involved in naming the finger
configuration method with letters or numbers or other forms of
labelling, but by naming them in consecutive order from left hand
pinkie to the right hand pinkie when these letters are applied to
the staff the butterfly effect in how people from primary age read
books from left to right and top-bottom is an ideal way to create
the notation system.
[0186] In all the above cases the idea in how each clef is
separated within each technique is a structure created specifically
to enable a novel person to view a music sheet within a simple
structure, but these clefs could be all joined together
intermittently in any form, but doing this would render the
structures difficult to read, thus the need for the separation of
the clefs.
[0187] Where the clefs are separated, one could also separate the
clefs even more as is the example mentioned where the clef for DK1
& DK2 could be separated and viewed on a music sheet
independently as just three lines for DK1 or another music sheet
with three lines for DK2. The whole idea however revolves around
separating the clefs to identify the use of the left hand
independently from the right hand. Each technique has a grid of
vertical lines placed over the clefs to identify bars in music.
[0188] One could also have for example in Morpheus Keyed Notation
(I) where just one staff is used on the music notation sheet given
to the novel person to identify the notes only with a particular
hand. This design is pointless as there are not many instruments
that are always just played with one hand. However if there is a
case for instance where a novel person had the loss of one of their
limbs, well then this design would be adaptable in order for that
person to enjoy playing music with just the one limb.
[0189] The whole idea behind the Morpheus Music Notation System is
that everyone has the right to learn a musical instrument, so just
because a person has a certain handicap in their being should not
prevent them from learning an instrument because the design of the
structure of the notation system is adaptable to everyone's
needs.
Advanced Applications of the Morpheus Music Notation System.
[0190] The following explains how this new type of notation method
could adapt to different instruments. These are just illustrative
examples of the possibilities that this new type of notation could
give to the world. TABLE-US-00001 a) Application One- Guitar
(string) b) Application Two- Clarinet (wind) c) Application Three-
Drums (percussion)
Application One-Guitar (String)
[0191] Presently in the prior art is a tab system in place called
guitar tablature 32 which dates back over a thousand years. Very
simple system involving putting numbers to the frets 36 on the
fretboard. However a colossal drawback with this method is that
when looking at the tablature you are looking at the guitar frets
upside down. Fortunately the Italians used the reverse idea, but it
never somewhat dismantled the upside down standard it is today.
[0192] There are ever decreasing ideas in regards to how to play
the instrument because of the lack of interest in guitar based
bands these days. Even though the tablature gets easy to read over
four or five years it takes a very long time to get comfortable
with it. Seems to be no structure to it as to how scales are
played. A person who picks up the guitar for the first time still
doesn't know what fingers to use when playing from the traditional
tablature.
[0193] Complex guitar solos can take up to ten years to figure out
all because of not knowing the specific fingers to use. As
mentioned before children, adults etc should have easy access
building blocks when deciding to take up an instrument and should
not have to spend many years on figuring out how a certain piece of
music was played. If a method was already in place, the person
would instantly know how it's being played, which will then lead to
time to create other ideas on playing the instrument.
[0194] In 32 there is a diagram of the traditional guitar notation
system and the idea transferred to the Morpheus Guitar Notation
idea for guitar in 34. The butterfly effect 26 in the way people
read material is functional and now that there has been a major
advancement over the last 40 years in the guitar, the person
learning the instrument should not find it difficult to read. Even
with several tricks like two hand tapping etc., shown in 76 the
possibility of informing the musician of what fingers 16 to use is
not trivial when it comes to Morpheus Guitar Notation.
[0195] At a single glance the person knows what fret to play 38
when they are looking down while playing, i.e., the specific
strings 34. The displayed finger values 16 let the person know how
that piece of music was played. Some musicians even use both their
thumbs to play different frets so the dexterity of a person will
grow much quicker in a correct method, which is of the utmost
importance. No longer is a guitarist sitting down for hours with a
complex piece of music on what fingering was used, this in turn
leads to a better musician and a happy musician, who does not give
up at the smallest hurdle. This instant method develops the
people's ability much faster, which they can then build upon after
learning the base.
[0196] In regards to all other non-fretted stringed instruments for
example: the violin, cello the above method applies where the
numeric value of the note 12 is placed on the specific string 38
within the staff. In relation to a violin for instance because it
has only four strings, then only four strings appear on its staff
within Morpheus String Notation and as mentioned earlier when a
violinist is looking down on the instrument the butterfly effect 26
is functional whereby the first string on the staff is the G
followed by D, A and E. The numeric value of the note 12 is placed
on the specific string 34 and the letter associated in reference to
the A, B, C, D, E Morpheus finger chart 14 is placed beside the
numeric value 38 as used in Morpheus Guitar Notation 34.
[0197] To enable the person to train oneself in references to what
these numeric values should sound like a disc with the full tonal
range of the violin is used. So on the disc the author would say
40, which is C4 on classical piano layout 10 for example, then the
sound of this note is played.
[0198] Again each structure for Morpheus Music Notation must be
developed from the origin of the classical piano layout in 10. As
the violin is fretless all other fretless stringed instruments
would follow the same pattern. Each structure being based on the
amount of strings the particular fretless stringed instrument
has.
[0199] Along with this the idea mentioned in breathing movements 78
in Morpheus Wind Notation could be applied here where the violin is
literally breathing in and out when the bow is used to play the
numeric values on the violin. So breathing in i.e., the bow is
pushed to the left indicated by < and when breathing out the bow
is pushed to the right >. These two symbols could be placed
above the numeric value on the staff to indicate the movement of
the bow.
[0200] With reference to an instrument like the Mandolin which has
pairs of strings where each pair of strings represent G, D, A and
E. The Morpheus String Notation for this instrument would have a
staff consisting of eight lines and because it is an instrument
like the guitar where you look down on it, the first line on the
staff would be G1, G2 then D1, D2 and so on. Then the numeric
values 38 would be used to indicate the note as referenced to the
classical piano layout 10 along with the finger configuration chart
in 14 and 16.
[0201] The same idea could be applied to the 12 string guitar where
you have a set of twelve strings E1, E2, A1, A2, D1, D2, G1, G2,
B1, B2, E1, E2 centred around a twelve line staff and as before 34
the low E is indicated as the first line on the staff.
Application Two-Clarinet (Wind)
[0202] The clarinet 40 and many brass instruments because of their
complexity in releasing air in & out are very difficult
instruments to master. Current philosophy when it comes to the
clarinet is practice your scales before you proceed any
further.
[0203] It is very unfair to a child who begins to play the
instrument. If there was an organised chart to say what notes to
play with what valves, keys etc with regards to wind instruments,
it could enable a player to practice without breathing into the
instrument.
[0204] Although breathing is a very important part in a wind
instrument if you are out of breath after 15 minutes practicing,
you won't get much done in such a short period of time. The
inventor recommends the following.
[0205] Depending on how many keys, buttons 48 etc., that can be
depressed are laid out in the staff in Morpheus Wind Notation 50
and 52 for Wind Instruments. A staff say with twenty four lines 50
and 52 for the clarinet 40 as an example is created representing
each depressible key 48.
[0206] Using the Finger chart 14 and 16 A, B, C, D, E, F, G, H, I,
J the staff 50 and 52 will display top-down motion as mentioned
earlier so E indicating i.e., left hand thumb is placed toward the
top of the staff 50 as the left hand 14 is the upper hand used when
playing the clarinet and the rest of the finger letters follow down
the staff 52.
[0207] Because of the several different types of wind instruments
available corresponding to various keys i.e., like the saxophone
for example where there are several different grades of saxophones
a chart is created for each individual type. The student then
instantly knows the fingering 56 involved when playing the
instrument and whatever specific note.
[0208] A separate line 54 is then added and the exact note played
is referenced to the classical piano 10 (base instrument) number
i.e., B flat=the 26.sup.th key on the piano 12.26 is then placed on
this line so the student gets familiar with what range they are
playing within the piano 10. An advanced idea could also portray in
the Morpheus Notation a list of breathing exercises along with when
to breath in before playing a particular note 78 and when to breath
out i.e., <=breath in (inhale), >=breath out (exhale).
[0209] These symbols could appear above the particular notes 78 to
teach the student the importance of when to exhale & inhale
while playing specific notes on the clef.
Application Three-Drums (Percussion)
[0210] Two drum kits are complied one referred to as DK1 60 which
will be standard drum kit containing 17 different percussive
sounds. The list of percussive sounds are as follows:
TABLE-US-00002 1. BASS DRUM 2. SNARE DRUM 3. HI-HATS 4. CRASH
CYMBAL 5. RIDE 6. CONGA 7. SNARE DRUM II 8. CONGA II 9. CRASH
CYMBAL II 10. CRASH CYMBAL III 11. TOM 12. TOM II 13. BASS DRUM II
14. CRASH CYMBAL IV 15. CRASH CYMBAL V 16. TOM III 17. TOM IV
[0211] Each percussive instrument is assigned a number which is
then placed on the bottom 3 lines of the staff 64 used in Morpheus
Percussion Notation 58 for Percussion instruments.
[0212] The second kit is the Advanced Drum Kit DK2 62 refers to the
complete list of percussive sounds from 18-400 as an example
currently available in synthesizers in present time. A worldwide
standard list of percussive/effects is created and then assigned a
number. These numbers are then placed on the upper three lines 66
of the Morpheus Notation for Percussion 58. A letter L=Left;
C=Centre; R=Right is placed beside the number 68 in reference to
its location within the stereo field.
[0213] This would enable complex percussive synthesizer passages to
be set down in a notation format for musicians, producers etc, so
they know exactly where they had placed a percussive instrument
within the stereo field. When the band would then play in a live
situation the percussive instruments could be replicated as the
musician knows exactly where the sound should be coming from using
the Morpheus Notation System for Percussion.
[0214] The first Kit (DK1) gives a standard drummer an easy way of
following music as indicated in 60. The Advanced Kit (DK2) 62 gives
the synthesizer musician trying to learn the complex percussive
recording a complete and thorough idea of what was involved to
create the idea which in turn leads them onto explore new ideas. An
example of this is the record by Madonna `Ray of Light` which was
produced with William Orbit. This really was a groundbreaking
record with the selection of percussive ideas that were used.
[0215] Following is a listing of the components used in the best
mode preferred embodiment and the alternate embodiments for use
with OEM as well as retrofit markets. For the ready reference of
the reader the reference numerals have been arranged in ascending
numerical order.
[0216] 010=Piano Keyboard Layout
[0217] 012=Numeric Value of Musical Note on Keyboard for example
61=A5 on Piano Keyboard
[0218] 014=Configuration of letters on left hand from pinkie to
thumb
[0219] 016=Configuration of letters on Right hand from thumb to
pinkie
[0220] 018=Right Hand Rama Clef
[0221] 020=Left Hand Leda Clef
[0222] 022=Treble Clef prior art notation
[0223] 024=Bass Clef prior art notation
[0224] 026=Butterfly Effect
[0225] 028=Numeric value of note on keyboard shows placement on
Clef vis-a-vis finger configuration
[0226] 030=Prior art music notation symbols (Crotchets, Quavers,
Minims)
[0227] 032=Bottom Up Prior art Guitar Tablature Clef
[0228] 034=Top Down Butterfly Morpheus String/Fret Notation for
Guitars
[0229] 036=Numeric value of Fret Number and how a "G Chord" is
represented on prior art bottom up Guitar tablature
[0230] 038=Numeric value of Fret Number and how a "G Chord" is
represented on morpheus top down Guitar tablature
[0231] 040=Clarinet
[0232] 042=Back of Clarinet
[0233] 044=Displays how the 24 depressible keys on a clarinet are
separated where the amount of keys on the instrument are referenced
to another clef within the staff containing 12 lines indicating
keys to be played with the left hand
[0234] 046=Displays how the 24 depressible keys on a clarinet are
separated where the amount of keys on the instrument are referenced
to another clef within the staff containing 12 lines indicating
keys to be played with the right hand
[0235] 048=Each depressible key, valve, button on the instrument
within morpheus wind notation (II) 132 is assigned consecutive or
alternate numbers or letters in this case from 1-24, but it can
also be 1-12 for the left hand keys and 1-12 for the right hand
keys
[0236] 050=This Clef represents all the depressible keys, valves
and buttons on the instrument which is for the left hand. The Clef
contains 12 lines wherein the number of lines is directly
proportional to the number of keys, valves and buttons etc on the
instrument
[0237] 052=This Clef represents all the depressible keys, valves
and buttons on the instrument which is for the right hand. The Clef
contains 12 lines wherein the number of lines is directly
proportional to the number of keys, valves and buttons etc on the
instrument
[0238] 054=A separate single line is added to the staff for
morpheus wind notation II 132, where the exact numeric value of the
classical piano keyboard is the same note on the clarinet. This
numeric value is then placed on the line for example 40=40.sup.th
note on the classical piano which Is "C" on the clarinet or
47=47.sup.th note on the classical piano which is "G" on the
clarinet. In order to play G on the clarinet, there are no keys
pressed on the instrument, so a single vertical line could be
placed on the morpheus wind notation II, 132, across the two clefs
to identify this.
[0239] 056=The hands are assigned letters or numbers from the hand
configuration idea and the finger that plays the specific key on
the clarinet is placed on the relevant line where this line
represents the specific key, valve or button on the instrument. For
example H=Middle finger of right hand. This letter is placed on the
line of the staff in the lower clef which references keys played
with the right hand.
[0240] 058=Displays the staff that represents the morpheus
percussion notation 140, which Contains 3 lines in upper part of
clef which is where the numeric values of the DK2 are placed
[0241] 060=Displays the other 3 lines making up the staff that
represents the morpheus percussion notation which contains 3 lines
in lower part of clef which is where the numeric values of the DK1
are placed
[0242] 062=This numeric value in DK2 is the artificial or
synthesized drum kit containing all the sounds of contemporary
synthesizers. The sounds are listed and assigned numeric value for
example between 18 and 400. This list is created by a standard
international body much like the way GM sounds in MIDI were
created. For example the numeric value of 293 could represent a
"Triangle" as played from a synthesizer
[0243] 064=This numeric value in DK1 is the non-artificial drum kit
containing a list of say 1-17 different percussive sounds from a
standard drum kit. An international body could create the standard
list assigning a numeric value to the particular percussive sound.
For example the numeric value of 3 could represent a Hi-Hat as
played from the contemporary drum kits.
[0244] 066=This numeric value in DK2 is placed on one of the 3
upper lines on the clef. For example 72 could represent "AGOGO"
Bell from a synthesizer
[0245] 068=This displays the synthetic percussive sounds relevant
in the stereo field where L=Left, C=Center and R=Right in stereo
field.
[0246] 070=On morpheus keyed notation (I) 110, the numeric value of
38=38.sup.th note the classical piano is B4 flat i.e. a black note
on the piano keyboard. To identify this on the CLEF, the numeric
value could be in bold or a larger font to distinguish it from the
white notes on the keyboard.
[0247] 072=To identify chords in the morpheus keyed notation (I)
110, and all other relevant techniques where the numeric values are
grouped together to indicate concurrent play
[0248] 074=A grid is applied to the music sheet where vertical
lines (4 in case of 4/4 tempo music) are placed over the two Clefs
to indicate beats within a bar. This helps the novice reading the
music notation sheet with the timing of the specific numeric values
on each of the clefs.
[0249] 076=In case of two hand tapping on a guitar, the letter of
the left hand in regards to finger configuration is placed beside
the numeric value to indicate notes played with the other hand
also
[0250] 078=Symbolic representation of breathing movements where
<=inhale and >=exhale placed above the staff or even within
the staff to indicate the breathing movement while playing the wind
instrument 130. It should be noted that a similar concept can also
be used in other scenarios where an instrument like the violin,
which involved "BOW" movement to the left and right i.e. <Bow
pushed to the left and >=Bow pushed to the right
[0251] 100=Top Down Morpheus notation system generally
[0252] 110=Morpheus Keyed notation I
[0253] 111=Key instruments generally
[0254] 112=Morpheus Keyed notation II
[0255] 113=Dulcimers, Vibraphones, Xylophones, Cimbaloms & the
like
[0256] 114=Morpheus Keyed notation III
[0257] 115=Accordions
[0258] 120=Morpheus String/Fret Notation
[0259] 121=Guitars (1-12 strings) Mandolins, Banjos, Sitars the
like
[0260] 122=Morpheus String/Non-Fret Notation
[0261] 123=Cellos, Violins, Violas, Double Bass, Fiddles and the
like
[0262] 124=Morpheus string/plucked notation
[0263] 125=Harps
[0264] 130=Morpheus Wind Notation I
[0265] 131=Recorders, Flutes, Tin Whistles, Piccolos and the
like
[0266] 132=Morpheus Wind Notation II
[0267] 133=Clarinets, Bassoons, Bagpipes, Saxophones, Trumpets,
Oboes, French Horns, Trombones, Baritone Horns, Tubas and the like
instruments.
[0268] 140=Morpheus Percussion Notation
[0269] 142=Standard Non-Artificial Drum Kit (DK1) and Artificial
Synthesized Drum Kit (DK2)
DEFINITIONS AND ACRONYMS
[0270] A great care has been taken to use words with their
conventional dictionary definitions. Following definitions are
included here for clarification.
[0271] Anubis=A tree like structure that integrates morpheus
notation with prior art notation for easy transition
[0272] DK1=Standard Non-Artificial Drum Kit
[0273] DK2=Artificial Synthesized Drum Kit
[0274] Integration=Fusing or joining together to become as one
unitary member
[0275] Interface=Junction between two dissimilar but optionally
matching entities
[0276] Morpheus=Two hands independent of each other with global
approach all human audio range musical instruments including key,
string, wind and percussion and permutations and combinations
thereof.
[0277] Stave/Staff=A set of n (usually 5) horizontal lines with
corresponding (n-1) usually 4 spaces between them on which music is
written.
[0278] The reader can now readily see how the above detailed
description results in the following benefits of the invention over
the prior art. [0279] a) User Friendly self teaching of any musical
instrument [0280] b) Suitable for people of all ages and gender in
all types of situations. [0281] c) Multiple uses in a wide range of
situations and circumstances. [0282] d) Easily adaptable for other
uses. [0283] e) Intuitive top down butterfly morpheus music
notation system
[0284] While this invention has been described with reference to
illustrative embodiments, this description is not intended to be
construed in a limiting sense. Various modifications and
combinations of the illustrative embodiments as well as other
embodiments of the invention will be apparent to a person of
average skill in the art upon reference to this description. It is
therefore contemplated that the appended claim(s) cover any such
modifications, embodiments as fall within the true scope of this
invention.
* * * * *