AbstractAn apparatus for teaching musical notation to students by playing familiar card games. A deck of playing cards is utilized which contains musical notation and colored suits rather than the typical numbers with named suits. The musical notation symbols are printed in the corners of the cards to allow them to be used in card games. The deck can be used to play a variety of common card games such as Crazy 8's and Go Fish, as well as new games that take advantage of unique musical notation. By playing card games with these musical notation cards, the student becomes fluent in reading music.ClaimsThe embodiments of the invention in which an exclusive property or privilege is claimed are defined as follows:1. An educational game comprising:a deck of playing cards containing a plurality of suits, each suit being identified by a figural cartoon on a colored background, so labeled in the center of each card, said suit designation being exactly the same on each card within each said suit,each card within said suit carrying different and unique indicia thereon that represents a single symbol of musical notation only,each and every card within a suit having exactly one matching card with identical musical notation in each other suit.2. The apparatus of claim 1, wherein the single symbol of musical notation on each card may be any one of the following symbols: note symbol, rest symbol, sharp symbol, flat symbol, natural symbol, repeat symbol, or triplet symbol.3. The apparatus of claim 2, wherein the note symbols are comprised of single eighth notes, with each note card representing each of the consecutive pitches of a two to four octave scale.4. The apparatus of claim 3, wherein the consecutive pitches of a two to four octave scale span both the Bass Clef and the Treble Clef within each suit.5. The apparatus of claim 1, wherein the deck of playing cards includes a musical chair card containing only a designation of a chair, said card being unique in the deck and not belonging to any suit. 6. The apparatus of claim 1, wherein the deck of playing cards includes a reference card, not for use in regular play and not part of a suit, which identifies the letter names of all of the pitches used in that particular deck of playing cards.7. A deck of playing cards containing a plurality of suits, each suit being identified by a figural cartoon on a colored background, so labeled in the center of each card, said suit designation being exactly the same on each card within each said suit,each card within said suit carrying different and unique indicia thereon that represents a single symbol of musical notation only,each and every card within a suit having exactly one matching card with identical musical notation in each other suit,said deck including a special purpose playing card containing a depiction of a chair,said card being unique in the deck and not belonging to any suit.8. The apparatus of claim 7, wherein the chair designation is a symbol designed to represent the game "Musical Chairs".DescriptionA portion of the disclosure of this patent document contains material which is subject to copyright protection. The copyright owner has no objection to the facsimile reproduction by anyone of the patent document or the patent disclosure, as it appears in the Patent and Trademark Office patent file or records, but otherwise reserves all copyright rights whatsoever.BACKGROUND OF THE INVENTION1. Field of the InventionThis invention relates to playing cards used for educational and entertainment purposes, and more particularly to a versatile deck of musical notation cards which may be used in many ways to play many different games.To entice students to memorize musical notation for the purposes of reading and performing music, the present invention endeavors to make this experience more entertaining, and thus more successful.2. Description of the Prior ArtMany games, educational methods and teaching aids have been created to assist students in learning how to read music. Illustrative examples of earlier approaches include those set forth in the following U.S. Patents:U.S. Pat. No. 5,540,132 (Hale) teaches of music education system involving symbolism. U.S. Pat. No. 702,298 (Frederickson) teaches of a musical card game. U.S. Pat. No. 4,465,282 (Dillon) and U.S. Pat. No. 4,895,374 (Bowles) disclose new board games that relate to musical education.Another common method for teaching music notation is by utilizing flash cards. These cards contain a musical note or symbol, and the student is asked to name the note or symbol as quickly as possible.The prior art systems involve new and different game rules, so the student must learn a new game as well as the new language of music. This can become too complex to the student and result in disinterest and lack of desire for repeated play. Specific games also tend to appeal to a limited skill level and limited audience. The game may quickly lose its appeal after a few rounds of play.In learning musical notation and terminology, the desired goal is simply associating the visible musical note with its given alphabetical name, and ultimately it's audible tone. Some of the prior art systems also introduce symbolism for associating notes of the scale with colors or objects. This introduces another layer of symbolism that is irrelevant and must later be disassociated with the musical notation as the student advances.Other prior art systems are focused specifically on learning the notes as seen on the piano keyboard. Many other instrumentalists or vocalists would benefit from a more general approach to learning musical notation.The flash card system is excellent at providing a means for rote memorization, with no intermediate symbolism introduced. However, it becomes quickly uninteresting and is typically regarded as a chore rather than entertainment. Thus, students tend to be less focused and efficient in learning the notation, and the distaste can continue into the other aspects of learning how to perform music as well.What is needed therefore, and an object of the present invention, is an efficient method and apparatus for learning and memorizing musical notation in a straightforward approach, which involves repetitive use of the language of music while playing games that are already familiar to the student from his previous experience.It has been shown that repetition is an important technique for learning any new language. Musical notation, a system of circles and lines and spaces, can be considered a new language to a beginning student. Normally, the repetition and memorization only occur in a music lesson or through homework or other assignment. An entertaining method for providing this repetition is needed to capture the interest of the student for a long enough period so successful memorization can occur.Other basic languages can be reinforced and taught throughout everyday life. The letters of the alphabet, colors, and basic mathematical relationships can be seen in many aspects of the student's normal environment. Exposure and memorization can occur continually throughout the day. The language of music, however, is not readily apparent in everyday life. In order to learn this language, specific exposure needs to be instigated. Repetitive exposure through the play of entertaining games is an effective technique for learning and remembering the names and meanings of musical notation.SUMMARY OF THE INVENTIONThis invention enables students to learn the language of music by using musical notation while playing common card games, which should already be familiar to the student. By repeatedly using musical notation while playing familiar card games, the student quickly becomes comfortable with reading music.A deck of playing cards is disclosed which utilizes musical notation and colored suits instead of the typical numbers with named suits. The musical notation symbols are printed in the corners of the cards to allow them to be used in card games. The musical symbols are shown exactly as they would appear in normal printed sheet music. For example, the treble clef notes are shown on the normal musical staff, with the treble clef indicia in its normal location at the beginning of the staff.The deck can be used to play common card games such as "Memory" and "Go Fish". The games are played by matching and naming the musical notes or symbols, instead of matching the traditional numbers as would be done with a typical deck of cards. This invention is based on games already proven to be entertaining because of their popularity. Furthermore, additional rules can be applied due to the unique nature of musical notation. For example, a match can consist of matching the name notes across octaves as well as identical note matches. By reading musical notation while playing card games, the familiarity and comfort with the notation comes very quickly.Increased fluency in music reading can be achieved by playing increasingly difficult or more complex games. Beginning students can learn on simplified versions of the "Old Maid" game by playing with a small number of cards. Increased proficiency can lead to playing more complicated games such as "Spoons" or "Klondike Solitaire".As the student becomes familiar with the musical notes, extra cards with additional musical symbols can be added to certain games to make them more interesting. Several unique musical notation cards can be added to make the game "Crazy 8's", for example, more tailored towards musical enthusiasts, and increase the vocabulary of the students in the language of music.Furthermore, the deck is general enough in nature to allow creative players to invent new games, or more interesting variations of popular traditional card games.Hence, this single game system with this versatile deck of cards may be used in many ways to play many different games, and accommodate a variety of skill and age levels. Solitaire as well as group games can be played, to accommodate individual study or large groups or classes.Motivating students to memorize musical notation for the purposes of reading and performing music is a common problem. The present invention endeavors to make this experience more entertaining, and thus more successful. Children and adults enjoy playing games, particularly familiar card games. With this inventive game, children can enjoy learning and practicing musical notation with adults or amongst themselves, without the supervision of a parent or teacher.Adults find the games entertaining because they force the player to think in terms of a language not typically associated with these games. This single inventive card game system that appeals to adults as well as children has a further advantage in that children are motivated to play a game that adults seem to enjoy. Even if the actual game played is different and more in line with their skill level, the same novel deck of cards is used. Adults will find that using this game system will initiate an overall interest in children learning the language of music.The games appeal to a wide range of skill and age levels, and support individual play as well as group participation. Furthermore, the games are general enough to teach musical notation itself, not as it pertains to any specific instrument. Also, the game apparatus is general enough to allow new game rules to be invented by the players to encourage improvisation and continued interest, thus enlarging the audience and lengthening the useful life of the game system.Accordingly, an advantage of the invention is to provide an educational game which has wide appeal to a large audience of people spanning a large age group. In particular, an object is to provide a deck of cards that supports many different games, but that utilizes the language of music as the basis. Here an object is to provide a single deck of cards which can function as flash cards for teaching very young children to read music or can be used by older children and adults to play a variety of games, some being sophisticated games. A further object is to provide a means for creating games that may be invented by the players themselves.Further advantages of this invention will appear more clearly from the following description of a non-limiting illustrative embodiment and the accompanying drawings in which like numerals designate like parts throughout the several views.BRIEF DESCRIPTION OF THE DRAWINGSThe foregoing and other objects, features, and advantages of the invention will be apparent from the following more particular description of preferred embodiments as illustrated in the accompanying drawings. Reference characters refer to the same parts throughout the various views. The drawings are not necessarily to scale, emphasis instead being placed upon illustrating the principles of the invention.FIG. 1 shows the faces of 3 representative cards from the deck of game cards. It illustrates a Bass Clef C card in the suit of "Blue" or "Cat", a rest sign card in the suit of "Green" or "Elephant", and a Treble Clef B card in the suit of "Red" or "Bear".FIG. 2 shows an entire suit of 21 cards, representing a full 2-octave C-major scale of notes, a repeat sign, a triplet sign, a rest sign, a sharp sign, a flat sign, and a natural sign.FIG. 3 shows a reference card, which indicates the names of all of the pitches.FIG. 4 shows a Musical Chair card.FIG. 5 shows the layout of the playing cards on the playing surface during a typical game of COUNT BASIE鈩?FIG. 6 shows the layout of the playing cards on the playing surface during a typical game of NAME THAT WORD鈩?FIG. 7 shows the movement of players after the Musical Chair card has been played during a game of CRAZY 8THS鈩?DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTIn the following description, for purposes of explanation and not limitation, specific details are set forth in order to provide a thorough understanding of the present invention. However, it will be apparent to those skilled in the art that the present invention may be practiced in other embodiments that depart from these specific details.The following detailed description involves musical notation terminology. For clarity, the terms are defined here in the context with which they will be used throughout the description and claims.(A) "Indicia" are the markings on the top left and bottom right of each card. The indicia referenced herein represent musical notation.(B) "Musical notation" refers to any markings that exist in written music. The specific musical notation cited in this patent disclosure is comprised of the markings defined in sections (C) through (S) below:(C) A "note sign" is an individual marking that represents a tone of a given duration, or value. The value of the note is defined by the shape of its note sign. The common range of values spans between a whole note, meaning it lasts 4 beats, down to a 64th note, meaning it lasts only 1/64th of a beat. FIG. 1 shows an eighth note sign 6.(D) A "note symbol" is defined here as a collection of note signs. In this disclosure, note symbols can be made up of from 1 to 8 note signs.(E) A "musical staff" 4 is a collection of 5 equally spaced horizontal lines, used as a background for written musical notation.(F) A "clef" is a sign that is placed at the left side, or beginning of the musical staff lines, to indicate the range of pitches that the following staff lines support. The most common clefs are the "Treble Clef" and the "Bass Clef", represented by the symbols 7 and 5, respectively.(G) A "pitch sign" is created by placing a note sign on the musical staff. The position of the note sign relative to the staff lines represents a given pitch, or frequency, of the tone. The 8 pitches of a musical scale have alphabetical names in the range from A to G. The clef signs are used to further define the name of a given pitch, such as Bass Clef C. However, the range of pitches written in piano music covers a very broad range, covering several scales. Thus, there are actually several "C"s in the Bass Clef, for example. To name pitches in absolute terms, a common practice is to reference the key number on a standard 88-key piano.(H) A "pitch symbol" is defined here as a collection of pitch signs. In this disclosure, pitch symbols can be made up of from 1 to 8 pitch signs. This allows the pitch symbols to represent chords or intervals of pitches, as well as individual pitches.(I) An "octave" represents a doubling of the frequency of the pitches. The 8 pitches of a scale within an octave have alphabetical names in the range from A to G. These names repeat every octave.(J) A "rest sign" represents a period of silence for a measured time, or value. The value of the rest is defined by the shape of its rest sign. The common range of values spans between a whole rest, meaning it lasts 4 beats, down to a 64th rest, meaning it lasts only 1/64th of a beat. FIG. 1 shows a quarter rest sign 8.(K) A "rest symbol" is defined here as a collection of rest signs. In this disclosure, rest symbols can be made up of from 1 to 8 rest signs.(L) A "repeat symbol" is a marking that means repeat the previous section or group of measures.(M) A "triplet symbol" is a marking that means play the three indicated notes in the same time that one would normally play two notes of that value.(N) A "sharp sign" means play the accompanying pitch one half step higher.(O) A "sharp symbol" is defined here as a collection of sharp signs positioned on the musical staff. In this disclosure, sharp symbols can be made up of from 1 to 7 sharp signs.(P) A "flat sign" means play the accompanying pitch one half step lower.(Q) A "flat symbol" is defined here as a collection of flat signs positioned on the musical staff. In this disclosure, flat symbols can be made up of from 1 to 7 flat signs.(R) A "natural sign" means play the accompanying pitch as written, canceling any previous sharp or flat indication.(S) A "natural symbol" is defined here as a natural sign positioned on the musical staff.(T) When the sharp, flat, and natural signs are used with individual pitches, they are called "accidentals". Sharp and flat symbols are also used at the beginning of a phrase of music to indicate the key signature.Each card in the preferred embodiment is constructed of a thick paper material, such as that used in a traditional poker deck of cards. The material needs to be flexible enough to facilitate shuffling and dealing as would be done with a typical deck of cards. The inventive playing cards are substantially similar in size and aspect ratio to those cards used in a standard poker deck to allow the cards to be easily shuffled and handled during use.Each card is uniquely identified with a colored suit indication 2 in the center body of the card and musical notation indicia in the top left 20 and bottom right 14 corner. The musical indicia are different for every card within a suit. The musical indicia are so placed so the cards can be read correc...
Hi, quk question... the presets on the g2, that have "NL2" and "NL3" in the title... I'm assuming that they mean they are Nord Lead 2 and 3 emulations? Is that the tual strture of the nl2 and nl3, or just approximations? thanks!AFAIK just the sound, not the strture.Woutthanks.I think I might take ark at emulating the strture. Ive dled the NL3 manual, whh has the flowhart. index » lavia Nord Modular » Nord Modular G2 DiussionPlease support our site. If youlk through and buy from our affiliate partners, we earn a smallommission.Hi,I was fiddling around with the demo today and fired upubase SX t...
I suppose MIDI-Ox's usefullness may vary, cording to the situation. MIDI-Ox is a Godsend to my setup. Right now I'm using two sequeer programs - Softstep, whh is an eellent algorithm software step sequeer and this miserable sequeeralled Anvil Studios. As an example of one use, Anvil studios, though it advertises that itan t as the master, will not on my system, bause Ian't send the output to a "synthesizer". A synthesizer, in Anvil's view, is a file that defines some synthesizer. I have no sh file on hand for any of my synths, so when I try to port it straight to my MIDI out, Anvil tells me that this "Makes no sense" (!) bause I "don't have itonnted to a synthesizer". I don't know what they think my frikkin MIDI out isonnted to - a flowerpot, perhaps? So, what, pray tell, does one do? Why, one simply buys their whahamallit synthesizer defintion program for X$$, then Anvil will be happy to t as master as soon as it "knows" it'sonnted to a synthesizer. So, they say it does it for free but it don't.But, I want to sy Softstep with Anvil. And I want to send thelk signal out to my SH-201, too, inase I want to use the arpeggiator and LFOs in time with the material.Enter MIDI-Ox. Remember, as Jan says, the true bow-ah of MIDI-Ox is in MIDI-Yoke - you gotta have MIDI-Yoke. Eh "Yoke" in MIDI-Yoke is an elusive peline to or from any MIDI deve (hardware or software) that you have. MIDI-Ox has this great MIDIlktransport built into it (it also has M, if that's your thing). I start up an instae of MIDI-Ox and pe thelk to the yoke 5, and to, say yoke 1 and yoke 2.Yoke 1 feeds thelkstartstop info to Softstep, and Yoke 2 feeds the same thing to Anvil (tually,ome to think of it, Iould do that with one yoke, but anyhoo..). Softstep and Anvil are set up as slaves. Softstep sends its data out to, say yoke 3 and Anvil sends its data out to, again for example, yoke 4.I then start a sond instae of MIDI-Ox. I set as the input yoke 3, yoke 4 and yoke 5. Now Softstep and An...
seraphEditorJoined: Jun 21, 2003: 10749Lation: Firenze, ItalyAudio files: 17G2 pah files: 2is it only 2 sonds long?_________________homepage - forum - myspe - virb - berkleemusQuote:seraphEditorJoined: Jun 21, 2003: 10749Lation: Firenze, ItalyAudio files: 17G2 pah files: 2you are right safari loads itorrtly, Firefox doesn't. never seen anything like that. ne song I would turn the bass volume down a little or I would equalize it differently. it is too invasive for my taste (but that's me )_________________homepage - forum - myspe - virb - berkleemusQuote:destroyifyerJoined: Mar 22, 2006: 307Lation: USAAudio...
AbstractA device for use in an electronic musical instrument, in which data representing musical factors such as a tempo, a pitch and a timbre are changed at each repetition of an automatic performance, to thereby automatically effect variable automatic performances. Further, data representing a chord type and a chord root are input by a character-data input device such as a ten-key pad, and thus a chord input operation is facilitated, and moreover, a complicated finger manipulation becomes unnecessary. Furthermore, data representing chord types is input by at least one of the pitch input devices, and data representing chord roots is input by at least one of the other pitch input devices, and thus a chord performance is facilitated. Further, many types of chords can be performed, and moreover, the type and the root of a chord to be next performed, as well as those of a chord currently performed, are displayed, and thus the content of the chord to be next performed can be known in advance, whereby a chord performance can be smoothly effected.ClaimsWhat is claimed is:1. A musical-factor data changing device for use in an electronic musical instrument, said musical-factor data changing device comprising:storage means for storing a plurality of performance information;reading means for reading the plurality of performance information from said storage means in a performance progression order;performance means for performing a piece of music according to the plurality of performance information read by said rea...
h4>AbstractAccording to the invention, formant waveform signals which are waveforms synthesized from frequency components corresponding to formants of musical tones, are stored and read out or generated. When such formant waveform signal is read out or generated, the density of frequency components of the formant of the formant waveform signal is controlled and also the frequency of a formant center signal which is to be synthesized is a center signal with the formant waveform signal is controlled. In this way, the formant waveform signal is synthesized on the formant center signal. Thus, the density of formant frequency components and the formant center signal frequency can be controlled separately and independently. Further, the kind of formant waveform signal is switched according to musical factors of musical tone. Thus, different kinds of formant waveform signals to be output are switched according to musical factors of musical tones.ClaimsWhat is claimed is:1. An apparatus for generating musical tones comprising:formant waveform signal storage means for storing formant waveform signals having waveforms synthesized from frequency components of formants of musical tones;reading means for reading a formant waveform signal from said formant waveform storage means;formant density data generating means for generating formant density data indicative of the density of the frequency components of a formant of the formant waveform signal read out by said reading means;reading control means for controlling, during the reading of the forman...
Palmtop computers, usually referred to nowadays as PDAs, have been around since the beginning of the eighties. However, they have only really taken off in a big way in the last few years. The simple reason for this is that more recent models have been able to do a heck of a lot more for us, thanks to innovative technologies such as 3G mobile telephony and wireless connectivity. A modern PDA, such as a Nokia N series or a BlackBerry, can do many of the things that a modern PC can do, such as connect to the internet, and run third party applications, as well as doubling as a rather swish mobile phone.The first true palmtop computer, released in 1983, was the Casio PF3000, which was able to replicate all the functions of a paper based Filofax or Rolodex in one portable, battery powered package. Throughout the eighties and nineties, a number of similar items built by firms such as GO and Psion were marketed as digital personal organisers.The first company to use the name of Personal Digital Assistant(PDA) to describe these devices was Apple, who coined the term to promote their revolutionary new palmtop computer, called the Newton, in 1992. The most revolutionary thing about the Newton was that there was no keypad. Instead, the Newton came with a touch sensitive screen that you used in conjunction wit...
When that 486 is one of the first series and youan find an old MPU401 ISAard (or alone) for it your MIDI might be just as good as on old Atari mhines. Hk, even under windows oneould get good timing then ...Sorry for the OT, good memories JanI didn't mean to be presumptious, or sound like a smartarse, I just want to find a good reason to iorporate it into what I do.I do all myomposing on my oneomputer, on whh I runakewalk. Anything I do inakewalk gets sent to "Soundfont Deve A", "Soundfont Deve B", or to the external Midi port."Soundfont Deve A" and "Soundfont Deve B" are both inside my XFi sounard. They have 16 midihannels eh, andan have any soundfont loaded into them and remembered for eh pie. (I've got about 900MB of Soundfonts I'veollted, Iould organize to send you the whole set if you like.) They are all .sf2 files. Does that make a differee? I think Sfzan play sf2 files.I'm just not sure how or why I would iorporate MidiOX into this setup.BTW You'd think with everything setup so neatly I'd be outputting more mus wouldn't you? Yes,.... It makes me wonder too. I suppose MIDI-Ox's usefullness may vary, cording to the situation. MIDI-Ox is a Godsend to my setup. Right now I'm using two sequeer programs - Softstep, whh is an eellent algorithm software step sequeer and this miserable sequeeralled Anvil Studios. As an example of one use, Anvil studios, though it advertises that itan t as the master, will not on my system, bause Ian't send the output to a "synthesizer". A synthesizer, in Anvil's view, is a file that defines some synthesizer. I have no sh file on han...
index » News... » oerts and FestivalsPlease support our site. If youlk through and buy from our affiliate partners, we earn a smallommission.Hello everybody, how ne to find a busy and friendly Andromeda !My Andy fails autotune on voes 5, 6, 7 ,8, 11 and 12. Also, while autotuning it prodes a lot of white noise. When it has finished autotuning, the white noise ramps up massively and disappears as eh of the failed voes is swihed bk on manually.Voes 4,5,6,7 + 8 report that O 1 and O2 are TOOLOW. Voes 11 + 12 report BADFILTMind you, I shouldn'tomplain, as I did get it out of a dustbin.The insides are pretty filthy,...
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genius....his cd's are really good.
listening to "Like Flies on Sherbet" -- seems like Chilton understood the impact of closed loop historical revisionism memphis (and the broader record/rock music industry) was drowning itself in at least as early as what was it, 1979? or perhaps quaaludes were still...
