CN111354328A

CN111354328A - Method for simulating opera music

Info

Publication number: CN111354328A
Application number: CN202010188980.8A
Authority: CN
Inventors: 杨霄龙
Original assignee: Individual
Current assignee: Individual
Priority date: 2020-03-18
Filing date: 2020-03-18
Publication date: 2020-06-30

Abstract

The invention discloses a method for simulating opera music, which comprises the following steps: step 1, carrying out digital audio sampling on the opera instruments one by one and making the opera instruments into audio files; step 2, carrying out sound mixing processing on the audio files, and carrying out analog programming after grouping production; step 3, according to the playing skill of the opera, the audio after programming is corresponded to each key position of the playing keyboard one by one; and 4, performing simulation playing by pressing different key positions on the playing keyboard. 4-6 sound parts can be played simultaneously, and the music box is more agile and convenient to use than a real person; and the device can be played completely according to the characteristics in actual playing, replaces the traditional real-person playing mode, and saves the labor cost and the instrument loss depreciation cost.

Description

Method for simulating opera music

Technical Field

The invention relates to the technical field of electronic musical instruments, in particular to a method for simulating opera music.

Background

The drama is a unique name of the traditional drama in China, and according to incomplete statistics, the drama types in various regions of China are about three hundred and sixty, such as Beijing opera, Vietnamese drama, Kunqing, drama evaluation, yellow plum drama, and Hebei bang, etc. It features that many artistic forms are combined together in a standard, and the performance form is that it carries the singing, speaking and writing, and integrates the functions of singing, doing, commenting and playing.

The Chinese opera music forms a unique form and a representation method for embodying the theme of a drama, developing the contradiction of the drama, shaping character characters, expressing the emotional thoughts, rendering stage atmosphere and the like. The task of instrumental accompaniment is undertaken by the band. The opera band is composed of two parts, the string tube music part is called a cultural court, and the percussion music part is called a martial court. Together called the civil and military arena. The effect of the stadium is mainly to accompany singing and play a song board (belonging to scene music) used for cooperating with the performance. The main task of the martial arts is to beat the gong and drum points by percussion instruments, and match with the body movements, pronouncing, singing, dancing and opening of actors, so that the start and stop of the gong and drum points are clear and the rhythm is ordered. And, under the lead (command) of the master of the clapper, the rhythm of the whole play is regulated and controlled. Instrumental music is an auxiliary place in opera music, but has the advantage that vocal music is not good. Instrumental music includes a variety of stringed and percussive instruments, each of which has different properties and colors.

In the percussion instruments used in the martial arts, including the drum plate, the big gong, the small gong and the cymbal, etc., a minimum of 4 players are required to play simultaneously, and 6-10 years are required for cultivating an excellent player. When local institutions perform and ticket friend perform, 4-6 persons are difficult to be gathered at one time, so that a large number of performances cannot be completed, and therefore, the personnel problems trouble various circus performance groups for a long time.

Meanwhile, the traditional percussion instruments have great requirements on instrument loss when playing the instruments of the percussion instruments each time, one set of percussion instruments needs about 5000 yuan, and the percussion instruments need to be scrapped for 2-3 times of performance. The waste phenomenon is severe and requires a large amount of capital to maintain the desired musical instrument.

At present, some electronic percussion instruments are used for knocking and playing by holding drumsticks with two hands, at most, only two instruments can be knocked, and opera percussion instruments can be completely played only by simultaneously playing 4-6 instruments, and some quick playing methods cannot be completed by knocking and playing at all, so that the electronic percussion instruments cannot be used in real performance.

In the prior art, an audio generator is arranged in an electronic organ and can output an audio signal with fixed frequency, each key of the electronic organ is provided with a different resistor, the output frequency of an oscillator is changed by changing the access of different resistors, and the output frequency is restored by an audio amplifier through a loudspeaker, so that the electronic organ can synthesize and simulate the sounds of a plurality of musical instruments, but the difference in the sense of hearing of real playing exists, the prior art cannot simulate the sound characteristics of real playing opera songs, and the real musical instrument cannot be replaced for playing.

Therefore, there is a need in the art to develop a method for simulating a opera music, which can simulate the characteristics of a real opera performance while saving the cost.

Disclosure of Invention

In order to solve the technical problems in the prior art, the invention provides a method for simulating the opera music, which can play 4-6 sound parts simultaneously and is more inspirational and convenient than a real person in use; and the device can be played completely according to the characteristics in actual playing, replaces the traditional real-person playing mode, and saves the labor cost and the instrument loss depreciation cost.

In order to achieve the purpose, the invention provides the following specific technical scheme:

a method for simulating opera music comprises the following steps:

step 1, carrying out digital audio sampling on the opera instruments one by one and making the opera instruments into audio files;

step 2, carrying out sound mixing processing on the audio files, and carrying out analog programming after grouping production;

step 3, according to the playing skill of the opera, the audio after programming is corresponded to each key position of the playing keyboard one by one;

and 4, performing simulation playing by pressing different key positions on the playing keyboard.

Preferably, in step 1, the dramatic musical instrument comprises a gong, a drum, a board, a sandal board, and a cymbal.

Preferably, in the step 1, the audio sampling includes sampling a tone color and a playing skill of the musical instrument, respectively.

Preferably, the timbre comprises treble, midrange, bass; the playing technique comprises clicking, tight beating, sound covering, quick continuous beating, side beating, trembling and silk edge.

Preferably, in the step 2, the mixing includes a tone rendering process.

Preferably, in step 2, the analog programming includes direct impact analog gong and drum track grouping and fast impact analog gong and drum track grouping.

Preferably, the rapid-impact gong-drum song grouping comprises punch type playing grouping, pipelining type playing grouping, fast and fast wind type playing grouping, marching gong-drum type playing grouping and special gong-drum playing grouping.

Preferably, in the step 3, the performance keyboard includes a MIDI keyboard.

Preferably, in the step 3, a step 3-1 is further included: each key position of the playing keyboard comprises audio samples of various playing dynamics, and the audio samples of the same playing dynamics comprise various different co-located audio samples.

Preferably, in the step 4, the audio samples of different playing strengths and the different co-located audio samples are randomly changed when different keys on the playing keyboard are pressed.

Aiming at the defect that the real opera playing can not be simulated in the prior art, the invention has the beneficial effects that:

1. the method is characterized in that the method directly samples the playing musical instrument in playing, and comprises various timbres and playing techniques so as to ensure that the real playing effect of the musical instrument is restored to the maximum extent when audio is output.

2. When the musical instruments are sampled, the striking type musical instruments with the most main musical instruments and the playing skill thereof are covered, only one person is needed to operate and play the songs with 4-6 sound parts for fast playing during real performance, and at most 10 musical instruments and 10 sound parts can be played simultaneously. Thoroughly solves some defects of the existing electronic percussion music.

3. According to playing skill of the opera, the programmed audio is corresponding to each key by combining with the MIDI keyboard, and the simulated playing is carried out by pressing different key positions on the MIDI keyboard.

4. For the playing tracks of the quick-hit type, because the performance of the sound separation part is very complicated, the sampled audio is made into slices, the sampled audio corresponds to keys of a keyboard after being edited according to the performance logic, and the slices are utilized to perform combined playing during playing to finish the complete gong and drum tracks.

Detailed Description

As used in the specification and in the claims, certain terms are used to refer to particular components. As one skilled in the art will appreciate, manufacturers may refer to a component by different names. This specification and claims do not intend to distinguish between components that differ in name but not function. In the following description and in the claims, the terms "include" and "comprise" are used in an open-ended fashion, and thus should be interpreted to mean "include, but not limited to. The description which follows is a preferred embodiment of the present application, but is made for the purpose of illustrating the general principles of the application and not for the purpose of limiting the scope of the application. The protection scope of the present application shall be subject to the definitions of the appended claims.

The invention discloses a method for simulating opera music, which comprises the following steps:

step 1, carrying out digital audio sampling of timbre and playing skill one by one on the opera instruments and making an audio file; specifically, the dramatic musical instrument comprises a big gong, a small gong, a grand drum, a small drum, a board drum, a sandal board, a cymbal; .

Step 2, performing tone toning on the audio file, and performing analog programming after grouping;

step 3, according to the playing skill of the opera, the audio after programming is corresponded to each key position of the MIDI keyboard one by one;

step 3-1: each key position of the playing keyboard comprises audio samples of various playing dynamics, and the audio samples of the same playing dynamics comprise various different co-located audio samples;

In a preferred embodiment, in step 1, the high-precision studio sampling of the instrument concerned comprises:

and (3) performing timbre sampling on a big gong: the large gong sampling device relates to different applications in the performance and different pitches. Such as low tiger gong, middle tiger gong, high tiger gong, big soyama gong, small soyama gong, high martial gong, small martial gong, and pitch sampling of 7 big gongs in total.

Cymbal performance timbre sampling: cymbal timbre samples of various pitches are involved for different purposes in a performance. Such as large cymbal with a bass number of 124, low cymbal with a bass number of 122, medium cymbal with a middle pitch of 120, high cymbal with a high pitch of 118, high cymbal with a small pitch of 116, and small cymbal pan. Totaling 6 pitch samples of the cymbal timbre.

And (3) performing timbre sampling on a gong: the method relates to the sampling of various gongs with different pitches and different purposes in the performance. Such as bass kunqu gong, bass gong, middle gong, high gong, and highest gong. Totaling 5 pitch samples of the cymbal timbre.

The little drum performs tone color sampling: the method relates to various different pitch drum tone color samples of different purposes in the performance. And the tone of the middle-tone drum is sampled, and the tone of the high-tone drum is sampled. A total of 2 pitch samples of the drum timbres.

And (3) performing tone color sampling on the hall drum: the method relates to a plurality of large drum tone color samples with different pitches for different purposes in the performance. Bass drum tone sampling and tenor drum tone sampling. There are 2 hall drum timbres of pitch samples in total.

And (3) performing tone color sampling on the Jingban drum: the method relates to the color sampling of various plate drums with different pitches for different purposes in the performance. Bass drum tone sampling, medium-tone drum tone sampling, high-tone drum tone sampling and special drum sampling for the highest-tone wuxie. A total of 4 pitch samples of the drum timbre.

Tone sampling of the sandalwood plate: the method relates to tone sampling of various sanders with different pitches for different purposes in the performance. Bass eboard tone sampling, mid-tone eboard tone sampling, and treble eboard tone sampling. A total of 3 pitch samples of the sanders timbre.

The above relates to 7 instruments in total and 29 pitch samples in total.

In step 1, the high-precision recording studio sampling of various playing techniques of the concerned musical instrument includes:

carrying out technical sampling on a gong: the method comprises the steps of pounding long sound, hitting middle long sound, tapping long sound, hitting middle sound, tapping middle sound, hitting short sound, fast covering sound, hitting middle-speed covering sound, hitting side sound, and hitting tight sound.

Cymbal playing skill sampling: the method comprises the steps of pounding long sound, middle-pounding long sound, tapping long sound, pounding middle sound, middle-pounding middle sound, pounding short sound, middle-pounding short sound, pounding fast sound, middle-pounding middle-sized sound, pounding edge sound, and pounding sound.

Sampling a gong playing technique: the method comprises the steps of pounding long sound, middle-pounding long sound, tapping long sound, pounding middle sound, middle-pounding middle sound, pounding short sound, middle-pounding short sound, pounding fast sound, middle-pounding middle-sized sound, pounding edge sound, and pounding sound.

The performance technique of the little drum is sampled as follows: the method comprises the steps of pounding long sound, middle-pounding long sound, tapping long sound, pounding middle sound, middle-pounding middle sound, pounding short sound, middle-pounding short sound, pounding fast sound, middle-pounding middle-sized sound, pounding edge sound, and pounding sound.

Lobby drum playing skill sampling: the method comprises the steps of pounding long sound, middle-pounding long sound, tapping long sound, pounding middle sound, middle-pounding middle sound, pounding short sound, middle-pounding short sound, pounding fast sound, middle-pounding middle-sized sound, pounding edge sound, and pounding sound.

Jingban drum playing skill sampling: including stress click, soft click, double-tone tremble click, fast silk edge, slow silk edge and edge click.

Sampling of a sandalwood board playing technique: strong long stroke, medium long stroke, and soft long stroke.

In step 2, all audio is programmed and grouped in combination with the 61-key MIDI keyboard, including the direct-hit gong-like song grouping and the quick-hit gong-like song grouping.

In the step 3, the audio corresponding to the direct-hitting type gong and drum track grouping and the fast-hitting type gong and drum track grouping corresponds to the keys of the MIDI keyboard:

(1) directly hit type gong and drum song marshalling:

plate drum: c ═ 1 bond: carrying out quick silk edge; d ═ 1 bond: accent single-click left hand; e ═ 1 bond: stress single right hand; bond # D ═ 1: tapping; bond B: and (F ═ 1 key to A ═ 1 key for later upgrade reservation).

Sandal board: bond # C ═ 1: and (5) clicking at the middle tone.

Big gong: e ═ 2 bonds: hitting the big gong again; f ═ 2 bonds: tapping a big gong; a ═ 1 bond: the big gong is quickly beaten by the cover.

Cymbal: d ═ 2 bonds: heavy striking of cymbal; bond # D ═ 2: cymbal cluttering.

A small gong: c ═ 2 bonds: re-hitting a small gong; bond # C ═ 2: tapping a small gong; and # A is a small gong with 1 key.

Striking and ensemble: b ═ 1 bond: the four instruments simultaneously quickly cover.

Each key position of C-1-B-2 (totally 26 keys are all used for field playing purposes) inputs 5 different force playing samples, and the same force sample inputs 3 different co-located samples which are randomly changed so as to increase the real playing effect.

(2) The quick-beating type gong and drum song grouping:

because the speed of the following gong and drum is high, the performance of the sound-separating part is complex, so the gong and drum can not be directly played on site, therefore, the sampling timbre is utilized, the MIDI programming software is firstly used for making into slices, the slices are edited according to the actual playing method and the rhythm speed and the playing logic, the slices correspond to the keys of the keyboard, and then the slices are utilized to be combined and played to form the complete gong and drum song.

The 'punch' drum performance: the C key to the E key count 5 key positions corresponding to "punches" from fast to fast performance.

The 'running' gong and drum playing: 7 key positions from the key F to the key A are counted, and the 'running water' type gong-drum playing slices with 2 speeds are corresponded.

The performance of the gong and the drum in the type of 'fast and fast wind': the key positions from C to F are 7 in total, and the key positions correspond to 2-speed 'hard wind' drum-like playing slices.

The gong and drum playing of the 'horse walking gong and drum' class: and 5 key positions are counted from G to B which are 3 keys to correspond to the rapid 'marching gong-drum' gong-drum slicing playing.

And (C-4 key to B-4 key) total 12 key positions which are temporarily adopted for reserving special gong and drum songs and special timbre.

Aiming at the defects in the prior art, the invention has the beneficial effects that:

5. The method and the real person playing are completely not different, and the traditional real person playing form can be replaced.

The foregoing description shows and describes several preferred embodiments of the present application, but as aforementioned, it is to be understood that the application is not limited to the forms disclosed herein, but is not to be construed as excluding other embodiments and is capable of use in various other combinations, modifications, and environments and is capable of changes within the scope of the application as described herein, commensurate with the above teachings, or the skill or knowledge of the relevant art. And that modifications and variations may be effected by those skilled in the art without departing from the spirit and scope of the application, which is to be protected by the claims appended hereto.

Claims

1. A method for simulating opera music is characterized by comprising the following steps:

2. The method of simulating a opera instrument as claimed in claim 1, wherein in said step 1, said opera instrument comprises a gong, a grand drum, a grand plate drum, a sandal plate, a cymbal.

3. The method of simulating a musical instrument according to claim 1, wherein in the step 1, the audio sampling includes sampling a tone color and a playing skill of the musical instrument, respectively.

4. The musical instrument music simulation method according to claim 3, wherein the timbres include treble, middle, bass; the playing technique comprises clicking, tight beating, sound covering, quick continuous beating, side beating, trembling and silk edge.

5. The method of simulating a musical drama according to claim 1, wherein in the step 2, the mixing includes a tone rendering process.

6. The method of simulating musical instrument music according to claim 1, wherein in the step 2, the analog programming includes directly hitting a gong-like track group and quickly hitting a gong-like track group.

7. The method of claim 6, wherein the grouping of the rapid-impact gong-drum music includes a punch-type performance grouping, a line-type performance grouping, a fast-wind-type performance grouping, a trojan-type performance grouping, and a special gong-drum performance grouping.

8. The method of simulating a musical instrument according to claim 1, wherein in the step 3, the performance keyboard includes a MIDI keyboard.

9. The method for simulating a musical instrument according to claim 1, further comprising, in the step 3, a step 3-1: each key position of the playing keyboard comprises audio samples of various playing dynamics, and the audio samples of the same playing dynamics comprise various different co-located audio samples.

10. The method of simulating a musical composition according to claim 9, wherein in said step 4, the audio samples of different playing strengths and the different co-located audio samples are randomly varied while pressing different keys on the playing keyboard.