JP2000214853A - Music composing device - Google Patents

Abstract

PROBLEM TO BE SOLVED: To accomplish music composing work accurately and rapidly by enabling a tune portion of a musical piece under composition to be listened on a trial basis at the site, in order to check if it is good or bad while the musical piece is being composed with a music composing apparatus, in a music composing device for composing music on a display screen by using a computer or the like. SOLUTION: This music composing device is equipped with a memory means for memorizing a plurality of accompaniment patterns, an accompaniment-pattern display means for displaying the plurality of accompaniment patterns on a screen, a musical piece preparing area display means for displaying a musical piece preparing area for preparing musical data by combining the accompaniment patterns with each other, a sound-generation designating means for selecting an arbitrary accompaniment pattern from among the plurality of accompaniment patterns and designating it for sound generation, a musical sound generating means for generating musical sound signals for generating sounds according to the accompaniment pattern designated by the sound-generation designating means, and a musical piece preparing means for preparing musical data by selecting an arbitrary accompaniment pattern from among the plurality of accompaniment patterns and installing it in the musical piece preparing area.

Description

DETAILED DESCRIPTION OF THE INVENTION

[0001]

The present invention relates to a computer (computer).
The present invention relates to a music composer that composes music on a display screen using the same.

[0002]

2. Description of the Related Art Conventionally, as an apparatus for creating a musical score using a computer, there is, for example, a musical score creating apparatus proposed in Japanese Patent Publication No. Hei 3-24679. This device displays a staff and a group of notes on the screen, selects arbitrary notes from the group of notes with a light pen, and writes them on the staff. Creation can be done mechanically.

[0003] Music score creation software for personal computers (for example, product name "Bandin a box" etc.)
These are available on the market. In the case of musical score creation, music styles (accompaniment styles such as jazz and waltz) are first specified for the sheet, and then accompaniment patterns and chords are packed sequentially from the beginning of the bar. Compose with. Alternatively, at the point where the accompaniment pattern is changed, the next accompaniment pattern number is written (the same operation as a so-called real-time automatic accompaniment instrument in which the accompaniment pattern is repeated until the next accompaniment pattern change point).
In this method, all accompaniment patterns of the style specified first are the main patterns (orthodox patterns)
Then, only the specified part is filled in or ending, and the song is composed.

[0004]

In the above-described conventional music score creating apparatus, in order to check the quality of the music of the created music score, once the music score is created, the performance is instructed for audition. By playing the entire score automatically.

[0005] For this reason, during music score creation, it is not possible to check on the spot whether the music portion being created is good (for example, whether an accompaniment pattern or a chord to be used is appropriate). For this reason, once the entire score has been created, it is necessary to listen to it and, if there is a part that does not satisfy the expectations at the time of creation, rework the part again. In particular, in some cases, it may be necessary to re-input the entire song into the score for the correction. For this reason, the work required considerable labor and time.

SUMMARY OF THE INVENTION The present invention has been made in view of the above-mentioned problems, and even while a music composition device is creating a music composition, the user listens to the music portion of the music composition on the spot and checks the quality of the composition. It is an object of the present invention to be able to perform music composition work accurately and promptly.

[0007]

FIG. 1 is a diagram schematically showing a music composition apparatus according to the present invention. In order to solve the above-described problems, a composition device according to the present invention includes, as one form, a storage unit that stores a plurality of accompaniment patterns, an accompaniment pattern display unit that displays the plurality of the accompaniment patterns on a screen, and an accompaniment. Music creation area display means for displaying a music creation area for creating music data by combining patterns on a screen, and sound instructing means for selecting an arbitrary accompaniment pattern from among the plurality of accompaniment patterns and instructing sound generation And a tone generating means for generating a tone signal for generating the accompaniment pattern designated by the pronunciation instructing means; and selecting an arbitrary accompaniment pattern from the plurality of accompaniment patterns and assembling the selected accompaniment pattern in the music composition area. Music creating means for creating music data. In this music composition device, in the music composition area displayed on the screen, when the music composition means appropriately selects accompaniment patterns and combines the selected accompaniment patterns to create music data, the pronunciation of the accompaniment pattern used is pronounced. By instructing by the instructing means, the musical sound signal of the accompaniment pattern can be generated on the spot by the musical sound generating means and sounded by a speaker or the like. This makes it possible to check on the spot whether or not the accompaniment pattern to be used is appropriate.

According to another aspect of the music composition device of the present invention, there is provided a music composition area display means for displaying a music composition area for creating music data on a screen, and an arbitrary music composition created in the music composition area. Code designating means for designating a chord for a portion, instructing means for instructing sounding by the designated code, and generating a tone signal for sounding the music data of the arbitrary portion with the designated code in accordance with the instruction of the instruction means Music generating means for generating music data based on the setting contents of the music creating area. In this music composition device, in the music composition area displayed on the screen, the music data is created while appropriately designating the code of the music by the code designating means. When the pronunciation is instructed, a tone signal of the music data by the designated code is generated on the spot and can be emitted by a speaker or the like. Thus, it is possible to check on the spot whether the code to be used is appropriate or not.

[0009]

Embodiments of the present invention will be described below with reference to the drawings. FIG. 2 shows a system configuration of a music composition apparatus as one embodiment of the present invention. In FIG. 2, 1 is a main unit of a personal computer including an FD drive, 2 is a display device, 3 is a keyboard, 4 is a mouse, and a floppy disk 5 storing music creation software is set in the main unit 1. A personal computer functions as a music composition device.

Reference numeral 6 denotes a MIDI converter for converting musical score data based on a computer signal from the main unit 1 into MIDI data. Reference numeral 7 denotes a multi-unit for generating tone generator signals of various parts based on the MIDI data from the MIDI converter 6 as analog waveforms. The sound sources 8, 9 are left and right speakers for generating sound source signals from the multi sound source 7.

In this embodiment, as shown in FIG. 3, a musical score creation area called a canvas, which is a time series corresponding to the progress of music, is displayed on a display screen, and an accompaniment pattern prepared in advance is displayed. The desired data is appropriately selected from a melody, audio, and video database, pasted on this canvas, so to speak, and a code is input to compose music to create musical score data.

FIG. 4 shows a configuration example of the canvas 10. This canvas 10 is displayed in the form of a window on the display screen, and is a sheet for pasting unit data of accompaniment patterns, melodies, audio and video (moving images, still images), and inputting a code to complete a song. It functions as. As shown in the figure, a line (corresponding to a staff) 11 is divided into measures. The upper half of the line 11 is a region for pasting video data and audio data, and the lower half is a melody and accompaniment pattern. This is an area for pasting, and at the bottom, a chord designation icon is displayed in the form of a note in beat units, and a chord can be set here in beat units.

On the upper side of the canvas 10, various control areas are provided, and various control operations can be performed by sliding the mouse 4 to specify a position. For example, if the melody icon (melo) is specified, the melody palette described later is specified.If the accompaniment pattern icon (ptn) is specified, the accompaniment pattern palette is specified.If the video icon (movie) is specified, the video palette is set to the sound icon (sound). If specified, each voice palette is called on the display screen and displayed so as not to overlap the line on the canvas.

Accompaniment pattern, melody, chord, video,
As for the voice segment data, a table (hereinafter referred to as a “palette”) in which those data names are registered in advance is called in the form of a window on a display screen, and a desired one can be selected appropriately. For example, a palette for registering an accompaniment pattern is called an accompaniment pattern palette, and a palette for registering a melody is called a melody palette.

FIG. 5 shows an accompaniment pattern palette as an example of the palette. Various accompaniment patterns are created in the form of segments as accompaniment patterns in advance, and pattern names are given to the accompaniment patterns. The role names and the number of measures of the patterns are registered in correspondence with these pattern names. The role name indicates the musical role of the accompaniment pattern, including intro (Intro), fill-in (Fillin), main (Main),
There is an ending (Ending). The number of measures indicates the length of the accompaniment pattern of the pattern name. Such an accompaniment pattern palette is prepared separately for each style (a group of accompaniment patterns of the same tendency, for example, rock, jazz, blues, waltz, etc.).

FIG. 6 shows a display example of a window (pattern information window) for finely setting the contents (parameters) of each accompaniment pattern in the accompaniment pattern palette. As shown in the figure, the tempo (Tempo), beat (Meter), number of measures (Meas), roll (Role), pattern name (Name), copyright (Copyrig
ht), memo (Memo), etc. can be set. Here, the roll can be selected from among intro, main, fill-in, and ending as described above. One accompaniment pattern is composed of ten tracks, and a part (Part), a track name (Name), a tone (Tone), and a memo (Memo) can be set for each track using the lower area of the window.
The part can be set by selecting any one of a bass part (Bass), an accompaniment part (Acmp), and a drum part (Drum).

Similarly, various parameters can be set for the melody palette, the audio palette, and the video palette using windows. The melody palette is created by recording a melody reproduced by a sequencer or the like in real time, or by creating and registering a melody by using a keyboard (keyboard). The voice palette is created by creating and registering a human voice and various other sound effects in advance. The video palette is created by creating and registering a video such as a moving image or a still image in advance.

A method of pasting various data on a canvas will be described below by taking an accompaniment pattern as an example. First, the accompaniment pattern palette as shown in FIG. 5 is called and displayed on the display screen by a window, and the mouse is moved to the position of the accompaniment pattern to be pasted on the canvas in the accompaniment pattern palette, and clicked. Grab that accompaniment pattern. Then, while clicking the accompaniment pattern, click the line position in the canvas where you want to paste it (line 1 shown in FIG. 4).
1 lower half area) and release the mouse button to paste (ie, write) the accompaniment pattern onto the canvas. In pasting this data, the pasting place on the canvas can be selected in a measure unit or a beat (beat) unit. When the user wants to listen to the displayed accompaniment pattern, he or she brings the mouse to the position of the accompaniment pattern, and the performance is automatically performed by an operation such as double-click.

As with the accompaniment pattern, the melody, audio and video are called out on the display screen, and the desired data is grabbed from the pallets and pasted on the canvas. This pasting can also be selected in measures or in beats. For example, FIG. 4 shows a still image (Pict) and a moving image (movie) as a video,
ound) is shown. For video and audio, the data is continued from the position where one piece of data is pasted to the position where another piece of data is pasted.

In this pasting, for example, as shown in (1) of FIG. 7, one accompaniment pattern (eg, B) is overlapped with an accompaniment pattern (eg, A) of an adjacent measure by changing the first measure. It is also possible to match. In this case, the following three processing methods can be designated as the processing of the overlapping portion as shown in (2) to (4) of FIG.

In processing method 1, as shown in FIG. 7 (2), the accompaniment pattern B of the subsequent bar masks the accompaniment pattern A of the preceding bar. In the processing method 2, as shown in FIG. 7C, the accompaniment pattern A of the preceding bar masks the accompaniment pattern B of the subsequent bar. In the processing method 3, as shown in FIG. 7D, the accompaniment pattern A and the accompaniment pattern B coexist.
As a coexistence method, when the accompaniment pattern is MIDI data, the accompaniment pattern A and the accompaniment pattern B are completely mixed and output. An accompaniment pattern A and an accompaniment pattern B are ORed for each MIDI channel and output. and so on.

In the above case, for example, MIDI channel number Accompaniment pattern A Accompaniment pattern BOR output 1 ○ × → A 2 × × → -3 × ○ → B 4 ○ ○ → A · · · · · · · · I do. However, ○ indicates that there is an accompaniment pattern, and × indicates that there is no accompaniment pattern. That is, MIDI channel 1 is OR
Accompaniment pattern A as output, MIDI channel 3
The accompaniment pattern B is selectively output as the R output, and the MIDI channel 2 does not output. In a channel having both accompaniment patterns A and B such as MIDI channel 4,
The processing is determined to prioritize the preceding accompaniment pattern, prioritize the subsequent accompaniment pattern, or set which one is prioritized each time.

The overlapping of the data over the above measures can be similarly applied to other melody, audio and video data, and the melody is treated in the same manner as the accompaniment pattern. As for the voice, the preceding voice A and the following voice B are completely mixed and output at the overlapping part. Fade out the previous sound A while fading in the next sound B. And so on. With regard to the video, various video effects, which will be described later, are designated in the overlapping portion, and the scene is changed.

FIGS. 8 and 9 show a method of setting the above-mentioned data overlapping process by using a window. Here, FIG. 8 shows a window for setting an accompaniment pattern (MIDI data), a melody (MIDI data), and audio, and FIG. 9 shows a window for setting an image.

First, the case of accompaniment pattern, melody, and voice will be described.
On the display screen to set the overlap processing,
A transition is made from the preceding data A to the following data B with the designated sound effect. As for the type of data overlapping processing, one of the data A priority, the data B priority, and the coexistence of the data A and the data B is assigned to the mouse in accordance with the above-mentioned FIG. Select by.
When the coexistence is selected, when the MIDI channels are overlapped using the channel column (the above-described MIDI
The setting of which of data A and data B is prioritized in the case of channel 4) is selected by a mouse.

When a sound effect is applied at the time of transition from data A to data B, the sound effect is set using a mouse using the MIDI column. The sound effects that can be set are: Fade effect: the volume of data A is gradually decreased and the volume of data B is gradually increased (especially effective for voices, etc.). Wipe effect: The sound of data A is moved while moving from the center to the left and right by the pan effect and volume, and the sound of data B is made to appear from the left and right to the center. Bend (Bend) ) Effect: The pitch of data A is shifted to the pitch of data B with a bend effect and switched. Modulation effect: Switching while adding a modulation effect to data A and data B. One or more of these effects can be selected and added. The added effect is data A
The processing is performed within the time when data and data B overlap, or within the time set in the timer (Time) column for setting the MIDI effect processing time.

Next, the case of an image will be described.
Window (dialog) is called on the display screen to set the overlap processing, and the transition from the previous video A to the subsequent video B is performed with the specified effect. As described above, the type of the video overlap processing is selected in accordance with the above-described FIG.

When a video effect is applied at the time of transition from the video A to the video B, the video effect is set using a mouse using the picture column. Image effects that can be set include: Wipe effect: Image A is erased from right to left, left to right, top to bottom, or bottom to top, and instead image B is put on the screen. The screen is changed. Blinds effect: The image A is divided horizontally or vertically, and a wipe effect is added to each divided section. A circle effect, an ellipse (Ovel) effect, a square (Square) effect, Rectangle effect: Adds a circle, ellipse, square, or rectangle wipe effect from the center to each direction or from each direction to the center. Curtains effect: Center to left or right or left to right to center Flash effect: The video A and the video B are shifted to the video B while being alternately projected for a short time. Fade effect: The image A is erased by dark → light, and the image B is projected on the screen by light → dark instead. Morphing effect: Image shape of image A and image shape of image B The effect is added.

One or more of these effects can be selected and added. The added effect is processed within the time when the image A and the image B overlap, or within the time set in the timer (Time) column for setting the image effect processing time. The column of "Sound" is used when the above-mentioned fade effect is added to the conversion of the sound accompanying the video.

Note that, in addition to the above-described conversion mode, as described below, a sound effect can be determined according to a designated video effect, or a video effect can be determined according to the sound effect. (1) Addition of sound effect according to video effect The sound effect is added according to the specified video effect. For example, when the fade effect is specified as the video effect, the fade effect is automatically used as the sound effect. Or if the right-to-left wipe effect is specified as the video effect, the right-to-left wipe effect is also automatically selected as the sound effect. A combination of sound effects selected according to the video effect is determined in advance.

(2) Addition of video effect according to sound effect A video effect is added according to the specified sound effect. For example, when a fade effect is specified as the sound effect, the fade effect is also used as the video effect. Is automatically selected, or if the bend effect is specified as the sound effect, the blind effect is automatically selected as the video effect. The combination of video effects to be used is determined in advance.

Next, a code is designated by separately designating a code root and a code type using a code designation icon in the canvas window of FIG. (1) Specifying the chord route While pressing a predetermined key (option key) of the keyboard 3, click the chord designation icon at the position on the canvas window where the chord route is to be designated with the mouse, and hold down the mouse button. Then, FIG.
A list of chord routes as shown in FIG. By sliding the mouse to the position of the code route to be designated in this list and releasing the mouse button, the code route can be written at the position of the code designation icon, thereby designating the code route after that position.

(2) Designation of code type A different key (command key) from the designation of code root
Hold down the mouse button on the code specification icon at the position where you want to specify the code type in the canvas window, and hold down the mouse button.
A list of code routes as shown in FIG. 11 is displayed in a window on the display screen. By sliding the mouse to the position of the code type to be designated in this list and releasing the mouse button, the code type can be written at the position of the code designation icon, whereby the code type after that position is designated.

As described above, when a code is sequentially designated at the position of the desired chord designation icon, a performance is performed with the designated chord after the designated position until the next designated chord is designated. The chord specified here is reflected in the accompaniment pattern data on the canvas.

As a method of designating a code, various methods are possible in addition to the method of designating a code using the mouse described above. For example, designation from a MIDI keyboard (keyboard) is also possible. In this case, when the code designation icon on the canvas window is clicked and highlighted, and a desired code is depressed and input from the MIDI keyboard, the code route and type of the code are automatically determined, and the position of the code designation icon is determined. Is entered into the code.

As another specifying method, a code specifying window (dialog) as shown in FIG. 12 may be used. That is, when the code designation icon at the position where the code is to be input in the canvas window is double-clicked with the mouse button (the mouse button is quickly pressed twice), the code designation window shown in FIG. 12 is displayed on the display screen. The function is designated using the mouse in the code designation window. As functions that can be used, chord (Chord) and fraction code (On Bass) are specified using the keyboard 4 or the like. Designation of chord from MIDI keyboard (keyboard). In this case, when the "record button" is pressed and a chord is input from the MIDI-in, the root and type of the chord are automatically determined and the chord is designated. By pressing the "Invert button", the inversion type of the input code is changed in order. For example, when a code C is input, C3, E3, and G3 are constituent sounds,
Once the above button is pressed, it becomes E3, G3, C4,
When pressed again, it becomes G3, C4, and E4. At this time, each time the button is pressed, the constituent sound may be emitted. Pressing the "Transpose" button transposes the entered chord by one octave higher (or lower). At this time, the changed constituent sound may be generated. When the "monitor button" is pressed, the tone data of the input code is output from the MIDI output terminal, and the preview can be performed. You can set the tone for monitoring (for listening to chords). There is.

In the system of this embodiment, when a bar for which no code is specified occurs (for example, 1 in the fifth bar)
If the chord is specified for the first time on the beat and the bar before that, ie, the first bar is not specified, then the accompaniment pattern affixed to such non-coded bar The question is whether you play. As a method of processing the performance of the accompaniment pattern of a portion to which no chord is assigned in the music, a track designated in advance is played without arranging the accompaniment pattern, and the other tracks are muted ( Track unit processing). Each track in the accompaniment pattern is pre-categorized into parts such as bass, drum, and accomp, and for each of these parts, either one of the parts without any arrangement and the one without mute is selected. For example, if you set to play drums and bass, if no chord is assigned, the tracks of the accomp part will be muted, and otherwise the unarranged performance will be output as is. And so on.

This processing method is specified as follows. Clicking on the accompaniment pattern pasted on a portion of the canvas where no chord is specified causes the window (dialog) shown in FIG. 13 to be displayed. Using this window, you can specify which part or track of a bar not specified by a chord is to be sounded. "By Part" and "By Track" in this window
Is designated as a toggle switch so that either one can be selected.

The "part" designation is a comp (acmp),
One or more parts can be selected and set from three types of parts, a drum and a bass, and whether to sound the part is set for each part. The type of part can be set for each track in the accompaniment pattern information window shown in FIG.

The "by track" designation can be designated by a track number, and it is set for each track whether or not the track should be pronounced. A plurality of track numbers can be specified at the same time, and the selected tracks are sounded.

As described above, the accompaniment pattern can be played even in a place where the chord is not specified by the above setting, and the performance is output as it is without any data arrangement. It should be noted that, for the range in which no code is specified, instead of outputting the unarranged one as described above as it is, an arrangement arranged with a predetermined code (such as setting a code for each style) may be output. Good.

As described above, the music with the video is completed by pasting the data in the canvas window and designating the code. At this time, management of the data pasted on the canvas is performed as shown in FIG. As shown in the figure, the data pasted on the canvas is managed as a record for each beat. The items managed in one beat record are as follows.

Pattern Palette No .: (2 bytes) Number of accompaniment pattern palette. Pattern No .: (2 bytes) Number of accompaniment pattern. Pattern Information .: (2 bytes) Indicates the accompaniment pattern information with bit flags. Pattern Deviation .: (2byte) pattern time lag. The deviation from this record is indicated by the resolution count. Melody Palette No .: (2 bytes) Melody palette number. Melody No .: (2 bytes) Melody number. Melody Information .: (2 bytes) Melody information is indicated by bit flags. Melody Deviation. ： (2byte) Melody time lag. The deviation from this record is indicated by the resolution count. Chord Note No .: (10byte) Chord note of chord
Covered by I note number. On Bass Note NO .: MIDI note number indicating the base of (1 byte) fractional code. Chord Deviation .: (2byte) code time lag. The deviation from this record is indicated by the resolution count. Sound Palette No .: (2 bytes) Number of sound palette. Sound No .: (2 bytes) sound number. Sound Deviation .: (2byte) Time lag of sound. The deviation from this record is indicated by the resolution count. Picture Palette No .: (2 bytes) Still picture palette number. Picture No .: (2 bytes) Still image number. Picture Information .: (2 bytes) Information of the still image is indicated by a bit flag. Picture Deviation .: (2 bytes) Time lag of still image.
The deviation from this record is indicated by the resolution count. Movie Palette No .: (2 bytes) Movie Palette No. Movie No .: (2 bytes) Movie number. Movie Infotmation .: (2 bytes) Movie information is indicated by bit flags. Movie Deviation .: (2 bytes) Time lag of movie. The deviation from this record is indicated by the resolution count.

The above information is indicated by a bit flag.
Method D₁₅, D₁₄..D ₁, D₀Then D₀: Start flag_.When the data starts there
Standing flag_. D₁: Continue flag. When data continues
Flag set_. D_Two: End flag_.Stand when data ends there
Flag_. Give each bit a meaning, such as Also of resolution
The count is one unit obtained by dividing one beat into 120
It is a numerical value.

Records are managed on a beat-by-beat basis in such a format, and are saved in a file as canvas data. Each pallet data is saved as an accompaniment pattern palette, a melody palette, an audio palette, and a video palette as separate files. The canvas data is a data file in which all the data including the pallet data and the data pasted on the canvas and all the data including the code data are united.

When actually playing the created music, the records of each beat are sequentially analyzed in order of time,
Based on the result, a series of music data is created, and it is emitted through the MIDI converter 6, the multi-sound source 7, and the speakers 8, 9.

In the system of the above-described embodiment, after specifying the accompaniment pattern and the chord on the canvas, the group of the accompaniment pattern (style) is replaced with another style in a lump, thereby giving an atmosphere completely different from the music of the original accompaniment pattern. Music can be created. This effect is achieved by exchanging the accompaniment pattern palette. This method will be described below.

First, for a canvas in which an accompaniment pattern and a chord are already specified on the canvas, a palette menu icon in the accompaniment pattern palette window is clicked, whereby a file selection dialog as shown in FIG. 15 is displayed. . When an accompaniment pattern palette to be converted is selected with a mouse in this file selection dialog, the accompaniment pattern on the canvas is converted to an accompaniment pattern of the selected accompaniment pattern palette.

In performing this conversion processing, the accompaniment pattern pasted on the canvas is simply mechanically replaced with the accompaniment pattern of the accompaniment pattern palette of the conversion destination (ie, the position where the accompaniment pattern is placed in the accompaniment pattern palette). ), The songs will no longer be consistent and will not be converted to natural-looking songs. Therefore, in this embodiment, the accompaniment pattern on the canvas is replaced with an accompaniment pattern on a new accompaniment pattern palette according to a predetermined rule.

The predetermined rule will be described below.
First, a musical identifier indicating the character of the accompaniment pattern is attached to each accompaniment pattern on each accompaniment pattern palette. In this embodiment, the above-mentioned role is used as this identifier. Role types and roles are as follows. Intro: An accompaniment pattern suitable for the beginning of a song. Fill-in: An accompaniment pattern suitable for the so-called “side dish” of a song. Ending: An accompaniment pattern suitable for the end of a song. Main: Accompaniment pattern suitable for the other parts, that is, the main part of the song.

The conversion is performed such that the roll of the accompaniment pattern on the canvas and the roll of the accompaniment pattern of the new accompaniment pattern palette match. For example, the main accompaniment pattern is replaced so that it remains the main after conversion. Even if two intros and endings were placed on the original canvas, replace them with one. For example, if there are two or more intros on the original canvas, replace the second and subsequent intros with main. If there is more than one ending on the original canvas, replace the last ending with the main one. Have rules such as An example of processing according to this rule is as follows: [Original arrangement] [Replacement arrangement] Intro → Intro Intro → Main (instead of intro) Main → Main Fill-in → Fill-in ending → Main (instead of ending) Ending → Ending etc. In this example, the original sequence has two intros,
Although the ending has a song that appears twice, when the song is replaced with another style, the second intro is replaced by the main and the first ending is replaced by the main, so the song can be converted more naturally. Can be performed.

The performance of the created canvas is performed as follows. The control panel window shown in FIG. 16 is displayed on the display screen, and play, stop,
Use the mouse to fast-forward, rewind, record, and other buttons to play the canvas.

In playing the canvas, two modes are available for setting the tempo value: playing at the tempo set in the accompaniment pattern (for example, see FIG. 6) and playing at the designated tempo. Plays according to the tempo of the accompaniment pattern on the canvas,
Performs according to a separately specified tempo, ignoring the tempo of the accompaniment pattern.

The MIDI controls include a pan pot, volume, chorus, reverb, and the like. These controls are set for each accompaniment pattern. You can select two modes: play with the specified control and play with the specified control.

[0055]

As described above, according to the present invention, it is possible to listen to the accompaniment patterns and chords of each part of the music to be composed on the spot during composition so as to check whether they are appropriate. Can be performed accurately and quickly.

[Brief description of the drawings]

FIG. 1 is a diagram illustrating a music composition device according to the present invention.

FIG. 2 is a diagram showing a system configuration of a music composition device as one embodiment of the present invention.

FIG. 3 is a diagram for explaining an operation concept in the embodiment device.

FIG. 4 is a diagram illustrating an example of a canvas window.

FIG. 5 is a diagram showing an example of an accompaniment pattern palette.

FIG. 6 is a diagram showing an example of a pattern information window.

FIG. 7 is a diagram illustrating data overlap processing.

FIG. 8 is a diagram illustrating a method of setting an overlapping process of data such as an accompaniment pattern and a melody.

FIG. 9 is a diagram illustrating a method of setting video data overlap processing.

FIG. 10 is a diagram illustrating a method of setting a code route.

FIG. 11 is a diagram illustrating a method of setting a code type.

FIG. 12 is a diagram illustrating another method of setting a code.

FIG. 13 is a diagram illustrating a playing method when no chord is specified.

FIG. 14 is a diagram illustrating a method for managing data on a canvas.

FIG. 15 is a diagram illustrating a method of exchanging accompaniment pattern palettes.

FIG. 16 is a diagram illustrating an example of a window of a control panel.

[Explanation of symbols]

DESCRIPTION OF SYMBOLS 1 Personal computer main body device 2 Display device 3 Keyboard 4 Mouse 5 Proppy disk 6 MI
DI converter 7 Multi sound source 8, 9
Speaker

Claims (2)

[Claims] 1. A storage means for storing a plurality of accompaniment patterns, an accompaniment pattern display means for displaying the plurality of accompaniment patterns on a screen, and a music creation area for creating music data by combining the accompaniment patterns on the screen. Music creating area display means to be displayed; sounding instruction means for selecting an arbitrary accompaniment pattern from the plurality of accompaniment patterns to instruct sounding; and a tone signal for sounding the accompaniment pattern specified by the sounding instruction means. A music composition device comprising: a musical sound generating means for generating music data; and a music creating means for selecting an arbitrary accompaniment pattern from the plurality of accompaniment patterns and assembling the selected accompaniment pattern in the music creating area to create music data. 2. A music creation area display means for displaying a music creation area for creating music data on a screen, a code designating means for designating a code for an arbitrary portion of a music piece created in the music creation area, Instructing means for instructing sounding by the designated code, musical tone generating means for generating a tone signal for generating the music data of the arbitrary portion with the designated code in accordance with the instruction of the instructing means, and setting contents of the music creating area Music composition means for producing music data based on the music composition data.