JP2522374B2 - Electronic musical instrument - Google Patents

Description

TECHNICAL FIELD The present invention relates to an electronic musical instrument, and more particularly to an electronic musical instrument having an automatic accompaniment function for generating an automatic accompaniment sound according to a chord by specifying a chord. Regarding

(B) Conventional Technology Conventionally, an automatic accompaniment in which a code (chord) which sequentially changes in advance is recorded in a memory in an electronic musical instrument, and the chord is read and an accompaniment sound corresponding to the read code is generated. There are electronic musical instruments that have functions. Such an electronic musical instrument is disclosed in, for example, Japanese Patent Application No. 63-271 filed by the present applicant.
Japanese Patent Laid-Open No. 1-179087.

When recording chord data with the electronic musical instrument disclosed in Japanese Patent Application No. 63-271, the performer reads out the automatic accompaniment data and proceeds with the automatic performance of the accompaniment tones while sequentially playing the desired chords on the keyboard. Specify in. In response to this, chord data is recorded in real time. At this time, each time a new chord is specified, the accompaniment to be automatically played (hereinafter,
The pitch of the automatic accompaniment tone) is immediately corrected to a pitch corresponding to the newly designated chord (hereinafter, also referred to as a newly designated chord). Therefore, the performer records chord data while audibly confirming (monitoring) how the automatic accompaniment sound changes according to the designated chord. At this time, the chord data is recorded at a relatively coarse 16th note resolution, that is, at each chord data recording timing for each 16th note, whereas the automatic accompaniment data has a finer resolution for the 32nd note. That is, it is stored for each 32nd note, and is therefore read for each timing.

(C) Problems to be Solved by the Invention However, in the electronic musical instrument disclosed in Japanese Patent Application No. 63-271, when chord data is recorded, the automatic accompaniment data is read at a resolution of 32nd note. However, even though the pitch of the auto-accompaniment tone based on this is immediately corrected according to the actually specified chord, the specified chord data is recorded with a resolution of 16th notes, so The recorded chord data can be played only in 16th notes. Therefore, a chord is generated with a resolution of 32nd notes during recording, but a chord is generated with a resolution of 16th notes during playback.
A slight deviation will occur between the performance timing of the chord during recording and the performance timing of the chord during reproduction. Therefore, the automatic accompaniment sound monitored at the time of recording the chord data does not match the automatic accompaniment sound generated at the time of reproducing and reading the recorded chord data. In other words, there was a problem that the content monitored during recording was different from the recorded performance.

The present invention has been made in view of the above points,
In an electronic musical instrument that has an automatic accompaniment function that generates an automatic accompaniment sound according to a chord, it is possible to eliminate the gap between the automatic accompaniment sound that occurs when recording chord data and the automatic accompaniment sound that occurs when playing back recorded chord data. To do so.

(D) Means for Solving the Problems The present invention sequentially specifies chords as the performance progresses, generates accompaniment tones based on the chords, records the sequentially specified chords, and reproduces the recorded chords. An electronic musical instrument having an automatic accompaniment function that can also generate an accompaniment sound based on a chord, and in the chord recording mode, a chord designating means for designating a desired chord while playing the accompaniment sound, Means for recording chord data indicating chords designated by the chord designating means in accordance with beat timing, and if the timing at which the chord is designated is delayed within a predetermined time from the beat timing, at the beat timing, a predetermined time If the delay exceeds, a recording means for recording chord data at the next beat timing and a new chord is designated by the chord designating means. If the specified chord is delayed within a predetermined time from the beat timing, it becomes the specified chord timing, and if it exceeds the specified time, it becomes the next beat timing. Controlling means for controlling the chord specifying timing, read means for sequentially reading the recorded chord data in the chord reproducing mode, and the chord specifying means in the chord recording mode for controlling the timing by the controlling means. And an accompaniment sound generating means for generating an accompaniment sound based on the chord read by the reading means in the chord reproduction mode.

(E) Operation In the chord recording mode, the chord designating means designates the chords sequentially as the music progresses. The recording means outputs chord data to the designated chord according to the beat timing, that is, if the chord designation timing is delayed within a predetermined time from the beat timing, the chord data is set to the next beat timing if the delay exceeds the predetermined timing. Record. Then, the accompaniment sound is generated according to the chord specified by the accompaniment sound generation means. In this case, the chord designation timing is controlled according to the deviation from the beat timing. That is, the chord designating timing is controlled so that if the timing is delayed within a predetermined time from the beat timing, the chord designating timing is set to the chord designating timing, and if the timing exceeds the predetermined time, the next beat timing is set. On the other hand, in the chord reproduction mode, the reading means reads the chord recorded in the chord recording mode, and the accompaniment generating means generates an accompaniment tone based on the read chord. In the chord recording mode, the chord designation timing is controlled by the control means so as to be synchronized with the timing at which the chord is recorded, so that the accompaniment sound generated during recording and the accompaniment sound generated during reproduction match.

(F) Embodiment (1) Description of Configuration FIGS. 1A and 1B are external views of an electronic wind instrument which is an embodiment of the present invention. This electronic wind instrument can produce up to 5 sounds simultaneously. This musical instrument has a shape similar to that of a woodwind instrument, and has a mouthpiece 2 at its tip. The performer puts the song mouth portion 2 on the tip of his mouth and blows his breath to perform.
A breath sensor 21 (see FIG. 2) is attached to the inside of the mouthpiece portion 2 and detects the strength of breath blown (breath strength) and sends it to the CPU. A display 3, a chord mode selection switch 4, a rhythm setting switch 5, a performance key 7 and the like are provided outside the device. The display unit 3 is a 2-digit 7-segment display unit, on which the selected rhythm, tempo, etc. are displayed. The code mode selection switch 4 becomes effective when switched to the code mode by the mode selection switch 11 described later, and the auto code (AC) mode (4a), the code sequence record (CSR) mode (4b), the code sequence play (CSP). ) Mode (4c), Auto Harmony (AH)
One of the modes (4d) can be selected. Rhythm setting switch 5 is rhythm selection switch 5
It consists of a, 5b, tempo up / down switches 5c, 5d and start / stop switch 5e. Reference numeral 6 is a tone color selection switch group. Play keys 7 (7
-0 to 7 to 14) are provided, and keys 7-0 to 7-7
Is operated with the left finger and keys 7-8 to 7-14 are operated with the right finger.
One pitch is determined by setting the combination pattern of these keys on / off to one of the predetermined patterns. The keys 7-2 to 7-14 are mainly used for determining the scale, and the keys 7-0 and 7-1 are mainly used for determining the octave. A mode selector switch 11 is provided on the upper part of the back surface of the musical instrument. The mode changeover switch 11 is a three-stage slide switch, and by sliding a slider, the performance mode of the musical instrument can be changed over to a single note mode, a duo mode, or a chord mode. In addition, a speaker 8 is provided below the musical instrument to output the musical tone played. 9 is a main volume on the back of the instrument, and the volume of the instrument can be adjusted by sliding the main volume up and down (volume is also controlled by the press sensor 21). Reference numeral 10 denotes a pitch bend wheel, which can be rotated up and down to shift the pitch (frequency) of the musical sound up and down. 12 is a power switch.

FIG. 2 is a block diagram of the electronic wind instrument. The microcomputer 24, the I / O equipment, and the operating unit are connected via the bus 23. The breath sensor 21 is an A / D converter 22.
Is connected to the bus 23 via. The breath intensity detected by the breath sensor 21 is converted into digital data by the A / D converter 22 and is transferred to the microcomputer 24 via the bus 23.
Sent to The bus 23 has a ROM 25 storing fingering data and tone color data, a timer oscillator 26, a rhythm tempo oscillator 27, a performance key 7, a function switch (chord mode selection switch 4, rhythm setting switch 5, tone color selection switch 6). And a mode changeover switch 11) 29, a display control circuit 30, a tone generation circuit (sound source) 31, and a rhythm sound generation circuit (rhythm sound source) 32 are connected. Microcomputer 24
Periodically scans the performance key 7 and the function switch 29 to detect an on / off event. The timer oscillator 26 constantly generates a clock signal of a predetermined cycle. The rhythm tempo oscillator 27 generates a clock signal of 96 counts per 2 bars at the set tempo. The tone generation circuit 31 is a microcomputer 24
It is a circuit that generates musical tones based on tone color data and level data input from the. The rhythm sound generation circuit 32 is a circuit for generating a predetermined rhythm sound (timbre of a rhythm musical instrument) based on a sound signal input from the microcomputer 24. An amplifier 3 for the tone generation circuit 31 and the rhythm sound generation circuit 32.
3 is connected, and the generated musical sound is amplified and output from the speaker 8.

(2) Description of performance mode Single tone mode The pitch is determined by the key pattern of the performance key 7, and the tone generation level is controlled by the breath strength (initial strength (peak value of rising of press strength). The same applies hereinafter). The number of pronunciations is always 1.

In the duo mode, the maximum number of pronunciations is 5, and the pitch is determined by the key pattern of the playing key, as in the single note mode. This pitch is assigned to all sound sources (channels). However, a pitch shift of several cents is set for each channel so that the chorus effect can be produced. The pronunciation level is controlled by the breath intensity, and the number of pronunciations is also controlled by the breath intensity.
That is, the number of pronunciations is 5-1 according to the strength of the breath intensity.
And change.

AC (auto chord) mode The key patterns of the performance keys 7-2 to 7-14 are the root note (the note that constitutes the lowest note of the basic chord (for example, "Domi
Sound of “So”)) is determined, and the type (long chord, short chord, 7th degree chord, etc.) is determined by the key pattern of keys 7-0 and 7-1.
Genus 7th short chord) is determined. The chord constituent tones are assigned to channels 1 to 5, respectively.

CSR (chord sequence record) mode The same sound is produced by the same operation as in AC mode, and the played chord (chord) and its length (beat) are stored in sequence.

CSP (code sequence play) mode A mode in which the codes stored in CSR mode are played sequentially, and key pattern input and breath input are not accepted during playback.

AH (Auto Harmony) mode A mode in which you can play a single note while playing the chords stored in CSR mode one by one. When you play a chord sequence and perform the same operation as in single note mode, the sound being played will sound on one channel. Done with 2-5
An additional sound (chord) is sounded from the channel. The additional note is determined in consideration of the pitch of the chord to be reproduced. The number of pronunciations (the number of parts) is controlled by the breath strength.

(3) Configuration of Memory FIG. 3 is a diagram for explaining the storage contents of the ROM 25. FIG. 3A shows a configuration diagram of the main part of the ROM 25. This R
In addition to the programs that control the operation of musical instruments, the OM includes tone color data (M1) and rhythm pattern data (M
2), single note table (M3), duo table (M4), AC table (M5), AH table (M6), key pattern table (M7) and BS (breath threshold: M8), AMX (M
9) is remembered. The tone color data storage area M1 stores waveform data and envelope data of each tone color that can be selected by the tone color selection switch 6. The rhythm pattern data storage area M2 stores the sounding timing of the rhythm instrument in each rhythm pattern, the arpeggio pattern of chords, the number of beats, the number of clocks per beat, and the like. Breath strength (INIT) for each single note table M3
The tone level of one channel corresponding to is stored as a table. A correlation diagram between the breath intensity and the sound level stored in this table is shown in FIG.

Further, the playing table M4 stores the tone generation levels of channels 1 to 5 corresponding to the breath strengths as a table. FIG. 4B shows a correlation diagram between the breath intensity and the sound level of each channel stored in this table. Since the rise of the level is different for each channel as shown in FIG. 7B, the number of sounds can be increased or decreased by the breath intensity. This duo table M4
Is used in the duo mode and AH mode, and is used for controlling the number of pronunciations and the number of parts. In addition to the correlation method shown in FIG. 4 (B), this duotone table is shown in FIG. 7 (A),
It is also possible to use the correlation method as shown in FIG. That is, the correlation method of FIG. 7 (A) is a method in which the pronunciation level completely correlates with the breath intensity, and in addition to that, the number of pronunciations also increases or decreases. On the other hand, FIG. 7 (B) shows a system in which the tone generation level becomes almost constant when the breath intensity exceeds a certain value, and the overall tone generation level is increased or decreased by increasing or decreasing the number of sound generations. The duo table shown in FIG. 4 (B) has an intermediate correlation.

The structure of the AC table M5 is as shown in FIG. 3 (B). Tone numbers to be pronounced on channels 1 to 5 for each type of chord are stored as the number of semitones from the root note of the chord (one semitone is a numerical value indicating how many two tones are separated by one semitone). For example, if the root note is a 7-degree genre chord with "G: so" (TYP "7" chord in the figure), the root note is "G" for channel 1 and the semitone from "G" for channel 2. Number 4 (3rd major) above "B: Si", 3 channels from "G" to semitone 7 (complete 5th) above "D: Re", 4 channels "G" to semitone 10 "F: Fa" above (minor 7 degrees) and "G" above 12 semitones (octave) from "G" are assigned to each of the 5 channels.

Part (C) of the AH table M6 is shown in FIG. This table contains 2 for each chord type (M60) stored in the chord sequence memory (CSM: described later), and for each semitone (M61) of the pitch difference determined by the root note of the chord and the key pattern. The pitches assigned to channels ~ 5 are stored. This pitch is stored as the number of semitones from the root, but the underline represents octave down (-12 in semitones).
That is, " 4 " represents "-8 (-12 + 4: minor 6 degrees down)". The reason for lowering the sound of channels 2 to 5 by an octave is to enhance the melody produced in channel 1.

Further, the key pattern table M7 defines key patterns for designating the respective pitches. The key pattern is determined in a manner similar to the fingering method of a natural musical instrument, and a recorder method, a saxophone method, etc. can be considered.

BS (M8) is breath threshold data. When the breath intensity data (BS: described later) is BS or more, it is determined that there is a wind blow. In addition, AMX is a code sequence memory (CSM
It is the maximum root of the index A in (A)) and indicates the maximum number of steps of a code sequence that can be stored.

FIG. 5 is a list of registers (tables, buffers) and flags set in the RAM of the microcomputer 24.

A-Sequence pointer: Index indicating the sequence step number in CSR / CSP / AH mode B-1 beat clock register: Register that sets the number of clocks (resolution) of one beat in the set rhythm pattern BD-Breath intensity data buffer BF-Breath ON flag: Flag that is set when the breath strength exceeds the breath threshold (BS) BEET-Beat counter: Counter register that counts the number of beats in CSR / CSP / AH mode BRTH1 / 2 / 3-Breath Strength register: A register that stores the breath strength data (BD) detected by the breath interrupt operation. The breath intensity data is detected once by one breath interrupt operation, but the latest one is stored in BRTH3, the last one is stored in BRTH2, and the last one is stored in BRTH1. BRTH3
<BRTH2 or BRTH3 = BRTH2 = BRTH1 When the peak of the breath strength data (initial strength) has passed
Set PH (peak hold flag: described later).

BUF, BUFA, BUFB-Fingering pattern buffer: BUFA is a buffer for loading the latest key pattern, BUF is a buffer for storing the last key pattern, and the contents of these buffers are compared to compare each key 7-0 to 7-7. Judge the -14 on / off event. BUFB is a buffer in which the key patterns of the keys 7-2 to 7-14 that determine the scale in the AC mode are written.

CSR-Code sequence record flag: Flag that stores that the CSR mode is operating INIT-Initial strength register: Register that stores the rising peak of breath strength as the initial strength in breath interrupt operation LTH-Code length register: CSR / CSP / 1 in AH mode
A register that stores the number of beats at which one chord is played MODE-Mode register: A register that stores the playing mode: 0-single note mode, 1-duplication mode, 2-AC mode, 3-CSR
Mode, 4-CSP mode, 5-AH mode.

PH-Peak hold flag: Initial strength (INIT)
A flag that stores the fact that a rhythm pattern has been detected. RITH-Rhythm pattern register: A register that stores the rhythm pattern read from the rhythm pattern memory ROOT-Root note register: A register that stores the root note of the chord RP-Rhythm pattern number register : A register that stores the rhythm pattern number RSV-Reserve flag: A flag that stores a note that there is a chord waiting for sounding until the next beat timing, which is specified with a deviation from the beat timing. RUN-RUN flag: Rhythm sound generation circuit 32 or CSR / CSP /
Flag for storing that the AH mode is operating T-Clock counter: Counter added every rhythm interrupt operation: Usually 96 counts and 2 measures, and the rhythm pattern is set with this length.

TC-timbre number register: register that stores the tone number TEMP-tempo register: register that stores the tempo TYP-chord type register: register that stores the type of chord, code name (C ( C major chord), Am7 (A minor 7th.chord), etc.)
Can be specified.

The RAM of the microcomputer 24 is shown in FIG.
Each table of KEYBUF and CSM shown in (C) is set. KEYBUF is a key-on flag KON for each channel 1-5
And a tone number register TN. By transmitting the stored contents of this table to the musical tone generating circuit 31, the musical tone is generated (by specifying the tone generation level at the same time). In addition, the tone generation circuit 31
It is possible to send only (KON) or (TN), or only the data of a specific channel.
The CSM is a table having storage areas of ROOT, TYP and LTH for each step designated by the sequence pointer (0≤A≤AMX). The data is sequentially stored from A = 0 in the CSR mode, and is sequentially read and reproduced from A = 0 in the CSP / AH mode.

(4) Description of Operation FIG. 6 is a flowchart showing the operation of the control unit. FIG. 3A shows a main routine. Same figure (B) ~
(E) shows a subroutine corresponding to each switch-on event in n4 of the main routine.
(H) shows a subroutine corresponding to each performance mode in n15 of the main routine. Also, the same figure (I), (J)
Shows a rhythm interrupt operation, and FIG. 9 (K) shows a breath interrupt operation.

In FIG. 3A, when the power switch 12 is turned on, the initial operation is first performed (n1). In this initial operation, a predetermined tone color and rhythm pattern are preset. When the initial operation is completed, switch I / O with n2
To scan. When any of the function switches has an on / off event (n3), the corresponding subroutine ((B) to (E) in the figure) is executed (n4). Next, the mode register MODE is judged (n16), and if MODE ≠ 4, the operation proceeds to the breath intensity and key pattern detection operation of n5 or less, and MODE = 4.
If it is (CSP mode), it returns to n2. This is because control by breath strength and key pattern is not accepted during CSP mode.

In n5, breath intensity data is stored in the breath intensity data buffer.
Capture to BD and compare BD with BS breath threshold (n6). If BD <BS, the breath flag BF, the peak hold flag PH, the initial strength register INIT, the breath strength register BRTH1 / 2/3, the key pattern buffers BUF, BUFA, BUFB are reset / cleared (n8 ), Reset the key-on flag KON (first bit of the key buffer table KEYBUF), and then return to (n9) n2. If BD ≧ BS, set BF (n7),
Judge whether PH is set or not (n10). PH is a flag that is set when the initial intensity (INIT) is detected in the breath interrupt operation ((K) in the figure) which will be described later, and the sound can be generated by detecting the initial intensity. So if PH is set already IN
Since IT is output, the operation proceeds to the key pattern detection operation of n11 or less in order to determine the pitch, and when PH is reset, it is not possible to pronounce and returns to n2.

At n11, the key pattern is loaded into BUFA and compared with BUF (n12). If they match, there is no change in the key pattern, and there is no change in the pitch of the musical tone that is pronounced, so it returns to n2. If BUFA and BUF do not match, there is a change in pitch, so after setting BUFA contents in BUF (n13), MODE
Based on the specified performance mode operation (n14, n1
Five). BUF = 0 when n11 or lower operation is executed for the first time
Therefore, if normal key operation is performed, the process always goes from n12 to n13.

FIG. 3B shows a tone color selection subroutine that is executed when the tone color selection switch 6 is pressed. When any tone color selection switch is pressed, the tone color number corresponding to that switch is set in the tone color number register TC (n20), and the tone color data specified by this number is stored in the tone color data storage area M1.
Read from (n21). This tone color data is converted to the tone generation circuit 3
Send to 1 and set (n22), then return.

FIG. 6C is a performance mode setting subroutine. This operation is executed when the mode changeover switch 11 and the code mode selection switch 4 are operated. Determine the operation content with n23 and set the corresponding numerical value to MODE (n2
Four). This numerical value is 0-single note mode, 1-overtone mode, 2-AC mode, 3-CSR mode, 4-CSP mode, 5-
It means AH mode. After that, the initial operation of each performance mode is performed. Clearing (n25) of KEYBUF, BEET, A, ROOT, TYP, and LTH is common to all performance modes, and in addition to this, MOD
5 LFOs of the tone generation circuit 31 when E = 1 (playing mode)
(Oscillation circuit for modulation: a circuit for controlling the basic waveform of a musical sound,
Five are provided for channels to 5 channels. )
The cent deviations of 0,1, -1,2, -2 are set in advance (n26 → 27). As a result, even when a musical tone of the same pitch is produced in the duo mode, a slight pitch shift is generated and an ensemble effect can be obtained. When MODE = 3 (CSR mode), CSM is cleared for recording a new code sequence (n26 → n28).

FIG. 3D is a rhythm setting subroutine. This operation is executed when the rhythm selection switch 5a, 5b or the tempo setting switch 5c, 5d is pressed. Rhythm selection switch 5
When a and 5b are pressed, the process proceeds from n30 to n32, and the rhythm pattern number register RP is adjusted. That is, when the rhythm selection switch 5a is pressed, 1 is added to RP, and when the rhythm selection switch 5b is pressed, 1 is subtracted from RP. After adjustment
The rhythm pattern identified by RP is read from the rhythm pattern memory (n33), the number of clocks of one beat is set in the one-beat clock register B (n34), and the process returns. When tempo setting switch 5c, 5d is pressed, n31 → n35,
Adjust tempo register TEMP. 5c is an addition switch and 5d is a subtraction switch. After sending the adjusted TEMP to the rhythm tempo oscillator 27 (n36), it returns.

FIG. 7E shows a start / stop subroutine. This operation is executed when the start / stop switch 5e is pressed. In this subroutine, the RUN flag is first inverted (n38). If RUN = 1 now, BEET ← 0
Set (n40) and return, and if RUN = 0, RSV
After setting ← 0 and T ← 0 (n41, n42), return.

Next, the operation of the melody mode will be described with reference to the flowchart of FIG. This operation is executed in n15 of the main routine when MODE = 0 (single note mode), 1 (duplex mode) or 5 (AH mode). First, at n45, the key pattern table M7 is referred to by the BUF to search for the corresponding key pattern (n45). If there is a matching key pattern, its pitch is once written in the tone number register TN of all channels of the key buffer KEYBUF (n46 → n
47) Go to n48. If there is no matching key pattern, the KON flags of all channels are reset and the process proceeds to (n55) and n56.

n48 determines MODE. When MODE = 0, the process proceeds to n49, the tone level of channel 1 is determined by the single tone table M3, the KON flag is set for only channel 1 (n50), and the process proceeds to n56. If MODE = 1, proceed to n51 to find out the sound level of each channel from the playing table M4 and set the KON flags of all channels (n52).
Continue to n56. If MODE = 5, proceed to n53 and AH table M6
By rewriting the pitch of each channel by
After determining the sound level of each channel with (n5
4) Go to n56. For n56, KEYBUF is a tone generation circuit (sound source) 3
Send to 1 and return.

FIG. 6G shows an auto code subroutine. This operation is n1 of the main routine when MODE = 2 (AC mode)
Executed in 5. In n60, the upper 2 bits of BUF (corresponding to performance keys 7-0 and 7-1) are set in the code type register TYP, and the lower 13 bits are set in BUFB. Fingering pattern data ("01": 1-key on, 0-key off) when playing the lowest octave in the single note mode is simultaneously set in the upper 2 bits of BUFB. That is, the root note of the chord is indicated by the lowest octave. This BUFB is searched for a matching key pattern from the key pattern table M7 (n61). If there is a matching key pattern, set its pitch in the root register ROOT (n62 → n63), n64 to n68.
Determine the code type based on TYP. If TYP is “00”, AC table M is determined as long chord (Major chord).
Set the pitch of each channel based on the M column of 5 (n
65). If TYP is "01", it is considered as a minor chord and the pitch of each channel is set based on the m column of the AC table M5 (n66). If TYP is “10”, it is determined that the note is a 7th chord, and the pitch of each channel is set based on the 7th column of the AC table M5 (n67). TYP
If is “11”, the pitch of each channel is set based on the m7 column of the AC table M5, assuming that it is a minor 7th chord (n68).

Next, the RUN flag is judged (n69), and if it is set, the rhythm sound generation circuit 32 is operating, and in the rhythm interrupt operation ((I) and (J) in the figure) described later, the arpeggio that matches the rhythm pattern. (Dispersed chord: A performance technique in which chord constituent tones are sequentially pronounced separately)
After resetting the KON flag (n70), judge the delay from the beat timing (n72). That is, the remainder mo obtained by dividing the value of the clock counter T by the value of the one-beat clock register B
If d (T / B) = 0, it is just the beat timing. If the delay from the beat timing is less than 1/4 beat (1 / 4B), it is not a large delay, and it is considered that the performer's instruction was delayed, so the chord is switched immediately (n73), 1/4 beat or more If the delay is too late, switching the chord immediately gives a bad impression, and it is considered that the player's next instruction was too early. Therefore, set the reserve flag RSV (n74).
Stop chord switching until the next beat timing. RSV
When is set, it is sounded in the beat timing rhythm interrupt operation. On the other hand, when the RUN flag is reset, the rhythm sound generation circuit 32 is not operating, so that the KON flags of all channels are set and all sounds are immediately generated (n71, n73). In the n73, the KEYBUF is a tone generation circuit.
By sending to 31 the chord switching and sounding are executed.

The figure (H) is a CSR mode (MODE = 4) subroutine, which is executed in n15 of the main routine. This subroutine is executed at the time of code switching, and LTH of the code ended by switching and T of the code started by switching
This is an operation to set YP and ROOT. When this operation starts, it is first determined whether or not the code sequence record flag CSR is set (n80). Since this CSR flag is set by the first operation (n81) of this subroutine, it means that the CSR flag is reset.
This means that this operation is performed only immediately after the mode starts. In this case, the process proceeds from n80 to n81, sets the CSR flag, sets RUN ← 1 and T ← 0, and executes the above-mentioned AC subroutine ((G) in the figure) (n82).
After that, TYP and ROOT detected by AC subroutine are CSM
It sets to (A) (A = 0 in this case) and returns (n83).

On the other hand, if the CSR flag is set, n80 → n84
Go to and execute the AC subroutine. This action detects TYP and ROOT. After the AC subroutine, the above n7
Similarly to 2, the delay from the beat timing is determined (n85). If the delay is 1/4 beat or less, a sound is output immediately, so the beat number BEET-1 at the immediately preceding beat timing is set to LTH of CSM (A) (n8
6), if it is delayed by more than 1/4 beat, it will switch at the next beat timing, so BEET, which is the number of beats at the next beat timing, will be CS.
Set to LTH of M (A) (n87). After that, 1 is added to A (n88), and if A> AMX, it means that it has been stored in all steps, so the process proceeds to the ending operation of n92, and if A ≦ AMX, there are still remaining steps and the beat counter Set BEET to 0 (n90) and CSM (A) to AC subroutine (n84)
Set TYP and ROOT detected in step (n91) and return.

(I) and (J) in the same figure are rhythm interrupt operations. This operation is an interrupt operation executed every one clock of the rhythm tempo oscillator 27. First, determine the RUN flag with n95. If RUN is set, the rhythm sound generation circuit 32 is operating, so the operation of n96 or less is executed and RUN
If = 0, the rhythm sound generation circuit 32 is stopped, and therefore the process directly returns.

At n96, the rhythm pattern register RITH is referenced at (T). If the sounding timing of any percussion instrument (n9
7), the sound signal of a predetermined percussion instrument channel is transmitted to the rhythm sound generator 32 (n98). At n99, it is determined whether or not it is a beat timing (if T is divided by B and there is no remainder, it is a beat timing). If it is a beat timing, the decimal point on the right side of the display 3 is turned on (n103), and if the timing of repeating the rhythm pattern every two bars (T = 0), the decimal point on the left side is also turned on (n101 → 102). Here, after adding 1 to BEET, (n103 ') MODE is referred to, and if it is (n104) 0 or 1, it is operating separately from the performance and the rhythm, so the process proceeds to the clock count-up operation (n112 to n114). If MODE = 2,3, the operation of n105 or less is performed. If MODE = 4,5, n
The following operations are performed.

At n105, the RSV flag is referred to, and if set, it is the beat timing, so KEYBUF is transmitted to the tone generation circuit 31 and the chord is switched (n106). After resetting RSV (n107), proceed to n108. If the RSV flag is reset at n105, the process directly goes to n108. N108 in Kizumi OF
F timing (silence timing of arpeggio pattern)
If it is the OFF timing, the KON flag of the corresponding channel (pitch) is reset and transmitted (n109). Further, in n110, it is determined whether or not it is the timing for turning on the apex (the sounding timing of the arpeggio pattern), and if it is the timing for turning the apex, the KON flag of the corresponding channel is set and transmitted (n111).

At n112, 1 is added to T. By this addition, T = 96
If so, enter T ← 0 to clear it (n113 → n11
4) Return, and if T <96, return as it is.

If n99 is not the beat timing, n100
Go to and judge MODE, and if 0, 1, 5 go to n112 and 2
If ~ 4, proceed to n108. Also in the AH mode (MODE = 5), n108 to n111 are skipped because the arpeggio is unnecessary because the number of pronunciations is increased or decreased depending on the breath strength.

At n115, BEET and LTH are compared, and if they do not match, at n124 MOD
If E is judged, if it is 4, proceed to n108, and if it is 5, proceed to n112. On the other hand, when BEET and LTH match, the code is switched, and CSM (A) is read (n116). If the read data is not end data (data stored in CSM (AMX + 1)), this data is set to ROOT, TYP and LTH (n119), 1 is added to A and BEET is reset to 0 (n120). ). After this, judge MODE (n12
1) In case of 4, search the AC table with TYP, ROOT and assign the tone number to each channel (n121 → n1
22) Go to n108, and if MODE is 5, refer to the AH table and assign a tone number to each channel (n121
→ n123) Proceed to n112.

The figure (K) is a breath interrupt operation. This operation is an interrupt operation performed about every 20 ms. First, the breath flag BF and the peak hold flag PH are referred to (n125, n125 '). If BF is set and PH is reset, it is playing but if the initial intensity is not yet detected, the operation of n126 or less is executed, if BH is reset, it is not playing, If PH is set, the initial strength has already been detected, and the routine returns. At n126, the contents of the breath strength register are shifted. BRTH1 ← BRTH2, BRTH2 ← BR
Execute TH3, BRTH3 ← BD. Here, when BRTH3 <BRTH2 or BRTH3 = BRTH1, the peak hold flag PH is set (n1
27, n128 → 130) Jump to the n11 key pattern detection operation. The initial strength is stored in the initial strength register INIT. On the other hand, BRTH3 ≧ BRTH2 and BRTH3 ≠ BRTH1
If so (obviously BRTH3> BRTH1), BRTH3, which is the maximum value of the breath intensity that has already been detected, is set to INIT (n129) and then the process returns.

The above is the operation of this electronic wind instrument. In this operation, the initial level is detected and sounded, and the sound level (number of sounds, number of parts) is held while the breath flag BF is set. , The number of parts) may be controlled. Also, the number of parts may be controlled based on the breath strength even in the AC mode.

Further, even in the single note mode and the doublet mode, the sound generation timing may be controlled based on the rhythm tempo oscillator.

The rhythm tempo oscillator 27 and the rhythm interrupt operation (FIGS. 6 (I) and (J)) correspond to the rhythm tempo generating means of the present invention, and the breath sensors 21, n6, n7 and the breath interrupt operation (FIG. 6 (K)). )) Corresponds to the sounding instruction receiving means of this invention, and n72, n105 to n107 correspond to the sounding timing control means of this invention.

(G) Effects of the Invention As described above, according to the present configuration, even when the resolution of chord data and the resolution of automatic accompaniment data are different, the accompaniment sound generated during recording and the accompaniment sound generated during reproduction match. Therefore, it is possible to monitor accurate accompaniment data during recording.

[Brief description of drawings]

1 (A) and 1 (B) are external views of an electronic wind instrument according to an embodiment of the present invention, FIG. 2 is a block diagram of a control unit of the electronic wind instrument, and FIGS. 3 (A) to 3 (C) are the same. FIG. 4 (A) and FIG. 4 (B) are diagrams for explaining the single note table and the playing table set in the ROM, and FIGS. 5 (A) to 5 (C) are the same control. FIG. 6 (A) to FIG. 6 (K) is a flow chart for explaining the operation of the control unit, and FIG.
Are main routines, (B) to (E) are subroutines corresponding to switch operations, (F) to (H) are subroutines corresponding to respective performance modes, and (I) and (J) are shown.
Shows a rhythm interrupt operation, and FIG. 9 (K) shows a breath interrupt operation. 7 (A) and 7 (B) are diagrams for explaining another example of the playing table. 2 …… Song mouth, 21 …… Breath sensor, 27 …… Rhythm tempo oscillator.

Claims (1)

(57) [Claims] 1. An accompaniment tone based on a chord by sequentially designating chords according to the progress of a performance, generating an accompaniment tone based on the chord, recording the sequentially designated chords, and reproducing the recorded chords. An electronic musical instrument having an automatic accompaniment function capable of generating a chord, and a chord designating unit for designating a desired chord while playing an accompaniment tone in a chord recording mode, and a chord designated by the chord designating unit. Is a means for recording the chord data indicating the chord according to the beat timing, and if the timing at which the chord is designated is delayed within a predetermined time from the beat timing, the beat timing is set to the beat timing, and if the delay exceeds the predetermined time, the next beat is indicated. Recording means for recording chord data at a timing; and when a new chord is designated by the chord designating means, the timing at which the chord is designated If the chord is delayed within a predetermined time from the beat timing, the chord designation timing is controlled, and if the delay exceeds the prescribed time, the chord designation timing is controlled to the next beat timing. Control means, reading means for sequentially reading out the recorded chord data in the chord reproduction mode, and accompaniment sound based on the chord whose timing is controlled by the chord designating means in the chord recording mode And an accompaniment sound generating means for generating an accompaniment sound based on the chord read by the reading means in the chord reproduction mode.