JP2560480B2 - Music control device - Google Patents

Description

Description: BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to an electronic musical instrument, and particularly to a musical tone control device for an electronic musical instrument suitable for simulating a stringed musical instrument that is played using a movable playing member such as a bow. Regarding

[Prior Art] Violins, violas, cellos, contrabass, and the like are known as natural bow-moving instruments that perform with a bow. There are also miniature sizes for each.
Hereinafter, the violin will be mainly described as an example.

Conventionally, as an electric violin, the body of the violin of the natural musical instrument was omitted, and the bow of the natural musical instrument was used, the strings of the natural musical instrument were stretched, the strings were rubbed with the bow, and the vibration of the strings was picked up by the pickup and processed as an electric signal. There was a thing that outputs the sound.

This electric violin performs the same operation as a natural musical instrument as a playing method, actually rubs the strings, and first generates a sound due to the vibration of the strings.

[Problems to be Solved by the Invention] Generally, a natural bow instrument has a plurality of strings, and the scales of the strings are adjusted individually by a spool.

The present inventor proposes an electronic musical instrument that can generate the musical tone of a bowing instrument without actually having to stretch strings.

Although the electronic bow instrument has a plurality of string equivalent parts in terms of performance similar to the natural musical instrument, it is possible to generate a certain scale without adjusting the string equivalent parts. However, even in the electronic musical instrument, there are cases where the scales of all strings are changed for tuning, or only the scales of some strings are changed depending on the piece of music.

It is an object of the present invention to provide a musical tone control device capable of easily changing the pitch of a musical tone emitted by an electronic bow instrument that does not actually have strings.

Another object of the present invention is to provide a musical tone control device capable of independently and arbitrarily changing the pitch of each string of an bow instrument.

Another object of the present invention is to provide a musical tone control device capable of simultaneously changing the pitch of each string of an bow instrument in a predetermined pattern.

[Means for Solving the Problem] The tone control device of the present invention independently or commonly corrects the pitches designated by the plurality of pitch designating means in accordance with the operation state of the pitch modifying operator. A tone control means for generating a tone is provided.

According to one embodiment of the present invention, for example, FIG.
(B), FIGS. 2 (A) to (C), and FIG. 6 (A) to
(C), referring to FIG. 18, the rod portion (24) and the string equivalent portion (3
A main body (20) provided with 1), a movable playing member (40) for the player to hold in his hand and move to the string corresponding part of the main body to play, and the string corresponding part and the movable playing member. Relative movement detecting means (37, 65, 78, 80) for detecting relative movement with respect to and generating a relative movement mode detection signal, and pitch of musical sound provided on the surface side of the rod portion are designated. Pitch specifying means (23, 148) for detecting the operation of the performer for
A rotary volume (22-1V, 22-2V, ...) Is provided in the pseudo thread winding section (22) provided at the tip of the rod section, and the musical tone generated corresponding to the resistance value changing by rotating the volume is generated. Pitch adjustment means (149, 150) for outputting a pitch adjustment amount for adjusting the pitch, the relative movement mode detection signal,
There is provided a musical tone control device comprising a musical tone control means (2) for controlling musical tone elements of a musical tone generated based on the detection result of the pitch designating means and the pitch adjustment amount of the pitch adjusting means.

[Operation] The pitch of the musical tone of a natural bow instrument depends on the tension of each string adjusted with a bobbin. An electronic musical instrument that does not use strings originally does not require a bobbin, but it is necessary to change the scale of all strings or some of the strings for tuning for tuning. These requirements are solved by providing pitch adjusting means for adjusting the pitch of the musical sound in the musical sound signal forming circuit together with the pitch specifying means.

Originally, the pitch of an electronic musical instrument does not change, so there is no need for tuning to adjust the scale to the original pitch. However, it is desirable to be able to adjust the scale for transposing. Using the characteristics of electronic musical instruments, it is possible to freely specify the scale with simple operations.

It is also possible to perform a predetermined tuning with one touch.

You can also tune each string independently. At this time, a reset switch may be provided to return to a predetermined state with one touch.

[Embodiment] FIGS. 1A and 1B show the basic configuration of an electronic bow instrument. FIG. 1 (A) shows an overall schematic configuration. In the input unit 1, the player can input performance parameters by performing various operations. Typically, a musical performance member such as a bow is organically connected to the musical instrument body and is moved relatively to perform the performance. Typical examples of various performance parameters are, for example, the moving direction of the bow, the position where the bow and bow of the bow bow, the bow bow, etc., the speed of the bow, the pressure on the bow bow, and the pitch (sound) specified on the fingerboard. High), the timbre is shown. In addition to these, parameters such as the position of the string hit by the bow and the angle of the bow may be provided. The tone signal forming circuit 2 forms a tone signal based on these performance parameters. Although this tone signal is a digital signal, it is converted into an analog signal by the D / A converter 3 and is output as a tone from the speaker 5 via the amplifier 4.

FIG. 1B shows an example of the basic configuration of the main part of the tone signal forming circuit 2 shown in FIG.

This is a non-linear tone synthesis circuit that models a bowed string instrument.The non-linear function part NL11 approximates the friction characteristics between the strings and the bow, and the delay parts Delay13, 18 which approximate the string characteristics.
And filter sections 12, 14, and 19. The delay portion and the filter portion, which have similar string characteristics, are divided into the bridge side and the bobbin side from the rubbing chord point, and therefore have their respective portions. In the example of FIG. 1B, the non-linear portion is composed of the non-linear function 11 and the low-pass filter 12.
The delay circuit 13 and the low-pass filter 14 approximate the characteristics of the string on the piece side, and the delay circuit 18 and the low-pass filter 19 approximate the characteristics of the string on the bobbin side. Of course, by changing these characteristics, it is possible to view the circuits 13 and 14 as the bobbin side and the circuits 18 and 19 as the bridge side.

The non-linear function 11 approximates the frictional characteristic between the string and the bow as described above, and is, for example, a function as shown in FIG. 1 (C). Friction characteristics are determined by bow pressure and the like. Since the maximum static friction force is large and determines its property, this non-linear function is also a function whose size, shape, etc. are controlled by the pressure of the bow.

In the actual operation of FIG. 1 (B), the output of the non-linear circuit 11 approximating the characteristics of the string of the bowed and bowed string instrument corresponds to the bobbin winding side part and the piece side part, 2 shown in
Input to two circuits. The circuit corresponding to the bobbin winding side portion shown on the left side includes a delay circuit 18 and a low-pass filter 19, corresponding to the operation of the vibration transmitted through the string being reflected at the fingering position on the fingerboard and returning to the rubbed string portion, The output is fed back to the non-linear circuit 11. In addition, the bridge side portion of the string shown on the right side also has a delay circuit 13
And the low-pass filter 14, the output of the nonlinear circuit 11 corresponds to the operation in which the vibration of the string is reflected by the bridge and returns to the rubbed part.
Return to. Another low-pass filter 12 is connected between the input and output of the non-linear circuit 11, and feedback for controlling the gain is applied.

The pitch of the musical sound is determined by adjusting the delay time of the delay circuits 13 and 18 according to the fingering position on the fingerboard. Further, the speed and pressure of the bow are input to the tone signal forming circuit as parameters for tone formation. For example, the tone color (overtone structure) can be changed by the bow speed, and the volume and tone color can be changed by the pressure.

In this way, the circuit shown in FIG. 1 (B) simulates the musical sound due to the vibration of the strings of the bowing instrument. Fig. 1 (B)
The output of the circuit of (1) further passes through a filter circuit and the like (not shown) and is supplied to the D / A converter 3 of FIG. 1 (A).

2 (A) to (C) show the appearance of an electronic musical instrument according to an embodiment of the present invention. 2 (A) shows the side surface of the musical instrument body, and FIG. 2 (B) shows the front surface of the musical instrument body.

Although the musical instrument body has a shape similar to that of a violin of a natural musical instrument, various simplifications may be made since it is not necessary to actually vibrate or resonate the strings. The rod portion 24 extends upward and is continuous with the spool portion 22 and the spiral portion 21. Isobe
A fingerboard 23 is provided on the front side of 24. By pressing the fingerboard with a finger, a pitch signal that determines the pitch is generated. Similar to a violin of a natural musical instrument, an upper piece 29 and a piece 30 are formed at positions supporting both ends of a string, and a rubbing string portion 31 to be played with a bow is formed near the piece 30. A tail piece 32 is provided below the piece 30. In the case of a natural musical instrument, a body portion 25, which is a resonator, is formed by a front plate 26, side plates 27, and a back plate 28. Torso
The 25 is further provided with a corner 39 and an F-shaped hole 35 like the natural musical instrument. Also, place the chin rest on the part that should be applied to the chin.
Is provided. The parts corresponding to the strings and the resonators may be arbitrarily changed or omitted.

As described above, the bowing instrument main body is configured to have almost the same shape as the natural bowing instrument main body, but the string is not actually stretched, and the rubbing string portion 31 has a friction member equivalent to the string. Is provided. Near the string-corresponding portion 31, equivalent movement detecting means 37 including a light receiving portion or a light receiving portion or a reflecting portion is provided to detect the relative movement of the bow.

FIG. 2 (C) shows a bow. The bow 40 is the part 44 of the bow,
It has a part 46 of the original bow, a grip 42, and the like. In the case of a natural musical instrument, the portion to which hair should be stretched is not actually stretched, and the shape is made of a member such as plastic.

3 (A) and 3 (B) show the structure of the rod portion. FIG. 3 (A) is a vertical sectional view, and FIG. 3 (B) is a horizontal sectional view.

In the violin of the natural musical instrument, four strings are stretched on the fingerboard on the front side of the rod portion, but in the electronic musical instrument according to the present embodiment, the pitch designating means 50 corresponding to the strings is provided. That is, as shown in FIGS. 3A and 3B, the fingerboard 23 is provided with four sets of embedded resistance wire 51 and conductive wire 53 thereon. Conductive wire
When 53 is pressed, the conductive wire 53 is deformed as shown in FIG. 4 (A) and comes into contact with the resistance wire 51.

A vibrato switch 59 including a fixed contact member 55 and a movable contact member 57 is provided on the back side of the rod portion 24.

FIG. 3B shows the structure of the rod portion 24 in a cross section. Fretboard 23
Four sets of pitch designating means 50a, 50b, 50c, 50d are provided in parallel on the upper side, and each of them is a resistance wire 51a, 51b, 51c, 51.
d and conductive wire 53a, 53b, 53c, 53d, further conductive wire
Insulating materials 54a, 54b, 54c and 54d are provided to cover 53a, 53b, 53c and 53d. The vibrato switch 59 provided on the lower side of the rod 24 is configured as a wide switch and a long switch in the longitudinal direction, and the vibrato switch 59 is designed to be operated by the thumb when any finger on any string is operated. Has been done. In the pitch designating means 50 and the vibrato switch 59, the space between the resistance wire 51 and the conductive wire 53 and the space between the movable contact member 57 and the fixed contact member 55 are basically hollow. An insulating spacer member is sandwiched in part to support the opening.

The pitch designating means 50 is shown in more detail in FIGS. 4 (A), (B) and (C). In FIG. 4 (A), when the player operates his / her finger on the fingerboard 23 and presses the conductive wire material 53 corresponding to the strings, the conductive wire material 53 makes contact with the resistance member 51 therebelow and the potential signal at the point of contact. Etc. are taken out.

The signal extraction circuit is, for example, as shown in FIG.
It can be configured as shown in FIG. In FIG. 4 (B), the resistance wire 51 is connected between the predetermined potential and the ground potential to form a potential distribution depending on the position. When the conductive wire 53 contacts the resistance wire 51, the potential at the contact point is taken out via the buffer circuit 61 and the analog / digital (A / D) conversion circuit 62 to generate a pitch signal.

FIG. 4 (C) shows another form. The resistance wire 51 and the conductive wire 53 are connected in series and connected to the resistance value detection circuit 64. When the conductive wire 53 is pressed and the pressed portion contacts the resistance wire 51, the portion of the resistance wire 51 below the contact point is short-circuited, and the resistance value is determined by the resistance wire 51 above the contact point. The resistance value that has decreased corresponding to the contact point is input to the resistance value detection circuit 64. At this time, if the wire rods 51 and 53 are short-circuited at a plurality of points, the position closer to 64 is read. Also, a pitch signal is generated based on this resistance value.

Although two circuit forms for forming the pitch signal from the position where the string equivalent part on the fingerboard is pressed by the finger are illustrated, other circuit forms are also possible.

5 (A), (B) and (C) show examples of the structure of the vibrato switch 59. In FIG. 5 (A), when the lower surface of the rod portion 24 is pressed with a finger, the movable contact member 57 constituting the movable contact of the switch comes into contact with the fixed contact member 55 constituting the fixed contact. By detecting this contact and generating a vibrato signal, vibrato is synergized with the generated musical sound.

FIGS. 5B and 5C show two circuit configurations for detecting the contact between the fixed contact member 55 and the movable contact member 57. As shown in FIG. 5B, the fixed contact member 55 and the movable contact member 57
May be formed of a conductor. When the movable contact member 57 is pressed to contact the fixed contact member 55, the movable contact of the on / off switch comes into contact with the fixed contact to close the circuit, and the on / off detection circuit 66 turns on / off the switch 59. To detect. A vibrato signal is generated based on the detection of ON.

FIG. 5 (C) shows a circuit for generating a signal of the position of the rod pressed by the finger in addition to turning on / off. The fixed contact member is formed of the resistance member 55a, and a predetermined voltage is applied between both ends. The movable contact member is composed of a conductive member 57a, and the potential at the contact point is taken out by being pressed by the resistance member 55a. The potential of the extracted contact point is the buffer circuit 67, A / D
Taken through converter 68 to produce an output signal. The output signals include a signal regarding on / off of the vibrato and a signal indicating which part of the vibrato switch is pressed with the thumb.

The vibrato switch can be released because it may be a hindrance to the learner of the vibrato playing method. In this case, the player can apply vibrato by actually rocking the position of the finger on the fingerboard.

FIG. 6 (A) schematically shows performance by bowing. Piece
A performance is performed by applying the bow 40 to the rubbing part 31 near the bow 30 to carry the bow. The rubbing string portion 31 is provided with string-corresponding members 71, 72, 73, 74 corresponding to four strings, and the bow 40 is moved to one of the string-corresponding members by moving to perform the performance. . Here, the parameters that determine the generated musical tone include the moving speed, the moving direction, the contact position, and the like of the arch 40. In order to obtain these information, the bow body 40 or the string-corresponding members 71, 72 of the rubbing string portion 31,
A signal generation means and a signal detection means are provided near 73 and 74 to detect the movement of the arch 40.

There are various methods for detecting the relative movement of the bow 40 with respect to the musical instrument body.

In the first method, a member that is electrically coupled to the musical instrument body and the bow body is provided to form a resonance circuit or the like, and mutual inductance and capacitance between the bow body and the musical instrument body are used. Since a signal according to the degree of coupling between the bow body and the instrument body can be taken out,
Relative motion can be detected. However, the detection range may be narrow or the detection accuracy may be insufficient with the coupling between the pair of members.

The second of the detection methods is a method in which a plurality of elements are provided on the arch body to be moved and the elements are selectively coupled to the elements on the instrument body.

 An example is shown in FIGS. 6 (B), (C) and (D).

In FIG. 6 (B), a plurality of light emitting elements 80 are provided on the arch 40.
-I is provided, a light receiving element 78 is provided on the main body of the musical instrument, and which light emitting element receives light from the light receiving element 78 is detected,
It is to determine which part of the arch hits.
Further, the moving speed of the arch 40 can be determined by measuring how many light pulses are incident within a unit time.

FIG. 6C shows the case where the arch 40 is provided with a plurality of light receiving elements 78-i. The operation in FIG. 6 (C) is only the reverse of the operation in FIG. 6 (B) described above, and will not be repeated here.

It should be noted that these signals can be transmitted and received not only by optical signals but also by ultrasonic waves or the like.

FIG. 6D shows an example in which both the light emitting element 80 and the light receiving element 78 are provided on the instrument body, and a plurality of reflection patterns 65-i are provided on the arch 40. The reflection pattern 65-i is formed with a constant period, and the ratio of the black and white pattern changes with the position. Although the reflection pattern is illustrated as protruding from the surface, a black-and-white pattern may actually be formed on a plane by printing or the like. The light receiving element 78 and the light emitting element 80 are arranged side by side in the direction perpendicular to the paper surface.

Light is emitted from the light emitting element 80 on the main body of the musical instrument to the reflection pattern 65-i on the arch 40, and the reflected light is detected by the light receiving element 78.
The bow speed can be measured by detecting the number of pulses of the received light signal within a unit time, and the contact position of the arch 40 can be measured by detecting the ratio of the high level period and the low level period of the received light signal. The position information may be represented by forming a barcode with a black and white pattern. On the contrary, it is of course possible to provide the bow with a light emitting / receiving element and the main body with a reflection pattern.

FIGS. 7 (A) to 7 (D) show structural examples of the arch in the cases of FIGS. 6 (B) and 6 (C).

FIG. 7A is an external view of the bow 40 as viewed from the rubbing surface or the sliding surface. A sliding plate 76 is provided on the rubbing surface that contacts the lower surface of the bow 40. The sliding plate 76 corresponds to the hair of a natural musical instrument, and is formed of, for example, plastic or the like having an appropriate sliding feeling.

FIG. 7 (B) is a perspective view showing only the sliding plate 76. A plurality of windows 69-i for exposing the plurality of photoelectric elements 78-i to 80-i are formed. It is desirable that the thickness of the sliding plate has an appropriate thickness so that a plurality of photoelectric elements 80 do not correspond to a single photoelectric element 78, that is, only the facing 78, 80 correspond.

FIG. 7C shows a longitudinal sectional view of the arch 40. The printed circuit board 70 is provided on the support member 75, and the plurality of light emitting diodes 80-i are disposed on the printed circuit board 70. The lens portion of the light guide member 79 faces the plurality of light emitting diodes 80-i. A plurality of depressions 77-i are provided on the upper surface of the light guide member 79 and serve as position guide grooves for the sliding plate 76. That is, the light emitted from each light emitting diode 80-i passes through the lens portion of the light guide member 79 and is emitted as a separate light beam from the window 69-i of the sliding plate 76.

The sliding plate 76 may have a shape 76 'in which both sides are inflated as shown in FIG. 7 (D). The reduction of the contact area reduces the frictional force and improves the slip.

Although an example in which a plurality of light emitting diodes are spread over the arch 49 has been described, a plurality of light receiving elements (for example, photodiodes and phototransistors) are provided instead of the plurality of light emitting diodes as shown in FIG. 6 (C). You may spread it. Further, a plurality of pairs of a light emitting element and a light receiving element may be provided in the arch corresponding to each window 69-i so that the rubbing portion reflects light. Further, it is possible to use a magnetic field instead of light by using a magnet and a coil. Further, instead of transmitting and receiving a signal by light, as described above, it is possible to use a proximity switch that utilizes changes in capacitance and inductance, or to use ultrasonic waves as a medium. In addition, any other method capable of detecting the movement of the arch 40 can be used.

8 (A) and 8 (B) are rubbed strings near the bridge of the instrument body.
31 shows a structural example. FIG. 8A is a perspective view of the rubbed string portion 31 near the bridge. The string-corresponding members 71, 72, 73, 74 are provided directly above the bridge 30, and the light-receiving member 78- is provided between the string-corresponding members 72 and 73.
i is formed.

FIG. 8B is a sectional view showing the structure of the light receiving portion. The light receiving element 78 is embedded between the string-corresponding members 72 and 73. An infrared filter 47 is provided above the light receiving element 78 and transmits only infrared rays having a constant wavelength. A light guide member 48 made of acrylic resin or the like further transmits the infrared light having a constant wavelength that has passed through the infrared filter 47 downward. A light receiving element 78 is arranged at a position for receiving infrared rays emitted from the emission surface of the light guide member 48. A plurality of such light receiving structures are arranged along the string-corresponding members 72 and 73 as shown in FIG. Four
Although one set of light receiving elements is provided for each string, even when the bow 40 rubs the strings 71 or 74 at both ends, the light from the bow 40 can be detected by the central light receiving element. Of course, four sets of light receiving elements may be provided corresponding to each string.

To detect the bow speed signal and the bow position signal, the light receiving element is set to 1
Individuals are also acceptable. In that case, in order to reliably detect light, it is preferable to make the shape elongated along the string-corresponding member. As shown in FIG. 8 (A), by arranging a plurality of pieces, it is possible to detect which part of the string the bow is rubbing. It is also possible to control the tone color and the like by the string position in response to the performance of a person having a high level of skill. Further, even if a player who has a low level of skill in learning does not hold the direction of the bow correctly, any one of the light receiving elements can detect the light emitted from the bow 40 to generate a musical sound. Further, by detecting the direction of the bow 40, it is possible to give the player a performance evaluation.

9 (A), (B) and (C) show a bow speed detecting circuit. In FIG. 9 (A), the bow speed detection circuit 85 detects the light from the bow 40 having a plurality of light emitting elements 80-i as shown in FIG. 6 (B), as shown in FIG. 8 (A). , (B), the light receiving signal 81 formed by receiving light by the light receiving element 78-i is received at the input terminal. On the other hand, the counter 83 counts the high-speed pulse generated from the high-speed oscillator 82 and sends the count to the latch 84. The received light signal 81 is sent to the flip-flops 86 and 87. The output of the flip-flop 87 is ANDed with the output of the flip-flop 86 via the differentiating circuit 88 and is supplied to the R input of the counter 83. Therefore, the counter 83 is reset by each received light signal pulse, and a new count is started. The output of the flip-flop 87 is also supplied to the latch 84. Then, the latch 84 outputs the count pulse number between the light receiving signal pulses. The number of count pulses increases as the bow moves slowly. The output of the latch 84 is an inverse conversion circuit
It is sent to 89, and the bow speed signal is output from there.

FIG. 9 (B) is a waveform diagram for explaining the operation of the circuit shown in FIG. 9 (A). Consider the case where the bow is moving at a constant speed. The light receiving element supplies pulsed light receiving signals 81 at regular intervals. The counter 83 counts the high-speed pulse from the high-speed oscillator 82 between the adjacent pulses of the received light signal 81, and increases the count value. When the next light receiving signal pulse is input, the counter 83 is reset and the maximum value of the counter output is stored in the latch 84. If the moving speed of the arch 40 is high, the interval between the light receiving signal pulses becomes short, and the latched counter output becomes small. If the moving speed of the arch becomes slow, the interval between the light receiving signal pulses becomes long and the latched counter output becomes large. Thus, the moving speed of the arch 40 and the latched counter output are in inverse proportion.

FIG. 9C shows the input / output characteristics of the inverse conversion circuit that performs such conversion. The moving speed of the arch body is obtained from the counter output latched by the inverse conversion circuit 89 and is supplied as an arch speed signal.

FIG. 10 shows another example of the bow speed detection circuit. A light reception signal 81 obtained by detecting light from an arch body having a plurality of light emitting elements by a light receiving element on the main body is supplied to an integrating circuit 91. The integrating circuit 91 integrates the input signal and forms an output according to the number of pulses. That is, if the arch 40 moves fast, many pulses are input along with it, and the output of the integrating circuit 91 increases rapidly. The output of the integrating circuit 91 is supplied to the differentiating circuit 92. The differentiating circuit 92 differentiates the output of the integrating circuit 91 to supply the bow speed signal according to the increasing rate of the input pulse number. That is, if the arch moves faster, the number of pulses input per unit time increases, the output of the integrating circuit increases faster, and the output of the differentiating circuit 92 increases. On the contrary, if the arch moves slowly, the increase of the integrating circuit 91 becomes slow and the output of the differentiating circuit 92 becomes small.

11 (A), (B), and (C) show examples of bow speed detection circuits using time division.

FIG. 11 (A) conceptually shows the light emitted from the arch 40.
For example, 64 LEDs are on the rubbing surface corresponding to the hair of the bow 40.
It is embedded in the dimension. These LEDs are time-divisionally excited. For example, a pulse signal of 3.2MHz causes 64 LEDs to emit light one after another, and returns to the first 65th LED and the 64 LEDs again to emit light again.

In the figure, the rectangular pulse indicates the light emission from the LED. The light-emitting LEDs move to the right with time. In this way, the continuous pulse is divided into 64 and 64 LEDs are
Are made to emit light one by one and operated in a time-sharing manner. Therefore, LE
Only one D can emit light at a time, and if you know which LED is emitting light, you can detect which part of the bow the light is coming from. By synchronizing the pulse train of the light emitter and the position detection of the light receiver, it is possible to know which part of the bow the light can be detected.

An example of a circuit for measuring such an optical pulse is shown in FIGS. 11 (B) and 11 (C). In FIG. 11 (B), for example,
A clock signal CK1 having a frequency higher than 640 Hz, for example, 1 MHz or 3.2 MHz is supplied to the counter 95 to count the number of pulses. The pulse count number is decoded by the decoder 96 to make a modular 6 signal, and 64 LEDs 80-0 to 8
Flash 0-63 sequentially. The light receiving signals from the plurality of light receiving elements 78-1, 78-2, ... Which receive the light emitted from these LEDs in a timely manner are added by the OR circuit 93. The reason for providing the plurality of light receiving elements is to enable the approach movement of the arch 40 with a certain width. The light reception signal from the OR circuit 93 and the pulse signal output from the decoder are multiplied by the AND circuit 97-i corresponding to each light emitting element. That is,
When the first LED is made to emit light, if the light receiving signal is obtained from any of the light receiving elements, the AND circuit 97-1 supplies the output to the first flip-flop of the flip-flop row 98,
Register that the emission of the first LED is detected. Similarly, when the light receiving element detects the light emission of the nth LED, the nth flip-flop of the flip-flop array 98 is set.

When any of the light receivers 78-i receives light at the timing when the LED 80-i is emitting light, FF98-i is set. At the next timing, the LED 80- (i + 1) emits light, and when received, the next FF98- (i + i) is set. Then 2
The outputs of the two FFs are "1" and "1", respectively. The detection circuit detects 2 bits or more and resets each FF. So, FF98-i and FF98- (i + 1) are reset,
If LED80- (i + 1) continues to receive light, FF9
8- (i + 1) is set again.

In addition, 0.02 to 0.3 sec as a reset measure when not sounding
If the next position signal does not come, each FF is reset. That is, the OR of the outputs of all FFs is differentiated by a differentiating circuit, and the output is supplied to the reset input of each FF through the retriggerable monostable multivibrator RMM and rising differentiator. It is reset when the set time of RMM elapses after Q output of FF.

Note that the latch circuit on the right side of the 64 → 6 converter 99 is latched at the timing when the Q output of the FF is changed from all “0” to “1”. From the time the reset signal is input until the time it is set, the bow is bowing,
This is to avoid this effect because the non-detection state occurs at one time.

In this way, it is possible to measure which part of the arch 40 is in contact with the rubbing part 31 (see FIG. 2A) at the same time as detecting the optical pulse. As shown in FIG. 11 (A), when 64 LEDs are arranged, 64 flip-flops are arranged in the flip-flop array 98. An output signal is supplied from a corresponding flip-flop depending on which part of the bow 40 is in contact with the rubbed string 31. This 64-bit parallel signal is converted into a 6-bit signal by the conversion circuit 99 and supplied to the subsequent stage as a parallel 6-bit signal 101. Also the counter output 100
Is similarly supplied to the latter stage.

FIG. 11 (C) shows a circuit connected to the latter stage of FIG. 11 (B). 6-bit parallel signal 101 indicating the contact point of the bow 40
Is applied to the delay means 102, is also applied to the comparator 103 and the latches 106-1 and 106-2, and is also output as it is as position information. The delay means 102 receives the counter output 100 and delays it by one pulse. The delay output 101a of the delay means 102 and the original position signal 101 are compared circuits.
Compared at 103. If the signal 101a one pulse earlier corresponds to a lower number hitting the tip of the bow, the bow is moving upwards. On the other hand, if the signal 101a one pulse before corresponds to the LED of the higher number near the original bow and the pulse of the latter corresponds to the LED of the lower number near the front bow, the bow is moving downward. In this way, the moving direction of the bow is identified and the upward signal UP or the downward signal DN is output. Receiving these direction signals, the flip-flop 104 outputs a direction signal 105 of "1" when moving upward and "0" when moving downward.

If the key-on KON signal is required depending on the utilization circuit, the output UP of the comparison circuit 103 and the OR of the DN may be taken and this output may be used as the KON signal.

On the other hand, the high frequency signal CK1 of 3.2 MHz, for example, is divided by the frequency divider 114 to generate a signal CK2 having a low frequency of, for example, about 10 Hz. The signal CK2 is supplied to the latch 106-1. A complementary signal CK2 ^{− of} CK2 is also generated. A signal obtained by delaying one pulse from CK2 and CK2 ⁻ is formed by the delay means 115, and latch 1
Supply to 06-2. Therefore, the identification circuit 107 which receives the bow position signal 101 via the latches 106-1 and 106-2 inputs the information at that time and the information before the predetermined time. Therefore, by taking the difference between the two inputs A and B, it is possible to know how much the arch 40 has moved during the predetermined time. The movement amount of the arch 40 is identified in 16 steps if necessary, and the output is supplied to any of the 16 output lines. Also, the movement amount may be expressed in 64K steps of 16 bits. The conversion circuit 108 receiving this 16 output line
The bit signal is converted into a binary 4-bit parallel signal and output as the bow speed signal 109. The bow speed signal 109 is also supplied to the conversion table 110, and the tone color signal 111 is created by referring to the table. There may be other inputs in the conversion table 110. In this way, FIG. 11 (B),
Signals such as the moving direction of the bow, the bow position, the bow speed, and the tone color are obtained from the circuit shown in FIG.

FIG. 12 shows another example of the tone color signal. In FIG. 11C, a tone color signal is generated based on the bow speed signal 109.
In the circuit shown in Fig. 2, timbre signals are generated by adding position information to this. That is, the bow position signal 101 is received, and for example, the position information is converted by the exchange table 116 so that the middle bow takes a high value and the front bow and the former bow take a low value.
The primary tone color signal 111 formed on the basis of the bow speed signal as shown in FIG. 1C is input to the arithmetic circuit 117, and arithmetic operations such as addition and multiplication are performed in the arithmetic circuit 117 to form the secondary tone color signal 118. To do.

The musical tone of bowing instruments such as violins also changes depending on the pressure of the bow. It is preferable to use bow pressure information in order to generate a musical tone with rich musicality similar to a natural musical instrument. To detect the bow pressure, basically, the rubbing part shown in FIG. 2 (A) is used.
It is preferred to detect the bowing stress at 31.

13 (A) and 13 (B) show an example of an arch pressure detecting device.
In FIG. 13 (A), the string-equivalent members 71, 72 of the rubbing string part 31,
73 and 74 are semiconductor strain sensors 121, 122 and 12 near their roots.
3 and 124 are embedded. When the sliding plate 76, which is the bristles of the bow 40, rubs any of the string-corresponding parts 71, 72, 73, 74, the string-corresponding parts 71, 72, 73, 74 are deformed, and the deformation is caused by the semiconductor strain sensor. 121, 122, 123, and 124 detect.

In FIG. 13 (B), the outputs detected by the semiconductor strain sensors 121 to 124 are converted into digital signals by the A / D converter 126 to form arch pressure signals.

The semiconductor strain sensor described here may be, for example, a semiconductor piezo element using a piezoresistor.
Conductive powders such as those disclosed in No. 29 may be dispersed in an insulator such as silicone rubber.
An FET type strain detection integrated circuit in which a stress sensitive portion is provided in the channel portion as disclosed in Japanese Patent No. 47820 may be used.

14 (A), (B) and (C) show examples of mounting the pressure sensor. In FIG. 14 (A), cuts are made in the vicinity of the support portion so that the portion corresponding to the strings receives the bow pressure to facilitate rotation.
0 is provided, and the strain sensor 131 is provided in the narrowed portion.

In FIG. 14 (B), the notches 130a and 130b are provided at both ends, and the strain sensor 13 is provided in the thin portion near each of the notches.
1a and 131b are provided and configured to obtain a signal obtained by adding outputs from two sensors.

In FIG. 14 (C), the method of supporting the strings is changed, and the strings are supported at both left and right ends. Therefore, when the part corresponding to the string is rubbed with the bow, the central part of the part corresponding to the string is deformed so as to sway left and right in the drawing. The strain sensor 131 is provided in a portion where this deformation is large.

Although several strain sensor mounting examples have been described above, the present invention is not limited to these, and any type of detection method may be used as long as it can detect the force exerted by the impact of the bow.

Further, instead of detecting pressure, displacement in the pressure direction may be detected.

As described above, the pitch information is obtained by the pressing position on the fingerboard, and the bow speed signal, the bow position signal, and the bow pressure are obtained from the movement of the bow, thereby obtaining the basic parameters of the musical tone formation as the bowing instrument. To be

Further, by providing a vibrato switch on the rod portion, even a beginner can easily perform musical tone formation peculiar to bowing instruments such as violins. Since this vibrato switch is different from the method of playing a natural musical instrument, it is preferable that the vibrato switch is made releasable by a player who is skilled in the art.

In addition, it is difficult for a beginner of violin performance to precisely control the pressure applied by the bow to the strings. In the case of a front bow, the distance between the string and the gripping portion that grips the bow also becomes large. If the musical tone generated according to the bow pressure is controlled, it becomes difficult to perform a musical performance. Here, the electronic musical instrument can electrically have various functions not found in the natural musical instrument. For example, a beginner can generate a bow speed signal by moving the bow and can generate a bow pressure signal by gripping the bow pressure input means of the grip portion.

FIG. 15 shows an example in which a grip pressure sensor 135 is provided on the grip portion of the bow 40. When the player grips the grip pressure sensor 135, the pressure is detected by the player and is used as a bow pressure for forming a musical sound.

Although the example in which the bow pressure is input from the grip pressure sensor of the grip portion has been described, other information may be input from the grip pressure sensor. For example, it can be used to add a vabrate effect. The sensor can be used not only for vibrato but also for performing various functions such as tenuto, staccato, and pizzicato.

It may also be difficult to input pressure information from the bow grip pressure sensor. In such a case, a musical tone may be generated by releasing the grip pressure sensor and its operation and setting a constant bow pressure. For example, it can be used to add a bow pressure effect or a vibrato effect. The sensor can be used not only for vibrato but also for performing various functions such as tenuto, staccato, and pizzicato.

FIG. 16 is provided with a pressure sensor and a plurality of switches on the grip portion of the bow 40, and is used as a bow pressure input means and a rendition style switching switch. It is possible to provide some kinds of bow pressure changeover switches so that the bow pressure to be set can be selected. The number of switches can be set arbitrarily. When the bow pressure is input by the pressure sensor of the rubbing part or the grip pressure sensor of the grip part, these bow pressure selection sensors are released. At this time, these may be used as other switches. Of course, the number of switches may be increased and each switch may have a single function. The rendition style selection switch performs various performance assistance such as vibrato, tremolo, tenuto, staccato, and the like.

FIG. 17 shows an example of a bow pressure / bow speed conversion circuit using a rendition style switch. One of the plurality of conversion modes prepared in the converter 140 is selected based on the rendition style information input from the rendition style switch. Bow pressure information, bow speed information, etc. are applied to the converter 140, and based on these information, bow pressure information, bow speed information, etc., which have been subjected to predetermined conversion in one selected conversion mode are supplied.

By the way, the equal temperament is widely adopted for electronic keyboard instruments so that they can be easily transposed. However, for example, you can select pure temperament or equal temperament, or transpose some songs.
There are cases where it is desired to have different tonality for the 1st or 2nd string of the 4th string. There are various difficulties in achieving this with an electronic keyboard instrument, but in this case, this kind of thing is possible.

For example, a tuning volume is provided for each string on a spool that does not need to be physically stretched. If this tuning always works, it will cause annoyance for tuning. Therefore, the tuning function can be canceled. For example, a reset switch is provided so that the original tuning at 5 degree intervals can be restored by resetting. However, since the basic pitch also has a width of several cents, from 435 Hz
It is preferable to prepare a selection switch up to about 445 Hz. For tuning with other musical instruments, it is preferable to have a function of moving the four strings in parallel at the same time. In addition, in order to comply with the above-mentioned rendition style, for example, FIG.
A transposing switch may be provided at the portion of the bobbin 22 shown in (B).

FIG. 18 shows a transposing circuit provided with a transposing switch. The characteristic of this circuit is that any tonality or temperament can be selected.

The 2-input selector 146-1 for the first string selects either the multi-bit input SA or the multi-bit input SB according to whether the signal of the select signal terminal is "0" or "1" and supplies it to the output. . The input SA receives the output from the fingerboard portion 148-1 for the first string. Input SB receives the output of multiplier 150-1. The multiplier 150-1 receives the output from the fingerboard unit 148-1 for the first string and the output of the preset RAM 149-1 which is a transposing or pitch adjusting unit, and outputs the product.

The circuits for the second string, the third string, and the fourth string include preset RAMs 149-2, 149-3, 149-4 and multipliers 150-2, 150.
-3, 150-4 and another 2-input selector 152-
1, 152-2, 152-3 are provided. The 2-input selectors 152-1, 152-2, 152-3 are preset RAMs 149
-1 output or preset RAM 149-2, 149-3, 149-4
Select one of the outputs of the multipliers 150-2, 150 ±
Supply to 3, 150-4.

Selection of these selectors is performed by the mode selection switch 145. The mode selection switch 145 has three fixed contacts A, B, and C. Of these, the contact A shown at the top is in a floating state.

First, when the mode selection switch 145 is set to the contact A, the select signal terminals of the selectors 146-1, 146-2, ... Receive "0", and the pitch designation shown in FIGS. Fingerboard portion 148-1 for the first string corresponding to the means 148-n,
Multi-bit output SA from the fingerboard section 148-2 for the second string, ...
Select. That is, the resistance value or voltage determined at the position where the resistance member 51 is pressed by the finger as shown in FIG. 4 (A) is output. The output pattern of the resistance value or voltage is tuned in equal temperament, for example.

Next, when the mode selection switch 145 is set to the contact B shown in the middle stage, the signal "1" is input to the select signal terminals of the selectors 146-1, 146-2, ... And the plural bits SB are selected. To the input SB of the selector 146-1, pitch correction data in which the pitch is coarsely adjusted by the transposing or pitch adjuster 149-1 and finely adjusted by the digital switch type volume 22-1V and the fingerboard portion 148-1. Output is multiplier 150-1
The signal multiplied by is applied.

The selectors 152-1, 152-2, 152-3 receive "0" at the select signal terminals and input SC (that is, the preset RAM1
49-1 output). Therefore, the multipliers 150-2, 1
50-3 and 150-4 select the product of the outputs of the fingerboard sections 148-2, 148-3 and 148-4 and the output of the preset RAM 149-1 by the selector 14
Supply to the input SB of 6-2, 146-3, 146-4.

When the mode selection switch 145 is set to the contact C, a prohibition gate signal is first sent to the bidirectional prohibition gates 147-1, 147-2, ... Further, "1" is supplied to the select signal terminals of the 2-input selectors 152-1, 152-2, 152-3, and the input SD is selected. That is, the outputs of the preset RAMs 149-2, 149-3, 149-4 for each string are input to the corresponding multipliers 150-2, 150-3, 150-4.

When one or more of the switches SW21, SW22, ... Are turned on, “1” is input to the select signal terminals of the corresponding selectors 146-1, 146-2, ... And the input SB is selected.
That is, the product of the outputs of the fingerboard units 148-1, 148-2, ... And the outputs of the preset RAMs 149-1, 149-2 ,. In this way, the pitch can be set for each string independently.

In this way, the contact A can be, for example, equal temperament, the contact B can be, for example, so-called transposition of full string shift, and the contact C can be arbitrary tuning independent of each string. In addition, the pitches of the open strings of the 4th, 3rd, 2nd, and 1st strings are (G, D, A, E), (A, D, A,
Other tunings such as E) can be set.

In this way, for example, by adjusting the transposition switch and transposition volume provided on the bobbin winding portion, it is possible to perform the pitch change similar to the natural musical instrument or the one-touch transposition.

In addition to the above-mentioned information, the bowing information may include other information such as the distance from the bow piece and the degree of bowing of the bow. For example, bowing information based on an optical signal and bow movement information based on a proximity switch may be used together.

The case of performing a performance according to the outer shape of the bow-moving musical instrument has been described above, but it is also possible to generate a musical tone of another musical instrument in addition to the musical tone of the musical instrument to be performed using the bow. For example, a musical tone as a rhythm musical instrument can be generated by changing the performance mode with a switch, striking a string with a bow, or moving the bow relative to a piece. For example, tones such as bongo, tom tom, dora, gong, and timpani may be generated. For example, since a drum, a gong, or the like has a relatively long sustain from the generation of sound to the disappearance of sound, various expressions can be made by using the bow movement information as an input signal. For example, bow speed information may be captured as touch information and tone color information. Alternatively, the touch information may be left to the pressure sensor of the bow grip or the member corresponding to the string, and the bow speed information may be input as the tone color information.

As shown in FIG. 19, the position information of the tip bow 44, the source bow 46, etc. of the bow 40 is the hitting position of the sounding body such as the skin of the drum, for example, the radial distance from the center to the end of the drum. The tone color parameters may be controlled in accordance with the above.

In the case of a waveform memory type percussion musical tone generating circuit as shown in FIG. 20, the waveform of only the attack portion may be selectively switched.

Further, when there is a moving direction like a hi-hat cymbal, the moving direction information of the bow can be made to correspond to the selection of the waveform memory, for example. For example, by reading the address HHO that the hi-hat cymbal goes up with UP direction and reading the address HHC that goes down under the hi-hat cymbal with the downward movement DN of the bow, the memory areas can be switched and read. In this case, the UP / DN bit may be used to select the upper bit of the memory.

The pitch information may be fixed for each string, or in the case of a rhythm musical instrument having several pitches such as a tom tom, the pitch may be selected by a finger on the fingerboard.

In such an application to a rhythm musical instrument, it is not always necessary to move the bow while keeping it in contact with the string equivalent portion, and it is possible to move the bow body in the vicinity of the string equivalent portion. You just need to get the input signal.

Although the present invention has been described with reference to the embodiments, the present invention is not limited to these. For example, various changes, modifications,
It will be apparent to those skilled in the art that combinations and the like are possible.

[Effects of the Invention] As described above, according to the present invention, it is possible to easily change the scale of some strings or all strings by the pitch adjusting means.

It is also possible to return to a predetermined tuning state with one touch after performing any tuning.

[Brief description of drawings]

1 (A), (B) and (C) show the configuration of an electronic musical instrument according to an embodiment of the present invention, and FIG. 1 (A) is a block diagram showing the overall schematic configuration, FIG. 1 (B). Is a block diagram showing the basic configuration of the tone signal forming circuit, FIG. 1 (C) is a graph showing an example of a non-linear function, and FIGS. 2 (A), (B) and (C) are according to the embodiment of the present invention. It is a figure which shows the external appearance of an electronic musical instrument, FIG.2 (A) is a musical instrument main body side view, FIG.2 (B) is a musical instrument main body front view, FIG.2 (C) is a bow side view, FIG.3 ( (A), (B) is a figure which shows a rod part, FIG.3 (A) is a longitudinal sectional view of a rod part, FIG.3 (B) is a lateral sectional view of a rod part, FIG.4 (A), ( FIGS. 4 (B) and 4 (C) are diagrams showing a pitch designating means for the fingerboard portion, FIG. 4 (A) is a partial sectional view of the fingerboard, and FIG. 4 (B) is a circuit diagram of the circuit configuration 1 FIG. 5C is a circuit diagram of circuit configuration No. 2, fifth. 5 (A), (B), and (C) show a vibrato switch, FIG. 5 (A) is a cross-sectional configuration diagram of a rod portion, and FIG. 5 (B) is a circuit configuration 1 circuit diagram, FIG. FIG. 6 (C) is a circuit diagram of circuit configuration No. 2, FIGS. 6 (A), (B), (C), and (D) are diagrams for explaining the performance by bowing, and FIG. 6 (A) is a bow. 6 (B), 6 (C) and 6 (D) are schematic explanatory views of the body and the piece, and FIG. 7 (A) is a schematic diagram showing three forms of relative movement detection of the arch body with respect to the main body of the musical instrument. , (B), (C) and (D) are diagrams for explaining the arch body, and FIG. 7 (A) is an external view of the arch body as seen from the rubbing surface, and FIG. 7 (B). Is a perspective view of the sliding plate, FIG. 7 (C) is a longitudinal sectional view of the arch body, FIG. 7 (D) is a lateral sectional view of a modified example of the sliding plate, and FIGS. 8 (A) and 8 (B) are It is a figure showing a rubbing part,
FIG. 8A is an external view of the rubbing part, FIG. 8B is a sectional view of the light receiving part, and FIGS. 9A, 9B, and 9C are diagrams showing an example of a bow speed detection circuit. FIG. 9 (A) is a block circuit diagram, FIG. 9 (B) is a waveform diagram for explaining the operation, and FIG. 9 (C) is a characteristic diagram showing characteristics between input and output of the conversion circuit. FIG. 10 is a block circuit diagram showing another example of the bow speed detection circuit, and FIGS. 11 (A), (B), and (C) are diagrams showing another example of the bow speed detection circuit. FIG. 11A is a schematic diagram of an arch for explaining time division light emission, FIG. 11B is a block circuit diagram showing a front stage part of the optical pulse measurement circuit, and FIG. 11C is a rear stage of the optical pulse measurement circuit. FIG. 13 is a block circuit diagram showing a portion, FIG. 12 is a circuit diagram showing another example of a tone color signal circuit, and FIGS. 13 (A) and 13 (B) are diagrams for explaining the bow pressure detection device. (A) is the disconnection of the string equivalent member FIG. 13 (B) is a block circuit diagram of the bow pressure signal circuit, and FIGS. 14 (A), (B), and (C) are diagrams for explaining the mounting of the pressure sensor. FIG. 15 is a perspective view showing a method, FIG. 15 is a schematic view of a bow for explaining a grip pressure sensor, FIG. 16 is a schematic view of a bow for explaining a rendition style switch, and FIG. 17 is a rendition style switch. A circuit diagram showing a bow pressure and bow speed signal conversion circuit, FIG. 18 is a block circuit diagram showing an example of a transposing circuit, FIG. 19 is a schematic diagram for explaining a percussion instrument mode, and FIG. 20 is a waveform memory type percussion instrument. It is a conceptual diagram for explaining. In the figure, 1 ... input section 2 ... tone signal forming circuit 3 ... D / A converter 4 ... amplifier 5 ... speaker 11 ... nonlinear circuit 12 ... low-pass filter 13 ... delay circuit 14 ... low-pass Filter 18 …… Delay circuit 19 …… Low-pass filter 20 …… Musical instrument body 21 …… Spiral part 22 …… Thread part 23 …… Fingerboard 24 …… Rod part 25 …… Body 26 …… Front plate 27 …… Side plate 28 …… Back plate 29 …… Top piece 30 …… Piece 31 …… Rubble part 32 …… Tail piece 34 …… Jaw rest 35 …… f-shaped hole 37 …… Light receiving part (or light emitting part or reflecting part) 39 …… Corner 40 …… Bow 42 …… Grip 44 …… Tip bow 46 …… Original bow 47 …… Infrared filter 48 …… Light guide member 50 …… Pitch designating means 51 …… Resistance wire 51a ~ 51d 53 ...... Conductive wire 53a ~ 53d 54 ...... Insulator 55 ...... Fixed contact member 55a ...... Resistance member 57 ...... Movable contact member 57a ...... Conductive member 59 ...... Vibra Switch 61 …… buffer circuit 62 …… A / D converter circuit 64 …… resistance value detection circuit 65 …… reflection pattern 66 …… on / off detection circuit 67 …… buffer circuit 68 …… A / D converter 69− i ... Window 70 ... Printed circuit board 71, 72, 73, 74 ... String equivalent 75 ... Supporting member 76 ... Sliding plate 77 ... Recess 78 ... Light receiving element 79 ... Light guiding member 80 ... Light emission Element 81 …… Reception signal 82 …… High-speed oscillator 83 …… Counter 84 …… Latch 85 …… Bow speed detection circuit 86,87 …… Flip-flop 88 …… Differentiation circuit 89 …… Inverse conversion circuit (ROM) 91 …… Integrator circuit 92 …… Differentiation circuit 95 …… Counter 96 …… Decoder 97 …… AND circuit 98 …… Flip-flop sequence 99 …… Conversion circuit 100 …… Counter output 101 …… 6-bit signal (position signal) 101a …… Delay Output 102 ... Delay means 103 ... Comparator 104 ... RS flip-flop 105 ... Direction signal 106 ... Latch 107 ... Identification circuit 108 …… Conversion circuit 109 …… Bow speed signal 110 …… Conversion table 111 …… Tone color signal 114 …… Frequency divider 115 …… Delay means 116 …… Conversion table 117 …… Computation circuit 118 …… Secondary tone Signal 121,122,123,124 …… Strain sensor 126 …… A / D converter 130 …… Notch 131,131a, 131b …… Strain sensor 135 …… Grip pressure sensor 136 …… Performance changeover switch 140 …… Transducer 145 …… Selection switch 146… … Transposing circuit 147-i …… Inhibition gate 148 …… Pitch information 149 …… Transposing offset data table 150 …… Multiplier 151 …… Pitch specifying means 152 …… Converter

Claims (2)

(57) [Claims] 1. A main body having a rod portion, a plurality of pitch designation means provided on the surface side of the rod portion for detecting an operation of a performer for designating a pitch of a musical tone generated, Pitch correction operator provided corresponding to each of the pitch designating means, a mode designating means for selectively designating the first mode and the second mode, and the mode designating means When the mode 1 is designated, the pitch designated by each of the plurality of pitch designating means in accordance with the operation state of each of the pitch correction operators corresponding to each of the plurality of pitch designating means is changed. It is provided so as to correspond to each of the plurality of pitch designating means while independently modifying and generating a tone of the modified pitch and when the second mode is designated by the mode designating means. One of the pitch correction operators And a tone control means for commonly correcting the pitch designated by each of the plurality of pitch designating means in accordance with the operation state of the above, and generating a musical tone of the corrected pitch. Music control device. 2. The musical tone control apparatus according to claim 1, wherein the mode designating means is further capable of designating a third mode, and the musical tone control means is further configured by the mode designating means. When the third mode is designated, the musical tone of the pitch designated by the plurality of pitch designating means is generated without performing the modification according to the operation state of the pitch modifying operator. A tone control device characterized by.