JP3314079B2 - Motif playing device and motif playing method - Google Patents

Description

DETAILED DESCRIPTION OF THE INVENTION

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to a motif playing device and a motif playing method for automatically playing a motif.

[0002]

2. Description of the Related Art Conventionally, electronic musical instruments that automatically perform a melody are widely known. Such an automatic performance instrument stores automatic performance pattern data, reads out the automatic performance pattern data in response to operation of a start switch of the automatic performance, and sequentially generates and generates musical tones according to the read data. It is something that goes.

[0003]

However, in the above-mentioned automatic musical instrument, if the start switch is pressed,
Automatic performance started mechanically, and the player could not be involved in this automatic performance while playing at all, and it was impossible to change the performance. Such an automatic performance is an automatic performance for one song, and does not play a melody motif which is a component of the song.

SUMMARY OF THE INVENTION The present invention has been made to solve the above-mentioned problems, and an object of the present invention is to make it possible to play a melody motif, which is a constituent element of a song, thereby providing a variety of unprecedented changes. Realizing automatic performance. The content of the performance can be changed by only one sounding instruction, and the player can participate in the automatic performance while performing.

[0005]

In order to achieve the above object, according to the present invention, chord motif information indicating the contents of a plurality of chords and the timing of performance of each chord is sequentially determined based on a set tempo. Based on the read out tempo, the performance information of the bass sound is sequentially read out based on the set tempo, and the scale of the bass sound in the read out performance information is shifted and sounded based on the read code. As a result, the chord motif, which is a component of the music, can be ensemble with the bass, and the scale of the bass sound can be shifted based on the ensemble chord, so that the scales of the ensemble can be harmonized.

[0006]

When the mode switch 31 is set to base / rhythm in the OFA mode, as shown in FIG. 17 (e), the upper keyboard 13a automatically plays the ad lib motif of the bass assigned to each key. Is done. In this case, the scale of the bass ad-lib motif played on the upper keyboard 13a is shift-corrected based on the chord and the root stored in the chord root register before entering this mode (detection chord correction).

Automatic rhythm, auto arpeggio (chord), and auto bass automatic accompaniment are started by operating the start / stop switch 38 (steps 407 to 418 in FIG. 35, paragraphs "0014", "0057", and "0").
067 "). The "auto motif" is a completely automatic accompaniment that starts / stops by operating the start / stop switch 38, and is not an "auto" but a "motif"
Is a motif performance started / stopped by operating the keyboard 13. These “motif” and “auto motif” are executed in synchronization with the set tempo (paragraphs “0047”, “0071”, “0074”, “00”).
79 "" 0094 "" 0168 "). The auto motif and the motif are executed in exactly the same flowchart (FIGS. 26 to 34).

[0008]

DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS <Data Format of Ad-Lib Motif> FIG. 1 shows one format of ad-lib motif data stored in an ad-lib motif pattern area 42 of a ROM 19. The same as the ad-lib motif pattern area 42 is the RAM 2
0 is also transferred and stored as the ad-lib motif pattern area 47. This ad-lib motif corresponds to the 16-beat rhythm of the first melody of the ad-lib motif to be described later.
(Indicating that the number is a base number)) to “3FFн”.

[0009] Of these, from address "000н" to "020"
The area before address н ”is the ad-lib motif start address area 42a (47a). The area from address“ 020 н ”to the area before address“ 060 н ”is the ad-lib motif assign area 42b (47b). The area up to the address “092н” is the ad-lib motif data of the pattern “0”.
The area before the address "AE н" is the ad-lib motif data of the pattern "1".

[0010] Thereafter, similarly, the pattern "2"
The ad-lib motif data of “3”… continues, and the ad-lib motif data of the last pattern “15” is “3C6н”
There is before the address, and nothing is stored from this point on up to the address "3FFн". Accordingly, the adlib motif data corresponding to the 16-beat rhythm of the first melody of the adlib motif includes pattern data of 16 types of adlib motifs.

<Ad-lib motif start address list> The ad-lib motif start address area 42a from the address "000 н" to the address before "020 н".
The storage content of (47a) is as shown in FIG. In this area, the above-mentioned head address of the stored area is stored for each of the patterns “0” to “15” of the ad-lib motif data. 1
The storage capacity for two addresses is required to store the two start addresses.

<Ad-lib motif assignment list> The ad-lib motif assignment area 42b (47b) from the address "020 н" to the address before "060 н" stores the pattern number of the ad-lib motif assigned to each key of the keyboard 13. The storage contents are as shown in FIG.

At the address of the major clock, time signature data is stored. As shown in FIG. 12, the number of clocks corresponding to each time signature is determined so as to be 48 clocks per quarter note. . This major clock is usually determined by the rhythm to which the ad-lib motif belongs.

At each address of the auto arpeggio, auto bass, first auto rhythm (drum system), and second auto rhythm (cymbal system), a pattern number used as an accompaniment thereof is stored. This auto arpeggio,
The ad-lib motif data is also used for the auto bass, the first auto rhythm, and the second auto rhythm (hereinafter, referred to as auto auto motif), and is started by turning on the start / stop switch 38 instead of turning on the keyboard 13. The rhythm delay indicates a delay time between the start time of the first auto rhythm and the start time of the second auto rhythm. Note that a melody, a chord, and the like may be included in these automotifs.

At the addresses of the key numbers 24 to 72, the pattern numbers of the ad-lib motif assigned to each key of the keyboard 13 are stored. This pattern number indicates the type of the pattern of the ad-lib motif shown in FIG. As shown in FIG. 10, the key numbers 24 to 72 indicate the respective keys of the keyboard 13. The key numbers 24 to 43 constitute the lower keyboard 13b, and the key numbers 44 to 72 correspond to the upper keyboard 13a.
Is composed. The fixed area in the lower keyboard 13b and the upper keyboard 13a is fixed so that the pattern number of the ad-lib motif assigned to each key cannot be changed, and the assignable area is the pattern of the ad-lib motif assigned to each key. The number can be changed.

<Ad-lib motif area specification table 4>
1> FIG. 7 shows the ad-lib motif area designation table 41 of the ROM 19, in which the start address of each storage area of the above-mentioned ad-lib motif is stored. This ad-lib motif is the first melody of the ad-lib motif, the second melody of the ad-lib motif,
It consists of five parts: ad-lib motif base, ad-lib motif rhythm, and ad-lib motif code. Each of these ad-lib motifs is an additional 16 beats, disco ...
Is stored for each of the 16 rhythms of the
× 16 = 80 kinds of ad-lib motifs are stored. And one of the ad lib motifs is
As shown in FIG. 1 described above, an ad-lib motif of a total of 80 × 16 = 1280 patterns consisting of 16 patterns is stored in the ROM 19.

The first melody of the ad-lib motif, the second melody of the ad-lib motif, the ad-lib motif base,
Ad lib motif rhythm, ad lib motif code 5
One of the options is as shown in FIGS.
Determined by the operation keyboard.

The ad-lib motif of the 1280 pattern corresponds to the ad-lib motif start address list described above.
All data is transferred to the RAM 20 when the power is turned on, including the ad-lib motif assignment list. This allows the contents of the ad-lib motif to be changed and the pattern of the ad-lib motif assigned to the assignable area of the keyboard 13 to be changed by transferring the data to the writable RAM 20.

<Data Format of Ad-Lib Motif> FIGS. 4, 5, and 6 show specific data formats of the ad-lib motif. Figure 4
Indicates a data format based on the first melody of the ad-lib motif, the second melody of the ad-lib motif, and the ad-lib motif. FIG. 5 shows a data format of the ad-lib motif rhythm data. FIG. 6 shows a data format of the ad-lib motif code data.

The ad-lib motif first melody, the ad-lib motif second melody, and the ad-lib motif-based ad-lib motif data shown in FIG. 4 are composed of a plurality of note data according to a performance pattern. Stores melody tone color data. The note data includes key number, gate time, velocity, and step time data. The timbre data is composed of both the timbre number of the melody sound and the step time.

The key number is a number indicating each key of the keyboard 13 and indicates a pitch. The gate time indicates the length of time from key-on to key-off.
The velocity is data indicating the operation speed or operation intensity of the operation keys of the keyboard 13. The step time indicates a time length from the key-on of the immediately preceding note data or the change in tone color data to the key-on of the note data.

The timbre number is data indicating the timbre of the melody sound, and as shown in FIG.
"00н" for brass and "04н" for brass (brass), representing 32 tones. The step time of the timbre data at the start address is "00 ... 0", and immediately after the start of the ad-lib motif performance, the timbre according to the timbre data is set. The step time of the timbre data where the timbre changes indicates the length of time from the key-on of the immediately preceding note data or the timbre data change to the timbre change timing.

At the end, repeat data is stored. The repeat data is a command indicating returning to the start address, and this ad-lib motif pattern is repeated as long as the key-on is performed. This repeat data is composed of a command “11... 1” and a step time. This step time indicates the time length from the key-on of the immediately preceding note data or the change in tone color data to the repeat timing. In this case, the repeat timing usually takes an integer multiple of one bar.

The ad-lib motif rhythm data of FIG.
It consists of multiple beat data according to the rhythm pattern,
The timbre data of the rhythm sound is stored at the place where the timbre changes and at the start address. The beat data is composed of both velocity data and step time data. The tone color data is composed of both the corresponding low key number and step time data.

As shown in FIG. 10, the lower key numbers indicate keys of numbers "24" to "43", and do not directly indicate rhythm tone numbers such as bass drums and hi-hats. However, using the rhythm tone table 44 of the ROM 19 shown in FIG. 13, the lower key number is decoded into a rhythm tone number indicating a bass drum, a hi-hat, or the like. At this time, the pronunciation key number is also decoded and output.

As shown in FIG. 11, the rhythm timbre numbers "00」 "to" 3 C 」" indicate drum-based timbres.
“40 н” or more indicates a cymbal tone. Drum-based timbres are assigned to white keys, and cymbal-based timbres are assigned to black keys, so that the rhythm tone system can be changed according to the key color. Of course, other allocation forms may be used.

The sounding key number changes the pitch (sounding frequency) even for a rhythm sound.
A key number of “127” is used. This key number is a value that is an extension of the lower key number and the upper key number shown in FIG. 10, but the sounding frequency is not an extension and is completely different, and takes an independent value for each of the seven types 121 to 127. As a result, for example, the same rhythm tone number can be used for the tom, mid tom, and high tom, and different tone key numbers can be used, so that the information amount of the tone can be reduced. Of course, different rhythm tone numbers may be assigned to the rotam, mid tom, and high tom, and the lower key number in FIG. 5 may be used as the rhythm tone number according to this.

Other velocities, step times, and the like are the same as the above-described ad-lib motif data of FIG. FIG. 14 shows the key discriminating decoder 45 of the ROM 19, and discrimination of a white key, a black key, an upper and a lower key is performed by the output of the decoder 45 with respect to the key numbers of "24" to "72". .

This ad-lib motif rhythm data includes
Although the gate time is not included, steps 197 and 2
At the stage of setting in the buffers 49 and 09 and 507, it is set to "1". Of course, other values may be used.

The ad-lib motif code data shown in FIG.
It consists of a plurality of code data according to the code pattern. The chord data includes chord, data indicating a root (root note), and step time data.
The chord and the root indicate the contents of the accompaniment.
The key number of the actual music sound is decoded and output.

The other step times and the like are the same as the above-described ad-lib motif data of FIG. The code route table 43 can also decode and output the code and route from the actual operation key number.

Such ad-lib motif data is not limited to the formats shown in FIGS. 4, 5 and 6, and may further include tone data such as volume and effects. 4 and 5, the velocity may be omitted and the velocity of the currently pressed key may be used, or the timbre data may be omitted and the timbre data selected by the timbre switch 33 at the time of playing the motif may be used. May be set in the assignment memory 4. Alternatively, the tone number and the velocity may be collectively stored in the form of a tone number. Further, a gate time is added to the ad-lib motif rhythm in FIG. 5, a tone number, a tone number, a velocity, a gate time, etc. are added to the ad-lib motif code in FIG. 6, and the route is omitted to operate the upper keyboard 13a. It may be determined based on the pitch of the key. In addition, the last repeat data of the ad-lib motif data can be omitted.

<Overall Circuit> FIG. 8 shows an overall circuit diagram of the motif playing device. The operation contents of the keyboard 13 are scanned by the key scan circuit 14 and stored in the key switch memory 1. The operation contents of the panel switch board 15 are scanned by the panel scan circuit 16 and stored in the panel switch memory 2. The contents stored in the panel switch memory 2 are transferred to the panel display memory 3 after being processed by the CPU 12. Based on the transferred contents, each L of the panel LED group 17 is
The ED is turned on or off.

<Normal Performance> During a normal performance, the key numbers corresponding to the operation keys of the keyboard 13 are assigned to the CPU 1
2, the data is temporarily written to the ring buffer 49, and then written to the assignment memory 4 of the musical tone generating circuit 24 to perform channel assignment. At this time, velocity data indicating the operation speed or operation pressure of the operation key and the tone number (tone data) of the melody sound or rhythm sound selected by the panel switch board 15 are also written in the ring buffer 49. Then, the tone number is determined based on the velocity data and the tone color number, and is written to the assignment memory 4.

The tone number is determined based on FIG. That is, the tone number of the melody sound or the rhythm sound is 6 bits, and the upper 2 bits of the velocity data are added to the lower order of the 6-bit tone number,
The tone number is determined. Therefore, even with the same timbre number, there are four stages of velocity data ("00", "01").
The tone number changes according to “10” “11”).

Of course, the key split function may be realized by adding the upper two bits of the key number to the lower part of the 6-bit timbre number to obtain a tone number. Further, using a conversion ROM or the like, 2-bit data is obtained from the velocity data or the key number, and the 2-bit data is stored in the lower 2 bits of the tone number.
It can be a bit.

The ring buffer 49 has the configuration shown in FIG. 15, and note data is written in the order of key operation. The note data is composed of a key number, a gate time, a velocity, and a tone number. These data are shown in FIGS.
As described in 1. In this case, however, one note data is separated into a key-on data and a key-off data, and the gate time is determined by a command for switching to key-on ("11 ... 1 (255)") and a command for switching to key-off. (“00... 0 (0)”). When a value of "1" to "254" is taken, it indicates the length of time from key-on to key-off.
One-bit on / off data is added to the upper part of the key number, and indicates whether the note data is related to key-on (1) or key-off (0).

As shown in FIG. 16, musical sound data of up to 16 tones can be written in the assignment memory 4, and a 16-channel musical sound generating system is constructed. The waveform data and envelope data corresponding to the tone number set in the assignment memory 4 are stored in the RO.
Read out from the M23 via the DA converter 25,
The sound is output from the sound system 26. in this case,
The waveform data is read at a speed corresponding to the key number.

In each channel area of the assignment memory 4, on / off data, key number, gate time / envelope, velocity, and tone number are stored. In the address of the gate time / envelope, the gate time (time from key-on to key-off) is set after key-on, and the level data of the envelope is set after key-off. The other on / off data, key number, velocity, and tone number are as described above.

<< OFA mode >> In the OFA (one-finger ad-lib) mode, that is, a mode in which an ad-lib motif pattern assigned to each key is automatically played by operating each key, the key number corresponding to the operation key of the keyboard 13 is The data of the ad-lib motif pattern assigned to each key is read from the ad-lib motif pattern area 47 of the RAM 20 by the CPU 12, written into the ring buffer 49, and then written into the assignment memory 4 of the musical tone generating circuit 24. Thus, channel assignment is performed. The ad-lib motif data is a relatively short performance pattern composed of a combination of musical tone data of several consecutive tones, and is a concept including a phrase, a period (a section), a plurality of periods, and the like.

At this time, the tone number is determined based on the velocity of the ad-lib motif written in the ring buffer 49 and the tone color number (low key number), and is written into the assignment memory 4. The code data indicating the chord and the root (root sound) are stored in the ROM 19.
The key number of the corresponding actual music sound is read out, written into the ring buffer 49, and then written into the assignment memory 4.

In the recording mode of the ad-lib motif, in the recording mode of the ad-lib motif, the key number and velocity according to the operation key of the keyboard 13 and the tone number of the melody tone according to the selected tone switch 33 of the panel switch board 15 are determined by the CPU 12. After being sequentially written to the record buffer 48 of the RAM 20, it is written to the ad-lib motif pattern area 47 of the RAM 20 as an ad-lib motif pattern assigned to the designated key of the keyboard 13. The record buffer 48 has the same configuration as the ring buffer 49, as shown in FIG.

At this time, for the chord accompaniment, a key number corresponding to the operation key is given to the chord route table 43 of the ROM 19, and the corresponding chord and the chord data indicating the root (root tone) are read out and recorded. You. As for the rhythm performance, the lower key number corresponding to the operation key is recorded as it is.

When recording the ad-lib motif,
As in a normal performance, a key number, a chord, a route, and the like are once written in the ring buffer 49, and then written in the assignment memory 4 to generate and emit musical tones.

The SCI (serial communication interface) circuit 10 is a circuit for interfacing musical tone data of the MIDI (musical instruments digital interface) specification with an externally connected electronic musical instrument. The tone data input to the SCI circuit 10 can be any of the above-described normal performance, automatic performance of the ad-lib motif pattern, and recording of the ad-lib motif.

A new tone data is input to the SCI circuit 10, a new tone data is written from the keyboard 13 to the key switch memory 1, a new melody tone from the panel switch board 15 to the panel switch memory 2. When the number data or the mode data is written, the interrupt signals INT1 and INT
3, INT4 is input to the CPU 12, and normal performance according to new tone data, tone number, and mode data;
Automatic performance of the ad-lib motif pattern and recording of the ad-lib motif are performed.

Also, the programmable timer 11 switches to the CPU
An interrupt signal INT2 is also input to the programmable timer 11, and data corresponding to the set tempo is set in the programmable timer 11, and the interrupt signal INT2 is supplied to the CPU 12 at regular time intervals. Counting is performed according to the time data and the step time data.

The RAM 20 stores various data in addition to the above ad-lib motif data.
Programs and data for the CPU 12 to perform various processes are stored. Specifically, in addition to the program area 40, the ROM 19 is provided with the above-described ad-lib motif area 41, ad-lib motif pattern area 42, chord route table 43, rhythm tone color table 44, key discriminating decoder 45, and the like. In addition to the working RAM 46, the above-described ad-lib motif pattern area 47, record buffer 48, ring buffer 49 and the like are provided.

The ad-lib motif data and other data in the RAM 20 are saved on the floppy disk 22 through the floppy (registered trademark) disk control circuit 21 or loaded on the contrary. Further, the buzzer 28 is connected to the CPU 12 via the buzzer driver 27.
It is driven to emit sound. The buzzer 28 has the same function as a metronome, and emits sound at regular intervals according to the tempo.

<Panel Switch Board 15> FIG. 9 shows each switch of the panel switch board 15. The mode switch 31 is normally (NORMA)
L), bass / rhythm (BASS / RHYTHM) and auto (AUTO) performance modes are switched by a ring shift. Normal is a normal performance mode in which a melody is played on the keyboard 13 as shown in the upper left part of FIG. 17, and bass / rhythm is a performance of a bass on the upper keyboard 13a of the keyboard 13 and a rhythm on the lower keyboard 13b. Auto is a mode in which a melody is played on the upper keyboard 13a, a chord of an operation key and a route are detected on the lower keyboard 13b, and no musical sound is emitted.

An OFA (one-finger ad-lib) switch 32 is used to designate a mode in which an ad-lib motif pattern assigned to each key is automatically played by operating each key of the keyboard 13.

In the OFA mode, the mode switch 3
When 1 is set to normal, as shown in FIG. 17D, the melody ad-lib motif assigned to each key is automatically played on the upper keyboard 13a, and a normal melody performance is performed on the lower keyboard 13b.
In this case, in the upper keyboard 13a, two keys can be simultaneously pressed to automatically play two types of melody ad-lib motifs in parallel. Further, a chord and a route corresponding to the operation keys of the lower keyboard 13b are detected, and the scale of the ad-lib motif of the melody played on the upper keyboard 13a is shift-corrected. This shift correction is a known technique.

When the mode switch 31 is set to bass / rhythm in the OFA mode, as shown in FIG. 17 (e), the upper keyboard 13a automatically plays the ad lib motif of the bass assigned to each key, and the lower keyboard 13b The rhythm ad-lib motif assigned to each key is automatically played. Then, a drum-type rhythm sound is played with the white keys of the lower keyboard 13b,
Cymbal rhythm sounds are played with black keys. In this case, the scale of the bass ad-lib motif played on the upper keyboard 13a is shift-corrected based on the chord and route stored in the chord route register before entering this mode. This shift correction is a known technique.

When the mode switch 31 is set to the auto mode in the OFA mode, as shown in FIG. 17 (f), the melody ad-lib motif assigned to each key is automatically played on the upper keyboard 13a.
At 3b, the ad-lib motif of the chord route assigned to each key is automatically selected, and no musical sound is emitted. In this case, the upper keyboard 13a can automatically perform the ad-lib motifs of the first melody and the second melody in parallel with one key. Also, the scale of the ad-lib motif of the melody played on the upper keyboard 13a is shifted and corrected by the chord and route of the ad-lib motif according to the key detected on the lower keyboard 13b. This shift correction is a known technique.

A recording / assignment (REC / A.ASN) switch 39 is for setting a record / assign mode. The recording content or MIDI data of the key code 13 is recorded as an ad-lib motif pattern, and the keyboard 13 can be assigned. An ad-lib motif pattern is assigned to each key, or an ad-lib motif pattern is assigned to each of the auto motifs such as the auto arpeggio shown in FIG. As shown in the lower left part of FIG. 18, the musical sound recorded as the ad-lib motif pattern is the first melody sound in the normal mode (g), the base sound and the rhythm sound in the bass / rhythm mode (h), In the case of the auto mode (i), the sound becomes the second melody sound and the chord sound.

FIGS. 23 and 24 show an example in which new ad-lib motif pattern data is recorded. To write new ad-lib motif pattern data as pattern "2", the old pattern "2" must be written. Cleared, the pattern "3" and subsequent ones are sequentially packed and shifted,
A new pattern “2” is written at the end. In response, the contents of the ad-lib motif start address area are rewritten as shown in FIG.

Start / Stop (START / STO)
The P) switch 38 starts and stops the auto motif of the auto arpeggio, auto bass, first auto rhythm, and second auto rhythm shown in FIG. Of these, the auto arpeggio and auto bass read data even when the start / stop switch 38 is turned on, but the sound is masked, and only when the lower keyboard 13b is operated,
Sound emission is started. This masking is performed by the sound system 26.

The above auto arpeggio and auto base are:
As shown in FIGS. 17C and 17F, the process is executed only in the auto mode. The first auto rhythm and the second auto rhythm are executed in all modes. However, in the record / assign mode, none is executed. In addition, OF
In the A mode and the bass / rhythm mode (e), a rhythm sound of the same series as the ad-lib motif of the rhythm sound played on the lower keyboard 13b is cut out of the first auto rhythm and the second auto rhythm to be executed.

The tone switch 33 (MELODY)
The tone color of the melody performance is switched, and four tone colors can be switched with a single switch 33 by a ring shift. Rhythm switch 34 ... (RHYTH
M) switches the type of rhythm performance, and one switch 34 can alternately switch between two types of rhythms. Power switch (POWER O
N) 35 is a switch for turning on / off the power of the entire system. Volume switch (TOTAL VOL) 36
Is a slide type, which changes the output volume of the entire musical instrument. Tempo switch (TEMPO) 3
7 is composed of two switches for up and down,
Each switch raises or lowers the set tempo value.

<Keyboard 13> FIG. 10 shows the keyboard 13. This keyboard 13 is C2
It consists of 49 keys (key number 24) to C6 (key number 72), C2 (24) to G3 (43) are the lower keyboard 13b, and C3 # (44) to C6 (72) are the upper keyboard 13a. Among them, C2 (24) to D3 # (39) in the lower keyboard 13b and G3 # (44) to B4 (5) in the upper keyboard 13a
In 9), the ad-lib motif pattern assigned to each key is fixed and cannot be changed, and the other keys are changeable.

<Working RAM 46> FIGS. 20 and 2
1 indicates the contents of the working RAM 46 in the RAM 20. In the major clock register 71, beat data as shown in FIG. 12 corresponding to the rhythm selected by the rhythm switch 34 is set. Tempo data set by the tempo switch 37 is set in the tempo register 72.

The mode register 73 stores the content of the set mode. The “S / S” of the least significant bit is
Shows ON (1) and OFF (0) of the start / stop switch 38. Next 3 bits "NOR, B / R, AU
“T” indicates the mode content set by switching the mode switch 31. The bit “R / A” indicates whether the recording / allocation switch 39 is on (1) or off (0). "O
FA ”bit indicates that the OFA switch 32 is on (1),
Indicates off (0).

In the melody tone color register 74, the number data "0" to "31" corresponding to the melody tone color selected by the tone color switches 33 are shifted up by 2 bits and stored. The rhythm type register 75 stores number data “0” to “15” corresponding to the type of rhythm selected by the rhythm switch 34.

In the chord root register 76, each data of the chord type of the accompaniment chord and the chord root (root note) is set. The chords and routes include those obtained by detecting chords from the states of the operation keys of the lower keyboard 13b and those that are stored as chord data when playing the ad-lib motif.

In the key status register 77, ON (1) and OFF (0) of each key of the lower keyboard 13b are set, and a chord type and a chord root (root note) are detected.

<< Sequence Register Group >> Rhythm 1, Rhythm 2, Bass, Arpeggio, Melody 1, Melody 2,
Code sequence register groups 78, 79, 80, 8
1, 82, 83, and 84 are used to execute the auto arpeggio, auto bass, first auto rhythm, and second auto rhythm auto motifs, and to play an ad-lib motif assigned to each key. . That is,
A sequence system for playing seven ad-lib motifs of rhythm 1, rhythm 2, bass, arpeggio, melody 1, melody 2, and chord is constituted by the register group and a program according to a flowchart described later. Since two register groups are provided for each of the rhythm and the melody, two ad-lib motif patterns can be played in parallel. Of course, if the number of register groups is increased, the number of ad-lib motifs that can be played simultaneously can be increased. In the rhythm 1 sequence system, a drum sound is performed, and in the rhythm 2 sequence system, a cymbal sound is performed.

The use of each register group is shared as shown in FIG. 19, where a circle indicates an ad-lib motif and a triangle indicates an auto motif. The ad motif starts when the keyboard 13 is turned on, and the auto motif starts when the start / stop switch 38 is turned on. However, as described above, the arpeggio and bass auto motifs are masked from the start / stop switch 38 on to the keyboard 13 key on.

Each of these sequence register groups includes A,
It comprises B, C, D, HL, and M registers. A
In the register, the pattern number shown in FIG. 3 of the auto motif or the ad-lib motif executed using this register group is set. The most significant bit USE indicates whether this register group is in use (1) or not (0). In the B register, the tone color number currently selected in the ad-lib motif (auto motif) is set. In the C register, a sounding key number for determining the read frequency of the rhythm tone is set. This pronunciation key number is as shown in FIG. 13, and is used only in the rhythm ad-lib motif (auto motif). In the D register, step time data is set, and when reading ad-lib motif (auto motif) data, a standby time until reading the next note data, beat data, and chord data is measured.

The HL register stores the currently read ad-lib motif (auto-motif) pattern in the RAM 20.
Is set. In this case, two bytes of a low byte (L) and a high byte (H) are set.

The M register indicates the number of measures of the waiting time from when the operation key of the keyboard 13 is turned off to stop the rhythm adlib motif (auto motif) to when the rhythm adlib motif (auto motif) starts again. Is set. The most significant bit M / A of this M register is the start / stop switch 3 which is the ad-lib motif (auto motif) of this rhythm.
8 (A), or (M), which is started by key-on of the lower keyboard 13b.

The major clock counter 85 clears the low byte by one every time the interrupt signal INT2 is input from the programmable timer 11, and clears the low byte when the value matches the value of the major clock register. Counting is performed according to the time signature. Therefore, the high byte indicates the number of measures since the start of counting.

Event on / off, event key number,
Each register 89, 90, 91 of the event velocity is
When the interrupt signals INT1 and INT3 are input, each data of the key having the event is temporarily set.

In the ring top address register 92 and the ring bottom address register 93, the address data of the write point (top) and the address data of the read point (bottom) of the ring buffer 49 of the RAM 20 are set. The update of the ring top address is performed in the interrupt processing routine when the interrupt signals INT1 to INT4 are input, and the update of the ring bottom address is performed when the contents of the ring buffer 49 are processed in the main routine. Done in

The step time counter 86 counts time data from the previous key-on event to the next key-on event. This count is based on the interrupt signal IN from the programmable timer 11.
This is performed every T2 input.

The recording address register 87 is
Address data indicating the address where the writing into the record buffer 48 is performed is set. The rhythm key number register 88 is set with the latest lower key number that is keyed on. Following the setting of the new key number, velocity data and step time data are also set.

The velocity memory 94 includes the keyboard 13
Is used to temporarily store the velocity data at the time of key-on of each key. The reason for this is shown in FIG.
Steps 1 to 6 for key-on and key-off processing in FIG.
This is because the value of the major clock counter 85 is written to the address where the gate time and the velocity are written in order to obtain the gate time later in the process of Step 11. The velocity memory 94 has an address corresponding to the key number “127”, but has a lower key number “120” to
This corresponds to “127”.

<Assignment Memory 4> FIG. 16 shows the assignment memory 4 of the tone generator 24. In the assignment memory 4, up to 16 tones of musical sound data can be set. Each tone data has a 4-byte configuration.

In the first byte, a key number is set.
The on / off data of the most significant bit indicates a key-on state or a key-off state.

In the second byte, a gate time is set. This gate time is determined by the programmable timer 1
When the interrupt signal INT2 is decremented every time the interrupt signal INT2 is input to “0”, the first byte is turned on / off.
The OFF data is cleared, and thereafter, data indicating the level of the envelope is set in the second byte instead of the gate time.

In the third byte, velocity data is set. The velocity data is set at the time of key-on (on velocity) and at the time of key-off (off velocity), respectively. In the OFA mode, the velocity data is set only at the time of key-on.

In the fourth byte, a tone number is set. As shown in FIG. 11, the tone number is determined by the timbre number and velocity data of the melody sound or the rhythm sound or the timbre number and the key number.

<Tone generating circuit 24> FIG. 22 shows a specific circuit configuration of the above-described tone generating circuit 24.
The numerical value on the line indicates the number of data bits. Each tone data in the assignment memory 4 is read out in a time-division manner. Of these, the tone number is latched by the tone number latch 51, and then the address logic circuit 57
To the above-mentioned musical tone ROM 23. After the key number data is latched by the key number latch 52, it is given to the frequency number ROM 56, the corresponding frequency number data is read out, and the frequency number accumulator 58 accumulates the data for each channel. You. The upper 12 bits of the accumulated frequency number data are supplied to the tone ROM 23 through the address logic circuit 57 together with the tone number data. Thus, the waveform data corresponding to the tone number data is read out at a speed corresponding to the key number data.

The waveform data from the tone ROM 23 is
The frequency number accumulator 5 is input to the waveform generator 70 and
A waveform corresponding to the lower 4 bits of the accumulated frequency number data from 8 and the velocity data from the velocity latch 53 described below is generated.
Given to. The velocity latch 53 latches velocity data read from the assignment memory 4.

On the other hand, the envelope phase counter 59
Is performed to switch the phases of the envelope waveform such as attack, decay, sustain, and release. The envelope phase count data is supplied to the musical tone ROM 23 via the address logic circuit 57, and in the time slot from which the envelope data is read, the envelope level and rate of the corresponding phase are read. The level and rate of this envelope are determined by the envelope generator 71
To generate envelope data of a level corresponding to the velocity data from the velocity latch 53, and this envelope data is supplied to a multiplier 73, where the envelope data is multiplied by the waveform data, and the D / A converter 25
Is output from the sound system 26 through the.

The reached level of the envelope from the tone ROM 23 is latched by a level latch 72 and given to a comparator 74, where the envelope generator 71
From the sequentially changing envelope data level. When they match, a match signal is output, and the match signal is input to the envelope phase counter 59 as an increment signal, and the phase of the envelope is advanced by one.

The ON / OFF from the assignment memory 4
The OFF data is latched by the key-on / off latch 54, and is controlled by the exclusive OR gate 66 and the AND gate 6.
Given to one. The gate time / envelope data from the assignment memory 4 contains the gate time / envelope.
Latched by the envelope latch 55, the all “0” detector 60, the all “1” detector 62 and the decrementer 6
7 is input.

When the gate time latched by the gate time / envelope latch 55 becomes “00... 0 (0)” and the timing changes from key-on to key-off, a detection signal is output from the all “0” detector 60. ,
The signal is input to an exclusive OR gate 66 via an AND gate 61. In this case, if the ON / OFF data is "1" during key-on, the AND gate 61 is opened, and the output of the exclusive OR gate 66 switches from "1" to "0", which is a new ON / OFF. The data is written to the assignment memory 4 as off data. If the ON / OFF data is "0" during key-off, the AND gate 61 is opened and its output is "0".
When the on / off data becomes “1”, the output of the exclusive OR gate 66 switches from “0” to “1”,
This is also written to the assignment memory 4 as new on / off data.

Such ON / OFF data includes ON / OFF data.
A change from “0” to “1” at the time of an on-event and a change from “1” to “0” at the time of an off-event are input to the off-event detector 69, and a detection signal is output in each case. Is done. The ON event signal is input to the frequency number accumulator 58 and the envelope phase counter 59, and the accumulated value and the count value are cleared. Further, the off event signal is input to the envelope phase counter 59, and switching to the release phase is performed.

The gate time / envelope latch 5
After being decremented by the decrementer 67, the gate time from 5 is written again to the same channel area of the assignment memory 4 via the selector 68.
However, after the key-off, the select signal of the selector 68 switches from “1” to “0”, so that the envelope data from the envelope generator 71 is selected instead.

The edge detector 64 is a D-type flip-flop.
1, an inverted signal of the interrupt signal INT2 is input, and a 16-channel operation cycle signal is input to a CK (clock pulse) terminal. As a result, the edge detector 64 delays the down edge of the interrupt signal INT2 up to the timing of the up edge of the operation cycle signal of the 16 channels, inverts the output, and inputs the inverted signal via the AND gate 65 to the decrementer 67. Is decremented every time the interrupt signal INT2 is output.

The detection signal from the all “0” detector 60 and the detection signal from the all “1” detector 62 are inverted via a NOR gate 63 and given to the AND gate 65. It is closed, and the decrement of the decrementer 67 is stopped. As a result, when the gate time is “00... 0 (0)” of all 0s and when the gate time is “11... 1 (255)”, the gate time is not decremented, and the key-off state and the key-on state are not changed. Will be maintained.

Note that the system clock generator 78
The master clock signal from the oscillator 77 is frequency-divided, and control signals with various periods are output, and system control of the entire apparatus is performed.

<Main Routine> FIG.
3 shows a main routine of the processing performed by the CPU. This main routine includes an initial routine, and is executed when the power is turned on. First, all the ad lib motif patterns for 64 kilobytes stored in the ad lib motif pattern area 42 of the ROM 19 are stored in RA.
The data is transferred to the M20 (step 000), and data corresponding to the operation state of the panel switch board 15 is set in each register in the working RAM 46 of the RAM 20 (step 001).

Next, the assignment memory 4 is cleared (step 002), and the contents of the panel display memory 2 are changed to strings (STRINGS) for the melody tone.
LED (light emitting diode) and the type of rhythm are such that the 16-beat (16 BEAT) LED is lit (step 003).
Data having an eight-fold cycle is set in the programmable timer 11 (step 004). The above is the initial routine.

Next, the main routine is entered and the RAM 20
It is determined whether or not data has been written in the ring buffer 49 (step 005).
4 from the read address specified by the ring bottom address register 93 of the working RAM 46 of the RAM 20
Byte note data is read (step 006),
The value of the ring bottom address register 93 is incremented by +4 (step 007).

Then, it is determined whether or not the on / off data of the read note data is in the ON state of "1" (step 008). If it is on, step 00
New channel allocation processing of 9 to 012 is performed. First, in each channel area in the assignment memory 4, a search is made for a channel area in which the on / off data is "0" in an off state (step 009). If there is a channel area in the off state (step 01
0), the channel area having the smallest envelope data level is selected from the channel areas in the off state (step 011), and the on / off data of "1" and the ring buffer 49 in step 006 are selected.
The read key number, gate time, velocity, and tone number data are written in this channel area.

If there is no channel area in the off state in the assignment memory 4 in the step 010, the channel assignment processing in the steps 011 and 012 is not performed. In step 005,
If data has not been written to the ring buffer 49, the empty channel search processing and channel allocation processing in steps 006 to 012 are not performed.

Thereafter, if there is a load / save instruction for the floppy disk 22 (step 01)
6) Load / save the floppy disk 22 (step 017). Also, the above Step 00
At 8, the on / off data of the note data read from the ring buffer 49 is not "1" but "0".
, The process proceeds to the key-off process of steps 013 to 015.

First, in each channel area in the assignment memory 4, the gate time is set to "1111111".
A key (1) (255) is being continued, and a channel to which the same key number as the key number in the note data read out from the ring buffer 49 in step 006 is assigned is searched (step 013). If there is a corresponding channel (stap 014), the on / off data of this channel is set to “0”, the gate time data is set to “00000000 (0)” (step 015), and the key is switched off. Then, the process proceeds to the load / save processing of the floppy disk 22 in the steps 016 and 017.

<Processing at Key Event (Key-On, Key-Off)> FIGS. 26 to 31 show key-on and key-off operations, when the interrupt signal INT1 is output from the SCI circuit 10 to the CPU 12 and the key scan circuit 14 FIG. 6 is a flowchart of a tone generation process when an interrupt signal INT3 is output from the CPU 12 to the CPU 12.

<< OFA Off Mode Upper Keyboard >> First, the CPU 12 stores the on / off data, key number, and velocity data having a new event temporarily stored in the SCI circuit 10 or the key switch memory 1 in the RAM 20. Event on / off register 89 and event key number register 9 of working RAM 46
0, writing to the event velocity register 91 (step 100). Next, it is determined whether or not an OFA (one finger ad-lib) flag is set in the mode register of the working RAM 46 (step 101). If the flag is set and the mode is the OFA mode, it is determined whether the event key is for the upper keyboard 13a or the lower keyboard 13b based on the new key number having the event (step 102).

In the case of the upper keyboard 13a, the event key number is set to-only in the bass / rhythm mode.
24 (steps 103 and 104). This is to lower the pitch for bass. In auto mode and normal mode, the pitch is not lowered. This mode discrimination between bass / rhythm, auto, and normal
This is performed based on the contents of the mode register 73 of M46. Such mode discrimination including steps 123 and 124 described later is because the tone generation state of a musical tone differs depending on the mode as shown in FIGS.

After steps 103 and 104, the CPU
12 is the ring buffer 49 of steps 105 to 108
To write data to This processing constitutes one subroutine SUB1, and this subroutine SUB1 may be executed in other processing.

In this process, first, it is determined whether or not the on / off data relating to the event in the event on / off register 89 is "1" (step 10).
5). If the ON state is “1”, the ON / OFF data of “1”, the key number having this event, “11... 1”
(255) ”, the gate buffer, the velocity of the key having the event, and the tone number data are stored in the ring buffer 4.
9 (step 106).

The write address to the ring buffer 49 is based on the value of the ring top address register 92, and after the writing in step 106, the value of the ring top address register 92 is incremented by 4 (step 107). The reason for this +4 is that one note data is stored and the address 4 is used.

If the on / off data relating to the event is "0" in the off state in step 105,
The on / off data of "0", the key number having this event, the gate time of "00 ... 0 (0)", the velocity of the key having the event, and the tone color data are written in the ring buffer 49 (step 108). ).

Next, the CPU 12 sets the working RAM 4
It is determined from the content of the recording / assignment flag R / A of the mode register 73 of the No. 6 whether or not the recording mode is set (step 10
9). In the recording mode, it is determined whether or not the on / off data of the event on / off register 89 of the working RAM 46 is "1" (step 110).

If it is in the ON state of “1”, the ON / OFF data of “1”, the value of the event key number register 90,
The value of the major clock counter 85 and the value of the step time counter 86 are written in the record buffer 48 of the RAM 20 (step 111), and the value of the recording address register 87 of the working RAM 46 is incremented by 4 (step 112). Then, on-velocity data at the time of key-on, ie, the value of the major clock counter 85 at the time of key-on, is written into an address corresponding to the event key number of the velocity memory 94 of the working RAM 46 (step 113), and the step time counter 86 is cleared. It returns (step 114).

If it is determined in step 110 that the event on / off data is "0" in the off state, the data goes up from the address of the record buffer 48 having the same value as the value of the recording address register 87, and the same key number as the key number related to the event off is used. (Step 115). Then, the difference data between the value of the major clock counter 85 at the time of key-on stored in the second byte and the third byte of the found note data and the value of the major clock counter at the time of the current key-off are obtained (step 116).

The difference data is "11 ... 1 (255)"
If it is longer data (step 117), "1"
ON / OFF data, event key number, gate time of "0", velocity at key-off, and step time counter are stored in the record buffer 48 of the RAM 20.
(Step 118). Thereby, the note data at the time of key-on in step 111 is separated.
The key-off note data is written to the record buffer 48.

Next, the CPU 12 increments the value of the recording address register 87 by 4 (step 119), and sets the difference data to "11 ... 1 (255)" (step 1).
20). In the above step 125, the difference data is "11 ...
1 (255) ”, the above steps 118-
The writing process of the key-off note data 120 is not performed.

Thereafter, the above-described difference data is written into the second byte of the note data searched in step 115 (step 121), and the velocity data of the address corresponding to the event key number in the velocity memory 94 of the working RAM 46 is written. The third note data read out from the key switch memory 1 when the key is turned on is searched.
Write to byte and return (step 12
2).

Thus, if the gate time from key-on to key-off is smaller than "11 ... 1 (255)", the gate time data is written into the note data at the time of key-on, and from "11 ... 1 (255)". If it is large, note data is separated for key-on and key-off,
In the key-on note data, a gate time of “11... 1 (255)” indicating that key-on is continued is written.
In the key-off note data, a gate time of “00... 0 (0)” indicating that key-off is continued is written.

<< Lower keyboard 1 in OFA-off mode
3b >> When it is determined in step 102 that the event key is for the lower keyboard 13b, it is determined from the value of the mode register 73 of the working RAM 46 whether the current mode is the normal mode, the bass / rhythm, or the auto mode. (Steps 123 and 12
4). If the mode is the normal mode, the above-described step 10 is performed.
The recording process of the tone data of 5-122 is performed.

In the base / rhythm mode, it is determined whether or not the event on / off data of the event on / off register 89 is "1" (step 12).
5). If "1" is in the ON state, the corresponding rhythm tone color number and sounding key number are read from the rhythm tone color table 44 of the ROM 19 shown in FIG. 13 based on the event key number (step 126). Working RA data of on / off data of "1", sounding key number, gate time of "1", key-on velocity, and tone number
The value is written to the ring buffer 49 of M46, and the value of the ring top address is incremented by +4 (steps 127 and 12).
8). The write address of the ring buffer 49 is based on the value of the ring top address register 92.

Thereafter, the CPU 12 determines whether or not the mode is the record mode from the contents stored in the mode register 73 (step 129). If the mode is the record mode, the CPU 12 stores the data in the rhythm key number register 88 of the working RAM 46. It is determined whether or not the lower key number of the event before the current event matches the lower key number of the new event (step 13).
0).

If they do not match, it means that another key of another rhythm tone has been turned on this time, so the event lower key number is written into the rhythm key number register 88 (step 131), and "1" is written in the most significant bit. Is written to the record buffer 48, and the value of the record address register 87 is incremented by 2 (step 13).
2, 133). As a result, new rhythm tone data is written.

Next, the velocity data of the velocity memory 94 and the value of the step time counter 86 are written into the record buffer 48 (step 134), and the value of the recording address register 87 is incremented by 2 (step 135). The value is cleared and the process returns (step 136).

If the event lower key number matches the previous one in step 130, the timbre of the rhythm has not changed.
Is not performed. Also,
If it is not in the record mode in the step 129, the recording processing in the steps 130 to 136 becomes unnecessary, so that the routine returns. Step 125
If the ON / OFF data relating to the event is in the OFF state of “0”, the key-off is not considered for the base / rhythm, so that the data writing processing of steps 126 to 136 becomes unnecessary, and the routine returns.

If it is determined in steps 123 and 124 that the mode is the auto mode, the CPU 12
The data content of the on-key of the key status register 77 is corrected (step 137), a code and a route are determined from the on-key data, and the result is written to the code route register 76 (step 138). The detection of the code and the route is performed based on the code route table 43 for reading out the code and the route using the data indicating the on-key state as an address.

Then, the CPU 12 determines whether or not the mode is the recording mode from the contents of the mode register 73 (step 139). If the mode is the recording mode, the CPU 12 determines whether or not the value of the step time counter 86 is "48" or more. (Step 140). If it is "48" or more, the code and route of the code route register 76 and the step time counter 8
6 is written to the record buffer 48 (step 1).
41), the value of the recording address register 87 is set to +
2 (step 142), the step time counter 86
Is cleared (step 143).

If the value of the step time counter 86 does not exceed "48" in step 140, the time for one beat has not elapsed, so that steps 141 to 143 are performed.
Is not performed. Also, in step 139,
If it is not in the record mode, the recording processing of steps 140 to 143 becomes unnecessary, so that the routine returns. Here, since data is not written into the ring buffer 49, no sound is generated according to the key operation. Of course, data may be written to the ring buffer 49 to generate a sound.

The code route data set in the code route register 76 in the step 138 is not cleared even if there is a key-off, and is maintained until the next new key-on. Based on this code route data, step 224 (step 2) of the macro routine MACRO5
The same applies to 30), and the pitch correction of the ad-lib motif arpeggio and the ad-lib motif base is performed. Of course, this pitch correction may be omitted. Thus, FIG.
Also, key-on and key-off event processes are performed in the OFA-off mode and the recording / assignment mode in FIG.

<< OFA mode upper keyboard 13 >>
a >> If it is determined in step 101 that the current mode is the OFA mode, the CPU 12 determines in step 144 whether the event key is for the upper keyboard 13a or the lower keyboard 13b from the new key number having the event. (Step 144). In the case of the upper keyboard 13a, the current normal mode, the base /
It is determined whether the mode is the rhythm mode or the auto mode (steps 145 and 146). If the mode is the auto mode, it is determined whether or not the event on / off data of the event on / off register 89 is "1" (step 147).

If "1" is on, step 14
The key-on sequence of the melody 1 of 8 to 160 is started. This processing is performed in one subroutine MACRO1.
The subroutine MACRO1 may be executed in other processes.

In this process, first, the USE flag of “1” and the key number having this event are written to the A register of the sequence register group 82 of the melody 1, and the start address data of the ad lib motif assigned to this event key is also set to HL. Write to the register (step 148). This start address is determined as follows. That is, the first ad-lib motif shown in FIG.
The ad-lib motif motif assignment list 42b (47) shown in FIG. 3 corresponding to the melody selection rhythm is first selected.
An ad-lib motif pattern number corresponding to the event key number in b) is selected, and a corresponding start address shown in FIG. 2 is selected.

Next, the RAM specified by the HL register
The tone color number is read from the head address of the 20 ad-lib motif pattern area 47, written into the B register (step 149), and the value of the HL register is incremented by 2 (step 150). Then, the R specified by the HL register
It is determined whether or not the most significant bit of the storage data at the address of the ad-lib motif pattern area 47 of the AM 20 is "1", that is, as shown in FIG. 4, whether or not the storage data is a tone number (step 151).

Since the current tone color number has just been read, it is determined that the tone color number is the tone color number, and the flow advances to step 152 to read the step time data of the next address and write it into the D register (step 152). It is determined whether it is "0" (step 15)
3). If it is "0", there is no waiting time and the timbre must be set immediately. The timbre number is set in the B register (step 154), and the value of the HL register is set to +
2 (step 155), and return to step 151.

In this step 151, note data is discriminated instead of tone color number. Therefore, the step time data of the address three addresses ahead is read and written into the D register (step 156), and this step time data is set to "0". Is determined (step 157). If it is "0", there is no waiting time and you must pronounce immediately,
The key number of the note data is stored in the chord root register 7
The value corrected by the value 6, the subsequent gate time, the velocity, and the timbre number in the B register are written into the ring buffer 49 (step 158).

The correction of the key number based on the value of the chord root register 76 is a process of changing the key number to +1, +2..., -1, -2... Based on the pitch of the root and the type of chord. This allows the entire performance to be harmonious. Thereafter, the ring top address register 92
Is incremented by 4 (step 159), the value of the HL register is incremented by 4 (step 160), and the process returns to step 151.

Since note data is also discriminated in step 151 this time, the step time data at the address three addresses ahead is read and written into the D register (step 156).
It is determined whether or not this step time data is "0" (step 157). Since the note data in this case is the second note data from the beginning and the normal step time data is not "0", the key-on sequence processing of this melody 1 is terminated and the key-on sequence of the next melody 2 is left as it is. The process enters (step 161).

The key-on sequence processing for the next melody 2 is performed by the above-described key-on sequence processing for the melody 1 (steps 148 to 160, macro routine MACRO1).
Is the same as However, the sequence register group used is that of the melody 2, and the ad-lib motif pattern to be played is the second melody. Further, the second and subsequent sets of note data are performed in the sequence processing of the melody 2 in FIGS. 32 to 34 described later, as in the case of the melody 1. Thus, each macro routine has the same program, but different parameters.

In this way, the operation of one key allows the ad-lib motifs of the first melody and the second melody to be played in parallel at the same timing. Of course, the number of melody sequence registers and
By increasing the number of steps in the melody key-on sequence processing in step 161, it is possible to increase the number of melody sounds of the ad-lib motif that can be simultaneously generated by one key-on. Simultaneous performance of multiple ad-lib motifs with this single key operation is not limited to melody, rhythm, bass,
Arpeggios and chords may be similarly executed.

As described above, at the time of key-on in the OFA mode, a set of tone color data at the head of the ad-lib motif pattern assigned to this key (steps 152 to 1)
55), and the following first set of note data (steps 156 to 160). The second and subsequent sets of note data are processed by the interrupt signal I in the processing of the melody 1 sequence shown in FIGS.
This is performed when NT2 is output. In this case, if the step time of the first note data is not "0" and there is a waiting time, the first note data is also set when the interrupt signal INT2 is output.

If it is determined in step 147 that the melody 1 is in the OFF state, the process proceeds to steps 162 and 163 for the key-off sequence of the melody 1. This process also constitutes one macro routine MACRO2, and this macro routine MACRO2 may be executed in another process.

In this processing, first, it is determined whether or not the key number set in the A register in the key-on sequence processing matches the current key-off key number (step 162). If they match, U of A register
The SE flag is set to "0" (step 163), the operation of the melody 1 sequence system is stopped, and the performance of the ad-lib motif of the first melody is stopped.

Next, the same key-off sequence processing is performed for the melody 2 (step 164), and the operation of the melody 2 sequence system is similarly stopped.
The performance of the second melody ad-lib motif is also stopped.

If it is determined in step 145 that the current mode is the normal mode, it is determined whether or not the event on / off data of the event on / off register 89 is "1" (step 165). If it is in the ON state of "1", it is determined whether or not the USE flag of the A register of the sequence register group 82 of melody 1 is "0" (steps 166 and 167). If it is "0", the macro routine MACRO1 of the key-on sequence processing of the melody 1 is performed (step 168).

In step 167, if the USE flag of the A register of the sequence register group 82 of melody 1 is "1" and the melody sound of the ad-lib motif is already being generated, the flow proceeds to step 169, and this time the melody 2
It is determined whether the USE flag of the A register of the sequence register group 83 is “0” (steps 169 and 17).
0). If it is "0", the macro routine MACRO1 of the key-on sequence processing of the melody 2 is performed (step 171). This macro routine MACRO1 is the same as steps 148 to 160 as described above.

As described above, when the melody sound of the ad-lib motif is already being generated using the melody 1 sequence system and another key-on is performed again, the melody of the ad-lib motif is used by using the melody 2 sequence system. The sound is generated at a further delayed timing. Of course, by increasing the number of melody sequence register groups and the number of steps in the melody key-on sequence processing in steps 169 to 171, it is possible to increase the number of melody sounds of the ad-lib motif that can be generated simultaneously by simultaneous key operations. Performing a plurality of ad-lib motifs separately and in parallel by using the plurality of keys may be performed not only for the melody but also for the rhythm, bass, arpeggio, and chord.

A single key may be used to play a plurality of types of ad-lib motifs at the same timing, and different keys may be played independently at different timings.

Also in the key-on sequence processing of the melody 1 and the melody 2, a set of the first tone data of the adlib motif pattern assigned to the key (steps 152 to 155) and a set of the first note data following the set are set. (Steps 156 to 160) are performed.
The second and subsequent sets of note data are described later with reference to FIG.
34 is performed when the interrupt signal INT2 is output in the sequence processing of the melody 1 and the melody 2 in FIG. In this case, if the step time of the first note data is not "0" and there is a waiting time, the first note data is also set when the interrupt signal INT2 is output. Is the same as

If it is determined in step 165 that the melody 1 is in the OFF state, the process enters the melody 1 key-off sequence process (step 172) and the melody 2 key-off sequence process (step 173). As described above, this macro routine MACRO2 is executed in step 160,
161 is the same. The key-off sequence processing for melody 1 and the key-off sequence processing for melody 2 are performed in the key-off sequence processing for melody 1.
It is when it is determined to be O.

If it is determined in step 146 that the current mode is the base / rhythm mode, it is determined whether or not the event on / off data of the event on / off register 89 is "1" (step 174). If the state is "1", the macro routine MACRO1 for the key-on sequence processing of the base is performed (step 175). This macro routine MACRO1 is the same as steps 148 to 160 as described above. If the state is "0", the macro routine MACRO2 of the key-off sequence processing is performed (step 176).
This macro routine MACRO2, as described above,
This is the same as steps 162 and 163.

The pitch correction of the bass tone in the same processing as in step 158 in step 175 is based on the value of the chord root register 76. However, in this mode, the value of the chord root register 76 is not rewritten. Pitch correction is performed based on the value of the chord route register 76 before entering the mode. Of course, this pitch correction may be omitted. In this manner, automatic performance can be performed for the base ad-lib motif.

Also in the key-on sequence processing of the bass, a set of the tone color data at the head of the ad-lib motif pattern assigned to this key (steps 152 to 15)
5), followed by the first set of note data (steps 156 to 160). The setting of the second and subsequent note data is performed at the time of outputting the interrupt signal INT2 in the processing of the base sequence shown in FIGS. In this case, if the step time of the first note data is not "0" and there is a waiting time, the first note data set is also set to the interrupt signal I.
What is performed at the time of output of NT2 is the same as in the case of the auto mode and the normal mode.

<< Lower keyboard 13 in OFA mode
b >> In step 144, if the operation key is the lower keyboard 13b, it is determined from the value of the mode register 73 of the working RAM 46 whether the mode is the current normal mode, bass / rhythm, or auto (step 1).
77, 178). If the mode is the auto mode, it is determined whether or not the event on / off data of the event on / off register 89 is "1" (step 179).

If the “1” is in the ON state, the “1” US
The E flag and the key number having this event are written to the A register of the sequence register group 84 of the code, and the start address data of the ad lib motif assigned to the event key is also written to the HL register (step 180). This start address is determined as follows. That is, an ad-lib motif pattern corresponding to the selection rhythm of the ad-lib motif code shown in FIG. 7 is first selected, and then, according to the event key number in the corresponding ad-lib motif motif assignment list 42b (47b) shown in FIG. The ad-lib motif pattern number was selected, and the corresponding figure 2
Are selected.

Next, the RAM specified by the HL register
The code root data is read from the start address of the 20 ad-lib motif pattern area 47, written into the code root register 76 (step 181), and the value of the HL register is incremented by 2 (step 182). Then, the step time data of the second code route data is read and written into the D register (step 183), and it is determined whether or not the step time data is "0" (step 184). Usually, the first code route data and 2
Since the step time data between the chord root data and the chord data is not “0”, the process returns. The second and subsequent sets of note data are shown in FIGS.
This is performed when the interrupt signal INT2 is output in the processing of the code sequence in FIG.

In step 184, if "0",
With no waiting time, the code route data must be set immediately, and the second code route data is set in the code route register 76 (step 18).
5) Return to step 182.

As described above, the key numbers are corrected in steps 158 and 224 based on the code route data set in the code route register 76 in steps 181 and 185 described above. Here, since data is not written into the ring buffer 49, no sound is generated according to the key operation. Of course, data may be written and sound may be generated.

Even if there is a key-off, step 17
After 9, the sequence register group 84 of the code is still used, and reading of the ad-lib motif data of the code is continued in steps 233 to 240. This reading continues until the mode switching in steps 424 to 429. Step 1 of the macro routine MACRO1 is performed based on the code route data of the ad-lib motif code.
58 (same in step 161) and macro routine M
In step 224 of ACRO5 (the same applies to step 230), pitch correction of the adlib motif melody, the adlib motif arpeggio, and the adlib motif base is performed. Of course, this pitch correction may be omitted.

If it is determined in step 177 that the mode is the normal mode, the key status register 77
Is corrected (step 186), the code and the root are detected from the on-data of the lower key, and the code root register 76 is detected.
(Step 187), and the process of writing data to the ring buffer 49 is started (step 188). This processing is the same as the above-described subroutine SUB1 of steps 105 to 108.

Also in this case, based on the code route data set in the code route register 76, step 15
At steps 8 and 224, the key number is corrected. However, since data is written to the ring buffer 49, sound is generated according to the key operation. This code route register 76
Is not cleared even if there is a key-off, and is maintained until the next new key-on. Based on the chord route data, the pitch of the ad-lib motif melody is corrected in the same step as step 158 in steps 168 and 171 of the macro routine MACRO1. Of course, this pitch correction may be omitted.

If it is determined in step 178 that the current mode is the base / rhythm mode, it is determined whether the event key is a white key or a black key from the contents of the key determination decoder 45 shown in FIG. 14 (step 189). If it is a white key, the subroutine MACRO3 of the rhythm 1 sequence process is executed. This processing is performed by one macro routine MACRO3.
The macro routine MACRO3 may be executed in other processes.

In this process, first, it is determined whether or not the event on / off data of the event on / off register 89 is "1" (step 190). If it is in the ON state of "1", the USE flag of "1" and the key number having this event are written in the A register of the sequence register group 78 of rhythm 1, and the start address data of the ad-lib motif assigned to this event key is also written. Write to the HL register (step 191). This start address is determined as follows. That is, an ad-lib motif pattern corresponding to the selected rhythm of the ad-lib motif rhythm shown in FIG. 7 is selected first, and then the ad-lib motif assignment list 42b (47b) shown in FIG. 3 corresponding to the event key number is selected. Ad lib motif pattern number is selected,
Further, the corresponding start address shown in FIG. 2 is selected.

Next, the RAM specified by the HL register
The lower key number is read from the start address of the 20 ad-lib motif pattern area 47, and the rhythm tone number and the sounding key number are obtained from the lower key number based on the stored contents of the rhythm tone table 44 shown in FIG. , C register (step 192). Next, the value of the HL register is incremented by 2 (step 193).

Then, the step time data of the second beat data is read and written into the D register (step 194), and it is determined whether or not the step time data is "0" (step 195). If it is "0", there is no waiting time and the sound must be generated immediately, and the most significant bit of the storage data at the address of the ad-lib motif pattern area 47 of the RAM 20 specified by the HL register is "1".
It is determined whether or not the stored data has a lower key number as shown in FIG. 5 (step 196).

Since it is immediately after the first beat data has been read out, it is determined that it is a lower key number, and the flow advances to step 197 to turn on / off data of "1", a sounding key number set in the C register, and " The gate time of "1", the velocity in the beat data, and the rhythm tone number set in the B register are written into the ring buffer 49 (step 197), and the value of the ring top address register 92 is incremented by 4 (step 19).
8) Return to step 193.

In the next steps 193 to 195, it is determined whether or not the step time data of the second beat data is "0". However, usually, the step time data between the first beat data and the second beat data is
Since it is not "0", the manual / auto flag M / A of the M register is set to the manual rhythm performance state of "0", the bar counter value of the M register is set to "0" (step 1A2), and the routine returns.

If it is determined in step 190 that the key is in the off state of "0", it is determined whether the key-on key number set in the A register matches the current key-off key number (step 199). If they match, the USE flag of the A register is set to "0" (step 1A0), and the manual / auto flag M / A of the M register is set to the manual rhythm performance state of "0".
The value of the bar counter of the register is set to "1" (step 1A1), and the routine returns.

Thus, in the sequence processing of the rhythm 1, the set of the rhythm tone number and the sounding key number at the head of the ad-lib motif pattern assigned to this key (steps 190 to 192) and the first beat data Set (steps 193 to 198,
1A2) and the stop of the performance of the ad-lib motif of the rhythm corresponding to the key-off (steps 199 to 1A1). The setting of the second and subsequent beat data is performed at the time of outputting the interrupt signal INT2 in the processing of the rhythm 1 sequence shown in FIGS. in this case,
If the step time of the first beat data is not "0" and there is a waiting time, the first beat data is also set when the interrupt signal INT2 is output. Is the same as The same applies to the rhythm 2 sequence processing described below.

The rhythm 1 sequence processing is based on the operation of the white key of the lower keyboard 13b.
Are used, and an ad-lib motif of a drum rhythm is played. When the start / stop switch 38 is turned on before this key operation, the sequence register group 78 of rhythm 1 is used, and
Is executed and the automotif of the first autorhythm of the drum system is played, the rhythm 1
Is used for the performance of the rhythm ad-lib motif, and the performance of the drum-type first auto-rhythm auto motif is interrupted. Then, by turning off the key of the lower keyboard 13b, the first drum system
The auto motif of the auto rhythm restarts. The waiting time until this restart is the bar counter value “1” set in step 1A1. This is the same in the sequence processing of the cymbal rhythm 2 described below.

In this way, when the white key of the lower keyboard 13b is operated during the performance of the first auto rhythm of the drum system and the performance of the ad-lib motif of the rhythm of the drum system is started, the auto rhythm of the same drum system is started. Stopped.
This is the same in the cymbal rhythm performance described below. Accordingly, a simple performance can be performed without overlapping the series of the automatic performance and the ad-lib motif performance.

If it is determined in step 189 that the operation key is a black key, the sequence processing for the cymbal rhythm 2 is started (step 1A3), and the flow returns. The processing of this cymbal rhythm 2 sequence is as follows:
This is the same as the above-described sequence processing of drum-type rhythm 1 (steps 190 to 1A2, macro routine MACRO3). However, the sequence register group used is that of the rhythm 2 of the cymbal system.

In this way, using the drum system rhythm 1 sequence system, if another key-on is repeated while the rhythm sound of the ad-lib motif is already sounding, the cymbal system rhythm 2 sequence system is used. hand,
The rhythm sound of the ad-lib motif is pronounced at a further delayed timing. Of course, by increasing the number of rhythm sequence register groups and the number of rhythm key-on sequence processes in steps 190 to 1A2, it is possible to increase the number of rhythm sounds of the ad-lib motif that can be generated simultaneously by simultaneous key operation.

The rhythm series may be divided into smaller series than the drum system and the cymbal system, or may be divided for each fine musical instrument, string system, woodwind system, brass system (trumpet system, Horn type), pitch of sound, sound persistence and the like. The form in which the automatic performance is stopped for each series may be performed for a melody, a bass, an arpeggio, and a chord other than the rhythm. Conversely, automatic performance of a series different from the ad-lib motif may be stopped, for example, by stopping the cymbal-based auto rhythm in a drum-based ad-lib motif performance by using the first auto-rhythm as a cymbal-based. Furthermore, the form in which the automatic performance is stopped in the ad-lib motif performance may be performed for all systems, such as the entire rhythm and the entire melody, or for all the performances. In addition, there is no need to wait for the automatic performance to resume after the key-off. In this case, steps 1A1, 1A2, 246 to 248 are omitted. After the key-off, the waiting time until the automatic performance is restarted may be a time other than one bar. In this case, step 1
The set data of A1 is data other than one bar.

<Periodic Interrupt Processing at the Time of Outputting the Interrupt Signal INT2> FIGS. 32 to 34 show the interrupt signal INT from the programmable timer 11 to the CPU 12.
2 is a flowchart of a musical sound generation process when 2 is output. In this process, rhythm 1, rhythm 2,
Base processing, arpeggio, melody 1, melody 2, chord sequence processing, and the like are performed.

<< Rhythm Sequence Processing >> First, Rhythm 1
In the sequence processing, it is determined whether or not the USE flag of the A register of the sequence register group 78 of rhythm 1 is using “1” (step 200). -1 (step 201), it is determined whether or not "0" has been reached (step 2).
02). The process of reducing the step time by -1 is performed for each output of the interrupt signal INT2, and becomes "0" when the time corresponding to the step time elapses.

When it becomes "0", it is determined whether or not the most significant bit of the data at the designated address in the ad-lib motif pattern area 47 of the RAM 20 designated by the HL register is "1", that is, whether or not the data is tone color data (step 203). ). If it is beat data instead of timbre data, step 2
In step 09, the on / off data of "1", the sounding key number set in the C register, the gate time of "1", the velocity in the beat data, and the rhythm tone number set in the B register Writing to the ring buffer 49 (step 209). Next, the value of the ring top address register 92 is incremented by 4 (step 21).
0), the value of the HL register is incremented by 2 (step 21).
1) The step time of the next beat data is set in the D register (step 212), and the process returns to step 202.

If it is determined in step 203 that the tone data is "1", the process proceeds to step 204, where
The data at the specified address of the ad-lib motif pattern area 47 of the RAM 20 specified by the HL register is "11 ... 1".
(255) ”, that is, whether it is repeat data or not (step 204).

If it is not repeat data, step 20
7, the lower key number is read from the specified address of the ad-lib motif pattern area 47 of the RAM 20 specified by the HL register, and the rhythm timbre is read from the lower key number based on the stored contents of the rhythm timbre table 44 shown in FIG. The number and the sounding key number are obtained and set in the B and C registers, respectively (step 20).
7). Next, the value of the HL register is incremented by 2 (step 2).
08), enter the beat data set of steps 209 to 212, and return to step 202.

In the step 204, "11 ... 1 (25
5)), the step time of the repeat data is set in the D register (step 205), and the start address data is written again in the HL register (step 206). Return. This start address is determined in the same manner as in step 191.

In this way, every time the step time elapses (steps 200 to 202), the beat data of the rhythm ad-lib motif is set (steps 209 to 21).
2), setting of timbre data (steps 207, 208)
Is performed, and the repeat data is repeated from the beginning (steps 204 to 206).

If it is determined in step 200 that the USE flag is "0", or if it is determined in step 202 that the step time of the D register is not yet "0", the rhythm 2 sequence processing is started. (Step 213). The processing of the rhythm 2 sequence is the same as the rhythm 1 sequence processing (steps 200 to 21).
2, the same as the macro routine MACRO4).
However, the sequence register group used is that of rhythm 2.

<< Base Sequence Processing >> In the base sequence processing, it is determined whether or not the USE flag of the A register of the base sequence register group 80 is using “1” (step 214). Then D
The step time of the register is decremented by one (step 21).
5) It is determined whether or not "0" has been reached (step 21)
6). The process of reducing the step time by -1 is performed for each output of the interrupt signal INT2, and becomes "0" when the time corresponding to the step time elapses.

When it becomes "0", it is determined whether or not the most significant bit of the data at the specified address of the ad-lib motif pattern area 47 of the RAM 20 specified by the HL register is "1", that is, whether or not the data is tone color data (step 217). ). If the data is not tone data but note data, step 22 is executed.
The ring buffer 49 stores the on / off data of "1", the key number of the note data corrected by the value of the chord route register 76, the subsequent gate time, velocity, and the tone number of the B register. (Step 224). Next, the value of the ring top address register 92 is incremented by 4 (step 225), and the value of the HL register is incremented by 4 (step 226). If the most significant bit of the next data is "1" and the timbre data (step 2)
27) The step time of the next address is set in the D register (step 228). If "0" is the note data, the step time of the third address is set in the D register (step 228). Return to 216.

If it is determined in step 217 that the timbre data is "1", the process proceeds to step 218.
The data at the specified address of the ad-lib motif pattern area 47 of the RAM 20 specified by the HL register is "11 ... 1".
(255) ”, that is, whether it is repeat data or not (step 218).

If it is not repeat data, step 22
In step S221, the tone color number is read from the specified address of the ad-lib motif pattern area 47 of the RAM 20 specified by the HL register, and is set in the B register. Next, the value of the HL register is incremented by 2 (step 222), the step time of the next note data is set in the D register (step 223), and the process returns to step 216.

In the step 218, "11 ... 1 (25
5) ", the step time of the repeat data is set in the D register (step 219), and the start address data is written again in the HL register (step 220). Return. This start address is determined in the same manner as in step 191.

In this manner, each time the step time elapses (steps 214 to 216), a set of note data of the base ad-lib motif (steps 224 to 22)
9), setting of timbre data (steps 221 to 223)
Is performed, and the repetition is repeated from the beginning (steps 218 to 220).

If it is determined in step 214 that the USE flag is "0", or if it is determined in step 216 that the step time of the D register is not yet "0", the arpeggio, melody 1, and melody 1 are sequentially output. Melody 2
(Steps 230, 231,
232). The processing of the sequence of the arpeggio, melody 1 and melody 2 is based on the above-described base sequence processing (steps 214 to 229, macro routine MACRO).
It is the same as 5). However, the sequence registers used are those of the arpeggio, melody 1 and melody 2.

<< Code Sequence Processing >> In the code sequence processing, it is determined whether or not the USE flag of the A register of the code sequence register group 80 is using “1” (step 233). Then D
The step time of the register is decremented by 1 (step 23).
4) It is determined whether or not "0" has been reached (step 23)
5). The process of reducing the step time by -1 is performed for each output of the interrupt signal INT2, and becomes "0" when the time corresponding to the step time elapses.

When it becomes "0", the code root data of the address specified in the ad-lib motif pattern area 47 of the RAM 20 specified by the HL register is set in the code root register 76 (step 236), and the value of the HL register is incremented by +2. (Step 237), the step time of the next address is set in the D register (Step 238), and HL is set.
The data at the specified address of the ad-lib motif pattern area 47 of the RAM 20 specified by the register is "11 ... 1 (2
55) ”, that is, whether it is repeat data or not (step 239).

If it is not repeat data, step 23
5, if there is repeat data, the start address data is written again to the HL register (step 24).
0), and return to step 235. This start address is determined in the same manner as in step 191.

In this manner, every time the step time elapses (steps 233 to 235), the code root data of the ad-lib motif of the code is set (steps 236 to 238), and the repeat data is repeated from the beginning. (Steps 239, 240).

If it is determined in step 233 that the USE flag is "0", or if it is determined in step 235 that the step time of the D register is not yet "0", the flow advances to the next step 241.

<< Count Processing >> Steps 242 to 24
5, 251 to 256 are time count processes. In this process, first, the low byte of the major clock counter 85 is incremented by one (step 241), and if the low byte matches the beat data of the major clock register 71 (step 242),
The low byte of the major clock counter 85 is cleared (step 243), and the high byte of the major clock counter 85 is incremented by one (step 244).

Next, the value of the mode register 73 is set to "00".
100101 в (в is a symbol indicating a binary number) ”, that is, the start / stop switch 38 is not in the ON state in the OFA mode and the base / rhythm mode (step 245), and the value of the mode register 73 is“ 0001 ** ”. * 1в (* is an arbitrary value) ”, that is, if the start / stop switch 38 is in the ON state in the recording / allocation mode (step 251), the step time counter 86 is incremented by 1 (step 252).

When the value of the step time counter 86 reaches "11 ... 1 (255)" (step 25)
3) Write the dummy event data into the record buffer 48 (step 254), add +2 to the recording address register 87 (step 255), clear the step time counter 86 (step 256), and return. The dummy data is data for convenience when the step time overflows. A 2-byte tone number is set for a melody or bass of an ad-lib motif, and a 2-byte low key number is set for a rhythm of an ad-lib motif. Is set, and in the case of an ad-lib motif code, 2-byte code route data is set.

<< Rhythm restart processing >> Step 2 above
At 45, if the start / stop switch 38 is on in the OFA mode and the base / rhythm mode, the first
A restart process for the auto rhythm and the second auto rhythm is performed, and the process returns to step 251.

In the first auto rhythm restart process, it is determined whether the value of the M register is “00 н” to “80 н” or not.
That is, it is determined whether or not there is a waiting time until the automatic rhythm performance is restarted in the manual rhythm performance state (step 246). If YES, the value of the M register is decremented by 1 (step 247), and if the value of the M register is "0" (step 248), the sequence register group 78 of rhythm 1 is set (step 24).
9). The process of step 249 is as shown in FIG.

Next, the second auto rhythm is started again (step 250). The restart processing of the second auto rhythm is the same as the restart processing of the first auto rhythm (steps 246 to 249, macro routine MACRO7). However, the sequence register group used is that of rhythm 2.
Thus, after the key-off, when the standby time has elapsed, the auto rhythm is restarted independently for each of the first auto rhythm and the second auto rhythm.

<Processing When Operating Panel Switch> FIGS.
FIG. 36 shows a flowchart of a process when a switch operation is performed on the panel switch board 15 and the interrupt signal INT4 is output from the panel scan circuit 16 to the CPU 12.

In this processing, first, if the event is an ON event (step 400), if the switch related to this event is the tempo switch 37, the value of the tempo register 72 and the preset value to the programmable timer 11 are corrected (step 401, 402), when the timbre switch 33 is operated, the value of the melody timbre register 74 is modified, and the contents stored in the panel display memory 3 are modified (steps 403 and 404).

When the rhythm switch 34 is operated, the value of the rhythm type register 75 is corrected and the contents stored in the panel display memory 3 are corrected (steps 405 and 40).
6) When the start / stop switch 38 is operated, the S / S flag of the mode register 73 is inverted, and the contents stored in the panel display memory 3 according to the start / stop switch 38 are corrected (steps 407 and 40).
8).

If the S / S flag is "1", that is, if the start / stop switch 38 is on (step 409), the sequence register groups 78 and 79 for rhythm 1 and rhythm 2 are set. Then, the auto rhythm is started (step 410).

This process is as shown in FIG. At this time, the AUT flag of the mode register 73 is set to “1”.
In the auto mode, the base and arpeggio sequence registers 80 and 81 are set, and the auto base and auto arpeggio are started (steps 411 and 412). Further, if the R / A flag of the mode register 73 is “1” and the mode is the recording / allocation mode,
Clear the recording address register 87 and the major clock counter 85 (steps 413 to 41)
5).

If the S / S flag is "0" in step 409, that is, if the start / stop switch 38 is turned off, the USE flags of the rhythm 1 and rhythm 2 sequence register groups 78 and 79 are cleared. Then, the state is not used, and the auto rhythm is stopped (step 416). At this time, if the AUT flag of the mode register 73 is "0" and the mode is the auto mode, the USE flags of the base and arpeggio sequence register groups 80 and 81 are cleared to make them unused.
The auto base and the auto arpeggio are stopped (steps 417 and 418).

Further, if the R / A flag of the mode register 73 is "1" and the mode is the recording / allocation mode, "11 ...
(255) "and the difference data between the value of the major clock register 71 and the value of the major clock counter 85 are written into the record buffer 48, and the R / A flag of the mode register 73 and the recording /
The storage contents corresponding to the assignment switch 39 are cleared (steps 419 to 421).

Next, it is determined whether any key of the keyboard 13 is being pressed (step 422). If the key is not being depressed, when the mode switch 31 is operated, the value of the mode register 73 is corrected and the contents stored in the panel display memory 3 are corrected (steps 423 and 424). In this case, if the mode is the OFA mode or the auto mode, the USE flag of the code sequence register group 84 is cleared to make the code unused, and the code detection is stopped (step 425). And the OFA switch 32
Is operated, the value of the mode register 73 is corrected, and the contents stored in the panel display memory 3 are corrected (steps 426 and 427). In this case, the OFA flag is "0"
, The USE flag of the code sequence register group 84 is also cleared to make it unused,
Stop the code detection (steps 428, 42
9).

When the mode is switched by steps 425 and 429, the reading and output of the ad-lib motif of the code are stopped. Of course, the operation may be stopped by another instruction, for example, by turning off the start / stop switch 38.

Next, if the S / S flag of the mode register 73 is "0", that is, if the start / stop switch 38 is off (step 430), if the recording / allocation switch 39 is operated, the mode register 73 R /
The A flag is inverted, the contents stored in the panel display memory 3 are corrected (steps 431 and 432), and the routine returns.

If it is determined in step 422 that the key is being depressed, the mode switching processing in steps 423 to 432 described above is not performed, and the performance contents do not change during the key depression.

<Rhythm sequence register group 78, 7
9. Set processing> The set processing of the rhythm sequence register groups 78 and 79 in the above steps 249 and 410 is performed based on the flowchart of FIG. First, FIG.
Ad-lib motif assignment list 42b (47
In the b register, the pattern number of the first auto rhythm at the address “024 н” and the USE flag of “1” are set in the A register, and the start address corresponding to this pattern number shown in FIG.
The data of the address obtained by doubling the pattern number of 2a (47a) is set in the HL register (step 50).
1). The data set in the A register is usually the event key number, but since the auto motif does not have a corresponding key number, the pattern number of the ad-lib motif is set.

Next, the RAM specified by the HL register
The lower key number is read from the start address of the 20 ad-lib motif pattern area 47, and the rhythm tone number and the sounding key number are obtained from the lower key number based on the stored contents of the rhythm tone table 44 shown in FIG. , C register (step 502). Next, the value of the HL register is incremented by 2 (step 503).

Then, the step time data of the second beat data is read and written into the D register (step 504), and it is determined whether or not the step time data is "0" (step 505). If it is "0", there is no waiting time and the sound must be generated immediately, and the most significant bit of the storage data at the address of the ad-lib motif pattern area 47 of the RAM 20 specified by the HL register is "1".
It is determined whether or not the stored data has a lower key number as shown in FIG. 5 (step 506).

Since it is immediately after the first beat data has been read out, it is determined that it is a lower key number, and the flow advances to step 507 to turn on / off data of "1", a sounding key number set in the C register, and " The gate time of "1", the velocity in the beat data, and the rhythm tone number set in the B register are written into the ring buffer 49 (step 507), and the value of the ring top address register 92 is incremented by 4 (step 50).
8) Return to step 503.

At the next steps 503 to 505, it is determined whether or not the step time data of the second beat data is "0". However, usually, the step time data between the first beat data and the second beat data is
Since it is not “0”, the process returns.

Thus, the first rhythm tone number and the sounding key number of the auto motif pattern of the first auto rhythm are set (step 502), and the first beat data set subsequent thereto (steps 503 to 508).
Is performed. The setting of the second and subsequent beat data is performed at the time of outputting the interrupt signal INT2 in the processing of the rhythm 1 sequence shown in FIGS. This is the same for the second auto rhythm described below.

Next, in the ad-lib motif assignment list 42b (47b) shown in FIG.
The pattern number of the auto rhythm is set in the A register, and the start address corresponding to this pattern number shown in FIG.
The data of the address obtained by doubling the pattern number of 2a (47a) is set in the HL register (step 50).
9).

Then, in the ad-lib motif assignment list 42b (47b) shown in FIG.
The delay time between the auto rhythm and the second auto rhythm is set in the D register (step 510), and it is determined whether or not this delay time is "0" (step 511).
If it is "0", it means whether the delay time has already elapsed or "0" from the beginning, and the rhythm 2 sequence processing is entered (step 512) and the routine returns. The processing of the sequence of rhythm 2 includes the sequence processing of rhythm 1 described above (steps 501 to 508, macro routine MACRO).
Same as 8). However, the sequence register group used is that of rhythm 2.

In the process of setting the sequence register group 78 for rhythm 1 in step 249, step 5
The processes of 01 to 508 are performed, and in the process of setting the sequence register group 79 of the same rhythm 2 in step 250, the processes of steps 509 and 512 are performed.

In the setting processing of the base and arpeggio sequence register groups 80 and 81 in step 412, the same processing as in steps 501 to 508 is performed. However, the sequence registers used are those of the base and arpeggio, the pattern numbers of the set auto motifs are those of the auto base and the auto arpeggio, step 402 is replaced with step 221, and step 504 is replaced with step 229. And step 507 is replaced with step 224.

The present invention is not limited to the above embodiments, but can be variously modified without departing from the spirit of the present invention. For example, information indicating a performance motif may be added to or deleted from information shown in each of FIGS. 4 to 6. The means for instructing sound emission may be a string, a wooden tube, a brass, or the like, in addition to the keyboard.

Embodiments of the present invention are as follows.
[A] storage means for storing information indicating a chord accompaniment motif, instruction means for instructing sound emission, readout means for reading information from the storage means when the instruction means is operated, A motif playing device, comprising: output means for outputting information read by the reading means. [B] The motif playing device according to claim A, wherein the reading means is means for continuing reading even after the operation of the instruction means is canceled. [C] The motif playing device according to claim A or B, wherein the reading means or the output means is means for stopping the operation by a predetermined switch operation.

[D] Tempo setting means for setting a performance tempo, motif information indicating the contents of a plurality of chords and the timing of performance of each chord are stored, and the motif information is further stored in accordance with the type of rhythm. Storage means for storing a plurality of types of rhythm information; rhythm setting means for setting the type of rhythm; a plurality of sounding instruction means for instructing the sounding of musical tones; Reading means for sequentially reading the motif information corresponding to the rhythm set by the rhythm setting means from the storage means based on the tempo set by the tempo setting means, and motif information read by the reading means. A chord accompaniment for performing the chord accompaniment at the timing of the performance of each chord based on the chord Motif playing apparatus characterized by comprising a de accompaniment means.

[E] A storage means for storing motif information indicating the contents of a plurality of performances and the timing of each performance in association with each performance part, and a plurality of instructions for instructing the generation of musical tones for each performance part Sounding instructing means; reading means for reading motif information from the storage means in response to operation of the sounding instructing means; first detecting means for detecting an on operation of the sounding instructing means for each of the performance parts; First reading control means for starting reading of the motif information corresponding to the performance part by the reading means in response to detection by the first detection means; and turning off the sounding instruction means for each of the performance parts A second detecting means for detecting the motif information according to the performance part in response to the detection by the second detecting means. Motif playing apparatus characterized by comprising a second read control means for stopping.

[F] The motif playing device according to claim D, wherein the motif information stored in the storage means is information inputted in accordance with an instruction from the sounding instruction means. [G] The storage means stores a plurality of types of motif information corresponding to each of the plurality of sounding instruction means, and the reading means reads motif information corresponding to the specified sounding instruction means from the storage means. The motif playing device according to claim D, E or F, wherein the motif playing device is selectively read out sequentially. [H] The plurality of types of motif information respectively corresponding to the plurality of sounding instruction means are switched to another motif information stored in the storage means and selected. The motif playing device described in G.

[J] means for storing melody motif information indicating the contents of a plurality of melody performances and the timing of each melody performance, means for instructing the generation of musical tones,
Means for reading and outputting the stored melody motif information in response to the instruction for sound generation.

[K] The means for storing the melody motif information indicating the contents of a plurality of melody performances and the timing of each melody performance are used to store the melody motif information based on the instruction of the tone generation. A motif playing method characterized by reading and outputting.

[L] means for storing information on automatic accompaniment,
Means for instructing the reading of the stored information of the automatic accompaniment; means for reading and outputting the information of the automatic accompaniment based on the set tempo of the performance in response to the instruction; Means for storing the melody motif information indicating the content and the timing of each melody performance; means for instructing the reading of the stored melody motif information; Means for reading out the stored melody motif information and outputting the melody motif information in synchronization with the output of the automatic accompaniment information.

[M] Instruct the means for storing the automatic accompaniment information to read out the stored automatic accompaniment information. In response to this instruction, the automatic accompaniment information is read out based on the set performance tempo. Read and output the accompaniment information, and instruct the means for storing the melody motif information indicating the contents of the plurality of melody performances and the timing of each melody performance to read out the stored melody motif information; In response to the instruction, the stored melody motif information is read out based on the set tempo of the performance and output in synchronization with the output of the automatic accompaniment information. .

According to the present invention, performance motif information is stored for each rhythm type or for each performance part, and the motif information is read out and output while the sounding instruction means for instructing the generation of musical tones is being operated. Things. As a result, even if the sounding instruction of the sounding instruction means does not change, the performance content changes according to the pattern of the motif information.
Also, while the sounding instruction means is instructed, the motif information is read and output, and if the sounding instruction means is turned off, the reading of the motif information is stopped. As long as is continued, a plurality of musical tones are automatically generated in succession according to the pattern of the motif information, and the performance can be performed easily.

Further, the performance content based on the motif information is automatically generated only while the sounding instruction means is being instructed (hereinafter referred to as "automatic performance"). Can be stopped, and the player can participate in the automatic performance while performing the performance operation on the sounding instruction means. This motif information can be selected for each rhythm type or each performance part, and a wide variety of motif performances can be performed.

An example is shown in FIG.
Are assigned with various ad-lib motif patterns indicated by numbers 1 to 16. This pattern shows an ad-lib motif of the first melody sound in a 16-beat rhythm. Other second melody sounds,
As shown in FIG. 7, ad-lib motif information is also stored and selectively output for each performance part of the bass sound, the rhythm sound, and the accompaniment chord sound. Further, as shown in FIG. 7, in addition to the 16 beats, the ad lib motif information for each performance part also stores and selectively outputs ad lib motif information corresponding to other rhythms such as disco, bossa nova, and waltz.

An example of the data format of the ad-lib motif is shown in FIG. 4 for the melody sound, FIG. 5 for the rhythm sound, and FIG. 6 for the accompaniment chord sound. Then, as shown in step 179 of FIG. 30, even if there is a key-off, the USE (in use) flag of the code sequence register group 84 is not cleared, and the sequence processing of the ad-lib motif code of the subroutine MACRO6 of FIG. 33 is continuously performed.
Next, as shown in steps 425 and 429 of FIG.
By the mode switching, the sequence processing of the ad-lib motif code is stopped.

Thus, if the motif information to be stored is for accompaniment, the accompaniment content changes in accordance with the motif pattern even if the instruction of the sounding instruction means does not change, and the chord type and chord root are changed. Will change. Also, if the motif information to be stored is about rhythm, as long as the instruction of the pronunciation instructing means continues, a plurality of rhythm sounds are automatically played in succession according to this motif pattern, and the rhythm performance can be performed easily. Can be.

Further, if the motif information to be stored is for a melody performance, an automatic melody performance can be performed by instructing only one sounding instructing means. It is only necessary to stop, and the player can participate in the automatic melody performance while performing the performance operation on the sounding instruction means. Here, the motif is a concept of a plurality of sounds including a phrase, a period (a passage), a plurality of periods, and the like. The chord indicates only the chord type or both the chord type and the chord root (root note).

[0230]

As described in detail above, according to the present invention, chord motif information indicating the contents of a plurality of chords and the timing of performance of each chord is sequentially read out based on the set tempo, and Based on the tempo, the performance information of the bass sound is sequentially read, and the scale of the bass sound in the read performance information is shifted based on the read code to generate the sound.

Therefore, the chord motif which is a component of the music can be ensemble with the bass, and the scale of the bass sound can be shifted based on the ensemble chord, so that the harmony of each scale of the ensemble can be achieved. It works.

[Brief description of the drawings]

FIG. 1 is a diagram showing a storage example of ad-lib motif data and the like.

FIG. 2 is a diagram showing a storage example of ad-lib motif data and the like.

FIG. 3 is a diagram illustrating a storage example of ad-lib motif data and the like;

FIG. 4 is a diagram showing a storage format of ad-lib motif data.

FIG. 5 is a diagram showing a storage format of ad-lib motif data.

FIG. 6 is a diagram showing a storage format of ad-lib motif data.

FIG. 7 is a diagram showing an ad-lib motif area table 41;

FIG. 8 is an overall circuit diagram of the motif playing device.

FIG. 9 is a view showing a panel switch board 15;

FIG. 10 is a view showing a keyboard 13;

FIG. 11 is a diagram showing a list of tone numbers.

FIG. 12 is a diagram showing a list of time signature data.

13 is a diagram showing a rhythm tone color table 44. FIG.

FIG. 14 is a diagram showing a key discrimination decoder 45.

FIG. 15 shows a record buffer 48 and a ring buffer 49;
FIG.

FIG. 16 is a diagram showing an assignment memory 4;

FIG. 17 is a diagram showing functions of each mode.

FIG. 18 is a diagram showing functions of each mode.

FIG. 19 is a diagram showing functions of each mode.

FIG. 20 is a diagram showing a working RAM 46;

FIG. 21 is a diagram showing a working RAM 46.

FIG. 22 is a diagram showing a musical sound generation circuit 24;

FIG. 23 is a diagram showing a change in storage content due to recording of ad lib motif data.

FIG. 24 is a diagram showing a change in storage content due to recording of ad-lib motif data.

FIG. 25 is a view showing a flowchart of a main routine.

FIG. 26 is a diagram illustrating a flowchart of a process at the time of a key event (key on, key off) of the upper keyboard when the mode is not the OFA mode.

FIG. 27 is a diagram showing a flowchart of processing at the time of a key event (key on, key off) of the lower keyboard when the mode is not the OFA mode.

FIG. 28 is a diagram showing a flowchart of processing at the time of a key event (key on, key off) of the upper keyboard in the OFA mode.

FIG. 29 is a diagram showing a flowchart of processing at the time of a key event (key on, key off) of the upper keyboard in the OFA mode.

FIG. 30 is a diagram showing a flowchart of processing at the time of a key event (key on, key off) of the lower keyboard in the OFA mode.

FIG. 31 is a diagram showing a flowchart of processing at the time of a key event (key on, key off) of the lower keyboard in the OFA mode.

FIG. 32 is a diagram showing a flowchart of a process performed at regular intervals when an interrupt signal INT2 is output.

FIG. 33 is a diagram showing a flowchart of processing performed at regular intervals when an interrupt signal INT2 is output.

FIG. 34 is a view illustrating a flowchart of processing performed at regular intervals when an interrupt signal INT2 is output.

FIG. 35 is a diagram showing a flowchart of a process when operating a panel switch.

FIG. 36 is a view showing a flowchart of processing at the time of operating a panel switch.

FIG. 37 is a view showing a flowchart of a setting process of a rhythm sequence register group 78, 79.

[Explanation of symbols]

4: Assignment memory, 12: CPU, 13: Keyboard, 15: Panel switch board, 19: ROM,
20 RAM, 31 mode switch, 32 OFA
(One finger ad-lib) switch, 33: tone switch, 34: rhythm switch, 38: start / stop switch, 39: record / assign switch, 42 (47)
... Ad-lib motif pattern area, 42a (47a)
… Ad-lib motif start address list, 42b
(47b) ... ad-lib motif assignment list, 46 ...
Working RAM, 48 ... Record buffer, 49 ... Ring buffer.

────────────────────────────────────────────────── ─── Continuation of front page (72) Inventor Toshio Mishima 200 Terashimacho, Hamamatsu-shi, Shizuoka Kawai Musical Instruments Co., Ltd. (56) References JP-A-60-2990 (JP, A) JP-A-1-227195 (JP, A) JP-A-1-170993 (JP, A) JP-A-58-130385 (JP, A) Keyboard Magazine April Special Edition Keyboard Magazine Professional NO. 3, Japan, Ritto Music Co., Ltd., April 30, 1989, pp. 26-47 (58) Fields investigated (Int. Cl. ⁷ , DB name) G10H 1/00 101-102 G10H 1/36-1 / 42 G10H 1/26 G10H 1/18

Claims (7)

(57) [Claims] 1. Tempo setting means for setting a performance tempo; code storage means for storing a plurality of chord motif information indicating the contents of a plurality of chords and the timing of the performance of each chord; reading the chord motif information Code reading instruction means for instructing, based on the tempo set by the tempo setting means, code reading means for sequentially reading code motif information from the code storage means in response to the instruction of the code reading instruction means; Melody storage means for storing performance information of the sound; melody performance instructing means for instructing the performance of the melody sound; and a tempo set by the tempo setting means. The performance information of the melody sound is sequentially read out from the melody storage means,
Scale shifting means for shifting the scale of the melody sound in the read performance information based on the code read by the code reading means, and sounding means for generating the scale-shifted melody sound. A motif playing device characterized by the following. 2. A code storage means for setting a performance tempo and storing a plurality of chord motif information indicating the contents of a plurality of chords and the timing of the performance of each chord is instructed to read the chord motif information. Based on the set tempo, in response to the instruction to read the chord motif information, the chord motif information is sequentially read out from the chord storage means, and a melody sound is instructed. Based on the set tempo, In response to the performance instruction of the melody sound, the melody storage means for storing the performance information of the melody sound sequentially reads the performance information of the melody sound. The melody sound is shifted based on the code read by the reading means, and the scale-shifted melody is generated. Motif how to play, characterized in that it is. 3. A tempo setting means for setting a performance tempo; a code storage means for storing a plurality of chord motif information indicating the contents of a plurality of chords and the timing of the performance of each chord; and mode switching means for switching a mode of not performing a mode for performing, when the mode is switched to the mode for reading the code motif information, a code reading instruction means for instructing the reading of the code motif information, the Code reading means for sequentially reading chord motif information from the code storage means in response to an instruction from the code reading instruction means based on the tempo set by the tempo setting means; and bass storage means for storing performance information of a bass sound. And bass performance instructing means for instructing the performance of the bass sound, and When the mode is switched to a mode in which chord motif information is not read, the tempo setting means
Responds to the instruction of the bass performance instruction means based on the tempo
In response, the performance information of the bass sound is
A scale shift means for sequentially reading, and shifting a scale of a bass tone in the read performance information based on the code read by the code reading means immediately before selection of the mode; A motif playing device comprising: a sound generating means for generating a sound. 4. A mode for reading the chord motif information by setting a tempo of the performance and storing a plurality of chord motif information indicating the contents of the plurality of chords and the timing of the performance of each chord. let switch between modes is not performed, when the mode is switched to the mode for reading the code motif information, to instruct the reading of the code motif information, based on the set tempo, this code motif information in response to the read instruction, and sequentially reads the code motif information from said code storage means, to instruct the playing of the bass sound, when being switched to a mode that does not perform the reading of the code motif information, the set tempo Based on
In response to the instruction to play the bass sound,
Performance of the bass sound from the bass storage means for storing performance information
Information is sequentially read out, and the scale of the bass sound in the read performance information is shifted based on the chord read out by the code reading means immediately before selection of this mode. A motif playing method characterized by sounding. 5. A plurality of types of chord motif information are stored, and the plurality of types of chord motif information correspond to each of a plurality of sounding instruction means, and any one of the plurality of sounding instruction means is instructed. 4. The motif playing device according to claim 1, wherein chord motif information corresponding to the designated sounding instruction means is read. 6. The code read by the code reading means is a code and a route, and the code and the route immediately before the mode in which the code motif information is not read out are selected, and the stored code is stored. 4. The motif performance device according to claim 3, wherein the scale of the bass sound in the read performance information is shifted based on the root and the root. 7. The apparatus according to claim 1, further comprising mode switching means for switching between a mode in which the code motif information is read and a mode in which the code motif information is not read, wherein the mode is switched to a mode in which the code motif information is read. when and performs a shift in the scale reading and the melody sound code above motif information,
When the mode is switched to a mode in which the chord motif information is not read, a chord and a root are detected from the instruction of the sounding instruction means , and based on this, a chord and a root are detected.
The motif playing device according to claim 1, wherein a scale of the melody sound is shifted .