JP3879759B2 - Electronic musical instruments - Google Patents

Description

  The present invention relates to an electronic musical instrument that can perform melody and accompaniment with a simple operation.

  There are various types of electronic musical instruments such as a keyboard instrument type, a percussion instrument type, a stringed instrument type, and a wind instrument type. Each electronic musical instrument imitates the form of a natural musical instrument, and when performing with these electronic musical instruments, it is necessary to learn how to play each musical instrument. For this reason, it is difficult for beginners to play electronic musical instruments, as well as to play natural musical instruments.

  On the other hand, for the purpose of facilitating performance by an electronic musical instrument, a sequence of pitch data such as a melody is stored in advance, and one pitch data is read for each switch operation so that the melody can be played. So-called one-key play has been proposed. For example, Japanese Patent Application Laid-Open No. 6-274160 discloses a configuration in which one sound is generated in response to a trigger signal from a keyboard or the like of an electronic musical instrument. Specifically, the pitch data stored in the memory in advance is sequentially read according to the progress of the music, and in response to the generation of the trigger signal, the generation of the musical sound corresponding to the pitch data read at that time is started. The sound is muted at the key-off timing of the pitch data. Japanese Patent Application Laid-Open No. 54-159213 discloses a technique for reading out pitch information stored in a memory in advance each time a switch is operated and generating a sound, and continuing the sound for the length of time the switch is pressed. It is shown.

  In the former, since the sound generation continuation period is ended by the key-off timing of the pitch data, there is a disadvantage that the operator cannot arbitrarily control the sound generation continuation period. In the latter case, the duration of sound generation corresponds to the operation period of the switch, so it can be controlled arbitrarily.However, since it is necessary to release the switch once when moving to the next sound and then press it again, the sound generation is always interrupted. As a result, it was difficult to play tenuto.

  Also, in these electronic musical instruments, once deviating from the original performance position, it is very difficult to return to the original position. This is because if the performance by the operator proceeds too much compared to the original position, the operator pauses the operation and waits until the original position arrives. If you do not know where the finished part is and when to resume your operation, and the performance by the operator is too late compared to the original position, you can quickly operate the switch by operating the switch. I'm trying to return to the timing, but when I advance my performance position, the rhythm of the performance is different from the original rhythm, and as a result, I don't know where I'm playing.

  In addition, these electronic musical instruments can only perform according to a predetermined pitch sequence, so that there is a disadvantage that ad-lib performance cannot be performed.

In order to solve the above inconvenience, the present invention provides a performance operator that is operated by a performer and indicates any one of a plurality of performance operation positions. operated by the player, and the second performance operator for instructing the sound, a storage means for storing performance data, and sequentially reading the read means performance data from a previous term memory unit, according to the first performance operators depending on the operation of designating one of the performance operation position, thereby changing the pitch of the performance data read out by said reading means, in response to operation of instructing pronunciation by said second performance operators, variable And a sound generation control means for instructing the sound source circuit to generate a sound corresponding to the performance data having the further pitch.

In the invention of claim 2, the electronic musical instrument according to claim 1, wherein the sound control means, in response to an operation of indicating either a performance operation position by said first performance operators, the read The pitch of the performance data read by the means is changed in octave units.

The first invention of the original application includes a first operation element, a second operation element, storage means for storing performance data, reading means for sequentially reading performance data from the storage means according to the progress of performance, A pitch changing means for changing the pitch of the performance data read by the reading means in response to an operation of the second operator, and the memory at the time of the operation in accordance with an operation of the first operator. Sound generation instruction means for instructing the sound source circuit to generate a sound corresponding to the performance data having a pitch changed by the pitch change means and read by the pitch change means.
According to the above configuration, the musical tone whose pitch is changed and controlled by the operation of the second operator is sounded by the operation of the first operator. Accordingly, the intention of the operator can be reflected in the musical sound as compared with the case where the performance data stored in the storage means is sounded as it is.

The second invention of the original application was in the first operator having a plurality of operation positions, the second operator, storage means for storing performance data, and the key or chord progression of the performance data. An allocating unit that determines a scale and assigns the determined scale to a plurality of operation positions of the first operator, and is operated in the first operator according to the operation of the second operator. And a sound generation instruction means for instructing the sound source circuit to generate sound based on the pitch assigned to the operation position.
According to the above configuration, a musical tone having a pitch corresponding to the operation position of the first operator is generated by the operation of the second operator. At this time, since the pitch to be generated is a pitch that matches the tone of the song and the chord progression, it is possible to easily perform an ad-lib performance that matches the song.
The assigning means determines a plurality of scales corresponding to the key or chord progression of the performance data, and one selected scale is assigned to a plurality of operation positions of the first operator. It is preferred that In this way, the atmosphere of ad-lib performance can be changed.

According to a third invention of the original application, a first operator having a plurality of operation positions, a second operator, storage means for storing performance data, and each pitch name included in the performance data. An assigning means for obtaining a degree of appearance, determining a plurality of higher ranks as scale sounds of the performance, and assigning the determined scale sounds to a plurality of operation positions of the first operator; and the second operator Sound generation instruction means for instructing the sound source circuit to generate sound based on the pitch assigned to the operation position operated by the first operator in response to the operation of .
According to the above configuration, a sound having a high appearance level of each pitch name included in a song is regarded as a scale sound. Without using a complicated key detection algorithm, it is possible to perform an ad-lib performance using sounds suitable for a song.

According to a fourth invention of the original application, the first operation element having a plurality of operation positions, the second operation element, the storage means storing the performance data, and the performance data from the storage means according to the progress of the performance. And a plurality of pitch names detected in the performance data read by the reading means at the time when the second operation element is operated. Assigning means for assigning the determined chord constituent sound to a plurality of operation positions of the first operating element, and according to the operation of the second operating element, the first operating element And a sound generation instruction means for instructing the sound source circuit to generate sound based on the pitch assigned to the operation position operated in step.
According to the above configuration, when the second operator is operated, a plurality of pitch names read by the reading unit are regarded as chord constituent sounds at that time. Without using a complicated chord detection algorithm, it is possible to perform an ad-lib performance using sounds that match the song.

According to a fifth invention of the original application, the first operation element having a plurality of operation positions, the second operation element, the storage means storing the performance data, and the performance data from the storage means according to the progress of the performance. Reading means for sequentially reading out, a scale sound determining means for determining a degree of appearance of each pitch name included in the performance data, and determining a plurality of higher ranks as scale sounds of the performance, and the second operator Is detected, a plurality of pitch names included in the performance data read by the reading means are detected, the detected plurality of pitch names are determined as chord constituent sounds, and the determined chord constituent sounds are determined. Is assigned to a plurality of operation positions of the first operator, and if the detected pitch names do not reach a predetermined number, any one of the determined scale sounds is selected. In addition to the chord constituent sound to be selected, a sound that is assigned to a predetermined number, and a sound assigned to an operation position operated in the first operation element according to an operation of the second operation element And a sound generation instruction means for instructing a sound source circuit to generate sound based on height.
According to the above configuration, when the second operator is operated, the plurality of pitch names read by the reading unit are regarded as chord constituent sounds at that time, and the plurality of pitch names are a predetermined number. When the number does not reach, among the pitch names existing in the song, those having a high appearance degree are added to the chord constituent sounds. In this way, sounds other than chord constituent sounds may be generated during ad-lib performance, and the performance will not be monotonous.

  As described above, the electronic musical instrument of the present invention has an effect that even a beginner can enjoy a highly expressive performance by a simple operation.

  FIG. 1 is a view showing the appearance of an electronic musical instrument of the present invention. In this electronic musical instrument, a musical instrument main body I and a display D are separated from each other and are connected by a cable C. The musical instrument main body I has a shape similar to that of a guitar, and includes a body B and a neck N. The body B is provided with a pad P, a mute switch MS, a wheel W, a panel switch PS, and a memory cartridge MC is detachably mounted.

  The pad P is provided with a striking sensor (piezoelectric sensor or the like) so that the presence or absence of striking with a player's finger or the like and the striking strength can be detected. A musical tone is generated in response to the hit. The pad P is configured to be rotatable in the circumferential direction thereof, and is provided with a rotation sensor (rotary volume or the like) for detecting a rotation operation by the player. The pitch of the generated musical tone can be changed by the rotation operation. The rotated pad P is configured to return to the reference position when released from the rotation operation by the performer. Further, the pad P has a pressure sensor incorporated therein, and can detect a pressing operation by the player. The volume, tone color, effect, etc. of the generated musical tone can be changed by the pressing operation.

  The mute switch MS is used to mute the musical sound generated by the operation of the pad P. In other words, the musical sound produced by the operation of the pad P continues until the mute switch MS is pressed. The mute switch MS is provided with a pressing speed detection sensor. The mute switch MS changes and controls how to mute, for example, control of the release time when the sound is muted, according to the detected pressing speed. When the pad P is operated again before the mute switch MS is pressed, the sound that has been sounded until then is muted, and a new sound is subsequently generated.

  The mute switch MS has a function of changing / controlling a tone color of a newly generated musical tone in addition to a function of muting a musical tone being generated. That is, when the pad P is operated while pressing the mute switch MS, and when the pad P is operated without pressing the mute switch MS, the sound is generated with different timbres. For example, when the pad P is operated without pressing the mute switch MS, a normal guitar tone is generated, and when the pad P is operated while the mute switch MS is pressed, the mute guitar tone is generated. Alternatively, the mute switch MS is provided with a pressing force sensor for detecting the pressing force, and when the pad P is operated while the mute switch MS is pressed, the filter parameter of the sound source circuit is controlled according to the detected pressing force of the mute switch MS. Like that. In this way, if the tone of the musical tone generated by the presence or absence of the operation of the mute switch MS is changed, it is the same as when the tone changes when the guitar string is picked while holding it with the palm of the hand and when it is not. The effect can be obtained, and a highly expressive performance can be achieved with a simple operation. Needless to say, the tone is not limited to the guitar.

The wheel W is configured to be rotatable by a performer, and includes a rotation sensor (such as a rotary volume) that detects the rotation operation. The performer can change the volume, tone, effect, and the like by rotating the wheel W.
The memory cartridge MC is composed of a ROM cartridge or a RAM cartridge, and stores a plurality of song data. Each piece of music data is composed of a plurality of performance parts such as a melody part, a bass part, a chord part, and a rhythm part. The electronic musical instrument performs one of the plurality of performance parts by operating the pad P, and automatically performs the performance of the other parts according to the stored music data.
The body B is also provided with a speaker, a MIDI terminal and the like (not shown).

The neck N is provided with a large number (20 in this embodiment) of fret switches FS in one row. Depending on the position of the pressed fret switch FS, the pitch of the musical sound generated by hitting the pad P is controlled. Further, a pressure sensor is provided below the fret switch FS so that the pressing force when the fret switch FS is pressed can be detected. Depending on the pressing force of the fret switch FS, the volume, tone color, effect, etc. of the generated musical sound can be changed.
The display D is composed of a CRT display or the like and displays a performance position and the like. The display D may be built in the musical instrument main body I.

FIG. 2 is a diagram showing details of the panel switch PS. PS1 and PS2 are music selection switches, and are switches for selecting one of a plurality of music data stored in the memory cartridge MC. Select the song number in the + direction with PS1 and the-direction with PS2. The selected song number is displayed on the display D.
PS3 is a start / stop switch for starting or stopping the performance of the selected music data.

  PS4 to PS7 are control part selection switches, PS4 selects the melody part, PS5 selects the base part, PS6 selects chord part 1, and PS7 selects chord part 2. The base part, chord part 1 and chord part 2 are roughly classified as melody parts as backing parts. By the operation of the pad P, the part selected by the control part selection switch is played.

  PS8 and PS9 are switches for selecting a melody part performance mode when a melody part is selected as a control target part. PS8 is a sequence mode switch that performs based on the sequence data of the melody part in the song data stored in the memory cartridge MC, and PS9 is an adlib that performs an ad lib performance different from the sequence of the melody part in the song data. Mode switch.

  PS8 selectively sets melody mode 1 and melody mode 2 in the sequence mode alternately. The melody mode 1 is a mode in which every time the pad P is operated, the melody part sequence is advanced by one and the melody part sound is generated. That is, if the operation of the pad P is delayed with respect to a part other than the melody, the progress of the melody part is delayed. Conversely, if the pad operation is advanced, the progress of the melody part is advanced. Although there is no possibility of the melody sound being lost, once the progress position of the melody part and the progress position of the parts other than the melody are shifted, it is difficult to return the progress position of the melody part to the progress position of the other parts.

  On the other hand, in the melody mode 2, regardless of the operation of the pad P, the sequence of the melody part is advanced in accordance with the progress of the parts other than the melody, and when the pad P is operated, the sound of the melody part at that time is generated. Mode. That is, since the melody part also advances regardless of the operation of the pad P, if there is no operation of the pad, the sound of the melody part advances without being pronounced. Although there is a possibility that the melody sound may be lost, the progress position of the melody part always matches the progress position of the parts other than the melody. This performance mode is more suitable for beginners than melody mode 1.

  PS9 is a switch for selectively setting manual ad-lib mode and automatic ad-lib mode among the ad-lib modes. In the manual ad-lib mode, the sound of the scale corresponding to the key of the selected song data is assigned to each of the plurality of fret switches FS, and the pad P is operated while the pitch is designated by the operation of the fret switch FS. In this mode, the ad lib performance of the melody part is performed. The scale assigned to the fret switch FS can be selected by scale selection switches PS10 to PS14 described later. Since the scale assigned to the fret switch FS is a scale that matches the key of the music data, it is possible to easily perform an ad-lib performance that matches the key of the music by simply pressing the fret switch FS and operating the pad P.

  On the other hand, in the automatic ad-lib mode, a predetermined ad-lib phrase is assigned to each of the plurality of fret switches FS, and the pad P is operated while operating any one of the fret switches, so that the ad-lib performance along the predetermined ad-lib phrase is performed. This is the mode to perform. The ad lib phrase that matches the tone of the song is assigned to the fret switch FS. Therefore, by simply pressing the fret switch FS and operating the pad P, it is possible to easily perform an ad-lib performance that matches the tone of the music. Moreover, in the above-mentioned manual ad lib mode, the same pitch is generated as when the same fret switch FS is held down. Therefore, in order to perform ad-lib-like performance, the fret switch FS must be quickly switched as in normal guitar performance. However, in the automatic ad-lib mode, sounds with different pitches are generated one after another even if the same fret switch FS is held down. Therefore, the performance mode is more suitable for beginners than the manual ad-lib mode.

  PS10 to PS14 are scale selection switches. By operating these switches, the type of scale assigned to the fret switch FS is selected. PS10 is a diatonic scale selection switch, and a diatonic scale (seventh scale) corresponding to the key of the music data is assigned to the fret switch FS. In this embodiment, the key of the song data is detected based on the sequence data of the song. However, the player designates a predetermined key, or data specifying the key is embedded in the song data in advance. It may be something like that.

  PS11 is a pentatonic scale 1 selection switch, and the first pentatonic scale (five tone scale) that matches the key of the music data is assigned to the fret switch FS. PS12 is a pentatonic scale 2 selection switch, and the second pentatonic scale corresponding to the key of the music data is assigned to the fret switch FS. Even if the first pentatonic scale and the second pentatonic scale have the same key, different five sounds are selected, and by switching the scale, the same five-tone scale can be played in different atmospheres. For example, a scale obtained by removing the fourth sound and the seventh sound called “Yonanuki” from the diatonic scale as the first pentatonic scale, and a blues scale with a blue note can be assigned as the second pentatonic scale. Of course, other scales may be used.

  PS13 is a chord constituent sound selection switch, and the chord constituent sound in the music data is assigned to the fret switch FS. Since the chord changes as the music progresses, the chord constituent sound assigned to the fret switch FS also changes with the chord change. That is, the chord constituent sound assigned to the fret switch FS is updated when the chord changes. In this embodiment, the chord of the song data is detected based on the sequence data of the song. However, the player designates a predetermined chord progression or data that designates the chord progression in the song data in advance. May be embedded. In the above-mentioned diatonic scale and pentatonic scale 1 and 2, there is a possibility that a sound that does not match the chord at that time is generated even if it is in the tune, but the chord constituent sound is assigned to the fret switch FS. Sometimes a sound that does not match the chord at that time will not be pronounced. Instead, there are few pitch types, and there is a risk of monotonous ad-lib performance.

  PS14 is a melody component sound selection switch, and a note name appearing in a melody part in music data is assigned to the fret switch FS. The music data is divided into a plurality of phrases, and for each division, the pitches appearing in the division are assigned to the fret switch FS. In this embodiment, when the song data is divided into a plurality of phrases, it is classified based on the line feed code (included in the phrase delimiter position) of the lyrics data included in the song data. The performer may arbitrarily specify the phrase break position, or may analyze the chord progression or melody progression of the song data to detect the phrase break position. When a melody component sound is assigned to the fret switch FS, a sound that does not match the chord at that time is not generated as in the case of the chord component sound described above, but there is a possibility that a monotonous ad-lib performance may occur. In the case of a melody component sound, an ad-lib performance closer to a melody can be performed compared to a chord component sound.

  PS15 is a panic switch, and when performing the melody mode 1 of the melody sequence, the player's pad P operation is too late or too early with respect to the other parts. This switch is used to correct the original position when it has shifted to. By pressing this switch, the melody sequence mode is canceled, the melody part returns to the original progress position, and the automatic performance is switched to that of the other parts. Thereafter, when the pad P is operated again, the mode is switched to the melody sequence mode. The function of this switch is effective when the user does not know the melody of the song well and does not know where he / she is performing while performing, that is, when a panic situation occurs.

FIG. 3 is a diagram showing a schematic block of the hardware configuration. A CPU (Central Processing Unit) 1 controls the operation of the entire electronic musical instrument, and executes processing according to a control program stored in a ROM (Read Only Memory) 3. Further, the CPU 1 and each unit are connected via a bus 2, and various data are transmitted and received.
A RAM (Random Access Memory) 4 is provided with areas such as registers and flags for temporarily storing various data generated during processing by the CPU 1 and is a control target used when performing a melody performance or backing performance. An area for storing part data and melody part data (details will be described later) is also provided. The timer 5 supplies an interrupt signal to the CPU 1 and generates an interrupt signal having a predetermined cycle. The sequence data stored in the memory cartridge MC and the control target part data stored in the RAM 4 are read out by interrupt processing at predetermined intervals executed by the CPU 1.

  Reference numeral 6 denotes a MIDI (musical instrument digital interface) interface (I / F) which exchanges data with an external device. For example, by outputting a performance event to an external sound module, it is possible to perform with higher quality sound. Reference numeral 7 denotes a pad detection circuit for detecting the operation of the pad P, which detects the presence / absence of the operation of the pad P and the impact strength when the pad P is operated. Reference numeral 8 denotes a switch detection circuit, which is a panel switch PS, fret switch FS, mute switch MS on / off operation, wheel W rotation operation, pad P rotation operation and pressing operation, mute switch pressing operation, fret switch A pressing operation or the like is detected. The CPU 1 executes various functions according to the supplied operation information.

The tone generator circuit 9 forms a musical sound waveform signal based on the supplied performance event data. In this embodiment, the tone generator circuit is constituted by a waveform memory readout + filter method as a tone generator circuit scheme. A well-known FM (frequency modulation) method, physical model simulation method, harmonic synthesis method, formant synthesis method, analog synthesizer method combining an oscillator and a filter, or the like may be used. The musical sound waveform signal formed in the sound source circuit 9 is emitted as sound in the sound system 10. Note that the sound source circuit is not limited to the one configured with the dedicated hardware, but the sound source circuit may be configured with a DSP (digital signal processor) + microprogram, or the sound source circuit may be configured with a CPU + software program. You may make it comprise. In addition, a plurality of sound generation channels may be formed by using one circuit in a time-sharing manner, or one sound generation channel may be configured by one circuit.
D is the aforementioned display.

FIG. 4 is a diagram showing a performance example of the melody mode 1 in the sequence mode.
(A) represents the original melody data stored in the sequence data, and (B) represents the sound produced by the player operating the pad P at the timing of the upward arrow shown below. A thick solid line extending in the horizontal direction indicates a pronunciation period.
In this example, the player's operation of the pad P is slightly delayed from the original melody performance timing. It should be noted that the mute switch MS is operated at the time indicated as “mute” in the figure. At this point, the sound being pronounced is muted, so you can play a staccato performance. In other parts, the sound that has been sounded up to that point by the operation of the pad P is muted, and the sound of a new sound is subsequently started.

  FIG. 5 is a diagram showing a performance example of the melody mode 2 in the sequence mode. 4A shows the original melody data stored in the sequence data as in FIG. 4, and FIG. 4B shows the sound that is produced when the performer operates the pad P at the same timing as in FIG. . In this example, the player's operation of the pad P is slightly delayed with respect to the performance timing of the original melody, and in particular, the sound indicated by L was not operated by the pad P within the original sound generation period. , Not pronounced. Further, the mute switch MS is operated at a time point indicated as “mute” in the figure, and the sound being generated at this time point is muted as in the case of FIG.

  Next, the scale assignment table will be described with reference to FIG. The scale assignment table is a table storing a plurality of kinds of scales assigned to the fret switch FS during ad-lib performance, and is stored in the RAM 4. Here, an example of a pitch assigned to each of a total of 21 positions of the open position and 20 fret switches 1 to 20 is shown. For "Diatonic", "Pentatonic 1", and "Pentatonic 2", the scale is determined by the key of the performance song, and for "Cord component sound", the scale is determined based on the chord that appears in the performance song. For the “composed sound”, the scale is determined based on the melody sound that appears in the performance music, and the determined scale sound is stored in the scale assignment table.

  “Diatonic”, “Pentatonic 1”, and “Pentatonic 2” are not changed in one song. That is, the contents of the table do not change from the start to the end of the performance song. It should be noted that, depending on the tune, there is a tune that changes, so it goes without saying that the contents of the table may change during the tune. On the other hand, the stored contents of the “chord constituent sound” and the “melody constituent sound” change sequentially as the performance music progresses. This is because the chords and melody sounds that appear vary depending on the location in the performance. For example, the “chord constituent sound” may be updated every time the chord progression changes, and the “melody constituent sound” may be updated every predetermined phrase break. Although the predetermined phrase is determined based on the lyrics separation position described later, the phrase separation position may be determined by analyzing the structure of the melody part and other performance parts. Needless to say, the example of the scale assignment table is only an example.

  Next, the data structure of the performance music will be described with reference to FIG. 7, FIG. 8, and FIG. FIG. 7 shows sequence data indicating the original data of the performance music. This sequence data is stored in the memory cartridge MC. The sequence data is data in which timing data and event data are stored in the order of performance. The timing data is data indicating an occurrence time interval between the previous event data and the next event data, and is expressed as a value of the number of clocks with a predetermined note length (for example, 384th note) as a unit. . When a plurality of event data occur simultaneously, “0” is stored as the timing data.

Event data consists of note events, lyrics related to lyrics, and control change events. The note event is composed of data indicating note-on or note-off corresponding to the musical note of the musical piece, pitch data, and velocity data. The control change data is various data necessary for playing a song, and includes data such as volume, pitch bend, and tone color switching. Each note event and control change event is assigned channel data indicating which of the channels 1 to 16, and the channel data identifies which channel each event belongs to. .
Note that each channel corresponds to a performance part, and by storing each event together with channel data, event data of a plurality of parts can be mixed and stored. Further, end data is stored at the end of these data (not shown). This sequence data is read by the first read pointer (details will be described later).

FIG. 8 shows only data of a plurality of types of control target parts (melody part, base part, chord 1 part, chord 2 part) read out by pad operation out of the sequence data composed of the performance data and lyrics events for the above-mentioned plural parts. Is extracted. The control target part data is stored in the RAM 4. This control target part data is used for melody mode 2, bass part performance, chord 1 part performance, and chord 2 part performance of the melody part performance.
Although the control target part data will be described later in detail, the performance data of each part included in the above-described sequence data is stored in a form that is slightly processed into a form suitable for control. Since the storage format is composed of timing data and event data in the same manner as the sequence data described above, detailed description thereof will be omitted. This control target part data is read by the second read pointer.

  FIG. 9 shows only the data of the melody part extracted from the sequence data composed of the performance data and lyrics events for a plurality of parts described above. The melody part data is stored in the RAM 4. The melody part data does not include timing data or control change events, unlike the sequence data and control target part data described above. Of note events, only note-on events are stored, and note-off events are not stored. This melody part data is used for the performance of melody mode 1 in the melody part performance. The melody part data is read by the third read pointer.

  Next, the pitch control of the performance sound at the time of the bass part performance, the chord 1 part performance, and the chord 2 part performance will be described with reference to FIG. In the base part performance, chord 1 part performance, and chord 2 part performance, sound is generated based on the note event of the read control target part. At this time, the octave changes according to the position of the pressed fret. To be controlled. That is, when a portion close to the fret neck is operated, a sound is generated with a low pitch, and when a portion close to the body is operated, a sound is generated with a high pitch. Therefore, it is possible not only to sound at the pitch indicated by the note event read from the memory, but also to control the pitch of the sound generated by the operator, so that a variety of performances can be enjoyed.

  FIG. 10A shows a sound generation range restriction table stored in the ROM 3. This is a table for determining the pitch range to which the pitch to be sounded belongs according to the operated fret position. For example, if the fret position is “0” (open position), it is in the range of E0 to E2, if the fret position is “10”, it is in the range of C2 to C4, and if the fret position is “20” (closest to the body), G # 3. Each time the fret position changes, the sounding range changes by two semitones so that it falls within the range of G # 5.

  FIG. 10B shows an example in which the octave of the tone pitch is controlled by this tone range restriction table. Consider a case where the pitch of the input sound (note event read from the control target part data) is C4, C3, and C2. In the case of C4, the pitch of C4 is not included in the sound generation range from the fret positions 0 to 9. At this time, the pitch of C4 is changed to C2. Since the C4 pitch is included in the sound generation range from the fret positions 10 to 20, the pitch is not changed.

  When the input sound is C3, the pitch of C3 is not included in the sound generation range from the fret positions 0 to 3. At this time, the pitch of C3 is changed to C1. Since the pitch C4 is included in the sound generation range from the fret positions 4 to 16, the pitch is not changed. Since the pitch of C3 is not included in the sound generation range from the fret positions 17 to 20, the pitch of C3 is changed to C5.

  When the input sound is C2, since the pitch of C2 is included in the sound generation range from the fret positions 0 to 10, the pitch is not changed. The fret positions 11 to 20 do not include the pitch of C2 in the sound generation range. At this time, the pitch of C2 is changed to C4. That is, the change rule is: “If the input sound is not included in the pronunciation range, the pitch is in that range, and the pitch with an even subscript is attached to another nearest even subscript. The pitch with an odd number of subscripts is changed to another closest pitch with an odd number of subscripts. " Note that this pitch change example is only an example. The even and odd subscripts may be ignored. The range of sound to be controlled is not limited to that shown in the figure.

  Next, the example of a display on the display D is shown using FIG. In this example, the display D has lyrics, melody part, bass part, chord 1 part, chord 2 part performance timing, selected part, current music progression position, current operator operation position, The progress is displayed. In FIG. 11, the lyrics, the performance timing of the melody part, the performance timing of the bass part, the performance timing of the chord 1 part, and the performance timing of the chord 2 part are in a format in which the progression proceeds from left to right. Are displayed side by side. For the melody part, the base part, the chord 1 part, and the chord 2 part, the part represented by a square is the part that is pronounced. That is, the left end of the square corresponds to the sound generation start timing, and the horizontal length corresponds to the sound generation time. It should be noted that the recommended strength when operating the pad may be displayed by detecting the velocity value included in the note event and indicating it by the length of the square in the vertical direction.

  The part selected as the control target part is displayed by dot shading. In FIG. 11, the melody part is selected. Further, the progress position of the current music is displayed by a vertical solid line. This vertical solid line moves to the right as the music performance progresses. In addition, the current operation position of the operator is displayed by vertical shading. In FIG. 11, three squares indicating the sound generation timing of the melody part are painted from the left. This indicates that the current operation position is the position of the third note.

  In the shaded portions indicated by “advance” and “wait”, the progress is displayed. When the progress position of the music and the operation position by the operator are almost the same position, “advance” is lit. If it is a display capable of color display, it is lit in blue, for example. When the operation position by the operator is delayed with respect to the progress position of the music, the “advance” display blinks to indicate “hurry”. Conversely, when the operation position by the operator is advanced with respect to the progress position of the music, “wait” is lit. If it is a display capable of color display, it lights up in red, for example. By this display, the operator can grasp at a glance whether the operator should continue the operation as it is, whether the operation should be advanced, or wait a little. Note that the display form is not limited to this example, and three types of “progress”, “hurry”, and “wait” may be prepared as progress indications.

  Next, the flow of processing by the CPU 1 will be described with reference to FIGS. FIG. 12 is a flowchart showing the panel switch process. This process is executed every predetermined period, for example, every 10 ms. In step s1, the panel switch is scanned. In step s2, it is determined whether or not the switch state has changed. If there is a change, processing corresponding to the switch having changed in step s3 is executed.

  FIG. 13 is a flowchart showing the music selection switch process which is a part of the “process corresponding to the changed switch” in step s3. In step s11, the music corresponding to the pressed switch is selected, and the sequence data is read from the memory cartridge MC. Of the plurality of performance parts in the sequence data read in step s12, a part to be controlled is extracted. As an example of extraction, the melody part is the performance part of channel 4, the base part is the performance part in which the program change event corresponding to the timbre name “XX bass” is stored as the initial tone, and chord 1 is all performance Among the parts, the performance part with the largest number of sounds is set except for the drum part, and the performance part with the second largest number of sounds is set for the chord 2 part except for the drum part. Here, the reason why the channel 4 part is the melody part is that, in the field of computer music, generally, the 4 channels are often used as the melody part. In addition, when comment information is stored in the performance data and “melody” or a comment corresponding to it is included in the performance data, the melody part may be extracted based on this comment. In addition to determining that the program change event indicates the base tone as the base part as the pace part, the comment information may be referred to in the same manner as the above melody part extraction method. The part with the most frequent bass may be determined as the base part.

  Further, as a method for extracting the chords 1 and 2 parts, considering the length of the sound, the one having the longest total sounding time may be extracted as these parts. The part with the largest number of sounds may be the chord 1 and part 2. Moreover, you may refer comment information like the said melody and a base part. In addition, information indicating which part should be extracted as a control target in the performance data may be provided in advance. Moreover, you may enable it for an operator to change the control object part determined automatically.

  In step s13, control data is created for each of the extracted control target parts. The control data is obtained by slightly modifying the contents of the original sequence data corresponding to the control target part so as to be suitable for control. The original sequence data may be created without intention of the control according to the present invention, and using such sequence data as it is may not be suitable for control. For example, there is usually a slight silent period between notes in each part of the sequence data (if there is no silent period, legato performance will always occur and there is no sense of rhythm) It becomes monotonous music). The performance of the melody mode 2, bass part, chord 1 part, and chord 2 part of the melody part sounds the sound at the time of pad operation, so the operator gives a sound instruction by operating the pad during this silent period. In this case, there is an inconvenience that nothing is pronounced despite the operation. In order to prevent such inconvenience, performance data having no soundless period is created in advance and stored as data of the control target part.

For example, performance data without a soundless period is created according to one of the following rules.
(1) Fill the silent period with the note event that comes after the silent period. That is, the sound generation start timing of the next note event is set immediately after the mute timing of the previous note event.
(2) In the middle of the non-sounding period, the mute timing of the previous note event and the sounding start timing of the next note event are provided. That is, the mute timing of the previous note event is delayed to the middle of the silent period, and the timing of starting the sound of the next note event is advanced to the middle of the silent period.
(3) The sound generation start timing of all note events is advanced by a predetermined time. This eliminates the inconvenience that the intended sound was not pronounced because the pad was operated near the beginning of the beat, for example, in order to produce the sound that should be played at the beginning of the beat, but the operation was slightly too early. I can do it. If there is still a non-sounding period, the above-mentioned (1), (2), etc. are applied to eliminate the non-sounding period.
Note that the rule for creating performance data without a soundless period may be other than the above example. Further, the creation rules may be different for each control target part.

  Next, in step s14, the key of the music is detected from the sequence data. For example, the key of the song is obtained from the distribution by finding the total of each appearing sound multiplied by its length (sound value). In addition, since various methods for obtaining the key of a song have been proposed, any one of them can be applied. In step s15, the chord progression of the music is detected based on the obtained key and the note data in the sequence data. The chord progression may be determined in consideration of a plurality of performance parts, or the chord progression may be detected by paying attention to only a specific part. The performance part of interest can be determined by the part with the largest number of sounds, the part with the longest average pronunciation length, or the like. Since various ways of obtaining the chord progression of the song have been proposed, any one of them can be applied.

  In step s16, phrase break positions are extracted based on the line feed code included in the lyrics event. As described above, the lyric event is stored in the sequence data according to the progress of the lyric. For example, a lyric event is stored for each character at the same position as a note corresponding to the lyric. When displaying lyrics, it is necessary to break the lyric display at a predetermined phrase break, so a predetermined line of lyric events includes a line feed code for instructing a line break. Since this line feed code can be considered to be included in each phrase, in this embodiment, the break position of the phrase is extracted by detecting the line feed code. The phrase position may be extracted by analyzing the structure of the song data.

  In step s17, a scale table is created based on the obtained key, chord progression, and phrase. That is, the diatonic scale and the pentatonic scale 1 and 2 are created based on the obtained key, the chord constituent sound scale is created based on the chord progression, and the melody is separated according to the phrase break position, and appears in each section. Create a melody scale based on the pitch. Since the chord component sound and melody component sound change sequentially as the song progresses, create scales for the types of chords and phrases that appear at this point in time, and then create a table as the song progresses. Try to switch.

  In step s18, the number of automatic ad-lib phrases corresponding to the obtained key is created corresponding to the number of frets. For example, a plurality of types are created on a pentatonic scale and a diatonic scale, respectively, and are appropriately assigned to frets. At this time, it is preferable to change the sound range according to the fret position. Note that the automatic ad-lib phrase may be one in which key scale sounds are arranged randomly, or a predetermined phrase is stored in advance, and the pitch is corrected according to the key obtained. May be.

  FIG. 14 is a flowchart showing the start / stop switch process which is a part of the “process corresponding to the changed switch” in step s3. In step s21, it is determined whether or not the run flag RUN indicating that the automatic performance is being performed is 1. If the run flag RUN is not 1, that is, if the non-automatic performance is being performed, automatic performance processing (described later) is permitted in step s22. . Thereby, automatic performance processing is started. In the subsequent step s23, the first, second, third, and fourth read pointers are respectively set to the heads of the corresponding data.

  On the other hand, when it is determined in step s21 that the run flag RUN is 1, the automatic performance processing is prohibited in step s24 to stop the automatic performance, and in step s25, the all note off command is output to the tone generator circuit. Mute the sound that was sounding at the time.

FIG. 15 is a flowchart showing the control target part selection switch process which is a part of the “process according to the switch having changed” in the above-described step s3. In step s31, if there is a sound of the control target part that is sounding, a key-off event corresponding to the sound is output to the channel of the control target part of the tone generator circuit. Thereby, when the control target part is changed, the sound of the previous control target part is muted.
In step s32, the control target part is changed according to the pressed switch. In step s33, in order to indicate the control target part after the change, the display of the control coping part on the display D is changed and the LED corresponding to the selected part is turned on.

  Next, in step s34, it is determined whether or not the newly selected control target part is a melody part. If it is not a melody part, the control target part selection switch process is immediately terminated. If it is a melody part, it is determined in step s35 whether the mode is the sequence mode or the ad-lib mode. If in the ad-lib mode, the control target part selection switch process is terminated. If it is the sequence mode, it is determined in step s36 whether the melody mode is 1 or 2. If the melody mode is 2, the control target part selection switch process ends. When the melody mode is 1, a flag AUTO indicating that the automatic performance of the melody part is to be executed is set to 1 in step s37. Thus, the melody part is automatically played, that is, the melody part is automatically played even if the operator does not operate the pad. Further, the automatic performance of the melody part is synchronized with the progress position of the current music.

  This is due to the following reason. Since the melody mode 1 does not shift to the next sound unless the pad is operated, when the control target part is switched from the other part to the melody part, the progress position of the melody will be gradually delayed unless the pad is operated immediately. However, since it is immediately after switching from another performance part to the melody part, the operator will explain how the performance of the melody part proceeds, that is, how to operate the pad to play the correct melody. There are many cases where we do not know. Therefore, immediately after switching, the performance of the melody part is automatically executed so that the operator can grasp the flow of the melody part, and then the pad operation is started at an arbitrary time, so that the operator's This is because the performance of the melody part should be controlled by the operation.

  FIG. 16 is a flowchart showing a sequence switch process which is a part of the “process corresponding to the changed switch” in step s3. In step s41, it is determined whether or not the control target part is a melody part. If the part is not a melody part, the following process is not relevant and the process is terminated. If it is a melody part, it is determined in step s42 whether the current mode is the sequence mode or the ad-lib mode. If it is the sequence mode, a melody mode switching process (described later) is executed in step s43. On the other hand, if the mode is the ad-lib mode, the mode is switched to the sequence mode in step s44, and it is determined whether the melody mode is 1 or 2 in step s45. If the melody mode is 1, the flag AUTO is set to 1 in step s46 as in step s37 described above. Thereby, the automatic performance of the melody part synchronized with the current music progression position is executed. If the melody mode is 2, the process of step s46 is not performed. In step s47, if there is a sound of the melody part being sounded, a corresponding key-off event is output to the channel of the melody part of the tone generator circuit, and the sound is muted. In step s48, the LED corresponding to the selected mode is turned on.

  FIG. 17 is a flowchart showing the melody mode switching process in step s43 described above. In step s51, it is determined whether melody mode 1 is currently set or melody mode 2 is set. If melody mode is 1, melody mode is set to 2 in step s52. On the other hand, if the melody mode is 2, the melody mode is set to 1 in step s53, and the flag AUTO is set to 1 in step s54. Thereby, the automatic performance of the melody part synchronized with the current music progression position is executed.

  FIG. 18 is a flowchart showing the scale selection switch process which is a part of the “process according to the switch having changed” in the above-described step s3. A scale assignment table corresponding to the switch pressed in step s61 is selected. In step s62, it is necessary so that the pitch name at the position of the fret register FRET storing the latest fret position matches or is close to the current one and the current one as necessary. The contents of the scale assignment table are rewritten according to. In step s63, the LED corresponding to the selected scale is turned on.

  FIG. 19 is a flowchart showing the ad-lib switch process which is a part of the “process corresponding to the switch having changed” in the above-described step s3. In step s71, it is determined whether or not the control target is set to the melody part. If it is not a melody part, this process is terminated. On the other hand, if the melody part is set, it is determined in step s72 whether the ad-lib mode is set or the sequence mode is set. If the sequence mode is set, the mode is switched to the ad-lib mode in step s73. On the other hand, if the ad-lib mode is set, it is determined in step s74 whether the manual ad-lib mode is set or the automatic ad-lib mode is set. If the manual ad-lib mode is set, the mode is switched to the automatic ad-lib mode in step s75. On the other hand, if the automatic ad-lib mode is set, the mode is switched to the manual ad-lib mode in step s76. Thereafter, in step s77, the LED is turned on according to the set mode.

  FIG. 20 is a flowchart showing the panic switch process which is a part of the “process corresponding to the switch having changed” in the above-described step s3. In step s81, it is determined whether or not the control target part is a melody part. If the part is not a melody part, this process ends. If it is a melody part, it is determined in step s82 whether the sequence mode is set or the ad lib mode is set. If the ad-lib mode is set, this process is terminated. If the sequence mode is set, it is determined in step s83 whether the melody mode 1 is set or the melody mode 2 is set. If the melody mode 2 is set, this process is terminated. If the melody mode 1 is set, the flag AUTO is set to 1 in step s84. Thereby, the automatic performance of the melody part synchronized with the current music progression position is executed. In step s85, if there is a sound of the melody part being sounded, a corresponding key-off event is output to the channel of the melody part of the tone generator circuit, and the sound is muted.

  FIG. 21 is a flowchart showing a mute switch process which is a part of the “process corresponding to a switch having changed” in the above-described step s3. In step s91, it is determined whether the switch is turned on or off. If it is turned on, a mute flag MUTE indicating a state in which the mute switch is turned on is set to 1 in step s92. In step s93, it is determined whether or not the sound of the control target part is currently sounding. If it is sounding, a key-off event corresponding to the musical sound of the control target part being sounded is generated in step s94. By outputting to the channel corresponding to the control target part of the circuit, the musical sound being generated is muted. At this time, since the operation touch speed of the mute switch is detected, the release time of the musical tone is controlled according to the speed. For example, the release time is shortened when the speed is high, and the release time is lengthened when the speed is slow. Note that the release method may be controlled by controlling a musical sound parameter other than the release time, such as a filter cutoff frequency. In this way, if you control the way the music is released according to the touch speed of the mute switch, for example, when you mute by pressing the strings of the guitar, you pressed the vicinity of the bridge, and pressed a place slightly away from the bridge You can simulate a decrease in how the sound decays differently over time. Of course, the above-described control may be applied when the tone color is other than the guitar.

  If it is determined in step s91 that the mute switch is turned off, 0 is set to the flag MUTE in step s95.

  FIG. 22 is a flowchart showing the fret switch process which is a part of the “process corresponding to the changed switch” in step s3. In step s101, the fret switch is scanned. If there is a change in the pressed state of the fret switch in step s102, the position of the fret switch operated closest to the body among the fret switches operated in step s103 is stored in the fret position register FRET.

  Next, the pad hitting sensor process will be described with reference to FIGS. This pad hitting sensor is a process executed every predetermined time (for example, 10 ms). First, in step s111, the output value of the pad impact sensor is read. The output value from the pad hitting sensor has values in a plurality of steps (for example, 128 steps). When the pad hits, the output value increases rapidly and reaches a peak. After reaching the peak, it gradually decays. In step s112, it is determined whether or not the value has changed. In step s113, it is determined whether or not the output value has reached a peak due to the change. If the peak is reached, it is determined that the pad operation has been performed, and the process proceeds to step s114. If it is other than the peak, that is, it is increasing or decaying, NO is determined in step s113. In step s114, the peak value is stored in the register for storing the velocity as the impact strength. In step s115, a pad sound generation process is executed.

  FIG. 24 is a flowchart showing details of the pad sound generation process in step s115 described above. First, in step s121, it is determined whether or not the control target part is a melody part. If it is a melody part, the process proceeds to step s122, and if it is a non-melody part, the process proceeds to melody mode 2 and non-melody part processing in step s131. In step s122, it is determined whether the sequence mode is set or whether the ad-lib mode is set. If the sequence mode is set, the process proceeds to step s123, and if the ad-lib mode is set, the process proceeds to the ad-lib process in step s132.

  In step s123, it is determined whether melody mode 1 is set or melody mode 2 is set. When the melody mode 1 is set, the process proceeds to step s124, and when the melody mode 2 is set, the process proceeds to step s131. In step s124, if the flag AUTO is set to 1, it is reset to 0. As a result, the melody part that has been played automatically without any pad operation until now is not played without the pad operation. In step s125, if there is a sound of the melody part being sounded, a corresponding key-off event is output to the channel of the melody part of the sound source circuit, and the sound is muted. If the musical tone has already been muted by the operation of the mute switch, the processing here is not performed. In step s126, the third read pointer is advanced to read the data of the next melody part. In step s127, a timbre change process is executed.

  26 and 27 are flowcharts showing the tone color changing process. The process of FIG. 26 changes the tone color of the musical tone depending on whether or not the mute switch is pressed when the pad is operated. First, in step s151, it is determined whether or not 1 is set in the mute flag MUTE. If 1 is set, a program change (tone change command + tone number) corresponding to the mute tone is sent to the tone generator circuit in step s152. Output to the channel of the control target part. The program change corresponding to the mute sound is a program change corresponding to the sound of the mute guitar when the guitar sound is set as a non-muted sound, for example, and the trumpet sound is set as the non-muted sound If it is, it is a program change corresponding to the tone of the mute trumpet. On the other hand, if 1 is not set in the flag MUTE, a program change corresponding to a non-muted sound (for example, the above-described guitar or trumpet) is output to the channel of the control target part of the tone generator circuit in step s153. By such processing, when the pad is operated while pressing the mute switch, a mute sound is generated, and when the pad is operated without operating the mute switch, a non-mute sound is generated. In the above example, the program change is always output to the tone generator circuit each time the pad is operated. However, if the current state is the same as the previous pad operation, the program change is not output. It is preferable to output only when the state changes.

  The process of FIG. 27 shows another example of the tone color changing process, and changes the tone control parameter according to the pressing force of the mute switch at the time when the pad is operated. In this process, in step s161, a filter parameter corresponding to the value stored in the register MUTE_PRES that stores the pressing force of the mute switch is created and output to the channel of the control target part of the tone generator circuit. As a result, when the mute switch is not pressed, a filter parameter corresponding to the pressing force = 0 is given to the tone generator circuit, and for example, a musical tone is generated with a bright and flashy tone with a high filter cutoff frequency. When pressed, a filter parameter whose cut-off frequency is shifted to a low frequency according to the pressing force at that time is given to the sound source circuit, and a musical tone is produced with a round soft tone. Either one of these tone color changing processes may be applied, or both may be applied simultaneously.

  In step s128, the velocity contained in the read key-on event data is replaced with the velocity obtained by the pad operation, and then the key-on event is output to the melody part of the tone generator circuit. With the above operation, the musical sound that was sounded until then is muted, the pitch corresponding to the newly read note event, the velocity according to the pad operation intensity, and the tone according to the pressed state of the mu switch Music sound is played at, and melody performance is performed. Subsequently, in step s129, the display mode of the display element (the square of each part described above in FIG. 11) corresponding to the output key-on event is changed (vertical shading in FIG. 11), and the operator currently Displays whether the sound is playing. In step s130, the display state of “advance status” is changed according to the difference between the positions of the third and fourth read pointers. The fourth pointer is advanced in an automatic performance process described later, and is advanced in synchronization with the progress of the original melody part. The display mode is, for example, blue when the positions of the third pointer and the fourth pointer substantially match as described above, and blue when the position of the third pointer is considerably slower than the position of the fourth pointer. When the position of the third pointer is considerably advanced compared to the position of the fourth pointer, red is lit. As a result, the operator can know whether the user's operation is appropriate, too early, or too late, and the operation becomes easy.

  FIG. 25 is a flowchart showing the melody mode 2 and the non-melody part process in step s131 described above. In step s141, if there is a sound of the part to be controlled being sounded, a corresponding key-off event is output to the channel of the part to be controlled of the tone generator circuit, and the sound is muted. If the musical tone has already been muted by the operation of the mute switch, the processing here is not performed. In step s142, the tone color changing process of FIG. 26 or FIG. 27 is executed. Next, in step s143, it is determined whether or not the control target part is a melody part. If the part is a melody part, in step s144, the velocity obtained by the pad operation is calculated based on the contents of the control target part register. The key-on event is output to the channel of the melody part of the tone generator circuit. As a result, a musical tone having a pitch that is read from the melody part and corresponding to the progress position of the current musical piece is generated by the pad operation, and the melody performance is performed. Note that the control target part resta stores note vents read from the control target part at the current travel position (details will be described later).

  On the other hand, when the control target part is other than the melody part, the process proceeds to step s145, where the octave of the key code of the note event stored in the control target part register is changed to the sound range restriction table contents and the fret position register FRET as necessary. Are converted according to the contents of the above, the velocities obtained by pad operation are replaced, and a key-on event is output to the channel of the control target part of the tone generator circuit. As a result, the musical tone having the pitch corresponding to the current music progression position has been changed to the octave corresponding to the fret operation position, read out from the base part, chord 1 part, or chord 2 part. The sound is produced by the pad operation and a backing performance is performed. Then, it progresses to step s146 and the display mode of the display element (square of FIG. 11) corresponding to the output key-on event is changed.

  FIG. 28 is a flowchart showing the ad lib processing in step s132 described above. First, in step s171, if there is a sound of the melody part being sounded, a corresponding key-off event is output to the channel of the melody part of the tone generator circuit, and the sound is muted. If the musical tone has already been muted by the operation of the mute switch, the processing here is not performed. Next, in step s172, it is determined whether the manual ad-lib mode is set or whether the automatic ad-lib mode is set. If the manual ad-lib mode is set, the note number corresponding to the stored contents of the fret position register FRET is read from the selected scale assignment table in step s173. On the other hand, if the automatic ad-lib mode is set, the pointer of the automatic ad-lib sequence data corresponding to the stored contents of the fret position register FRET is advanced in step s174 to read the note number. Next, after the timbre changing process of FIG. 26 or FIG. 27 is executed in step s175, a key-on event in which the velocity obtained by the pad operation is added to the note number determined in step s173 or s174 in step s176. To the melody part of the tone generator circuit. Thereby, a melody ad lib performance is performed. Next, automatic performance processing executed every predetermined time (for example, 10 ms) will be described with reference to FIGS.

  In FIG. 29, in step s181, the predetermined value K is subtracted from the register TIME1 that stores the timing data read from the sequence data. The predetermined value K corresponds to the length of a unit note to be advanced during an automatic performance processing cycle (for example, 10 ms), and is represented by K = (tempo × resolution × execution cycle) / (60 × 1000). Here, “tempo” is the number of quarter notes played in one minute, and “resolution” represents how many times the quarter data is divided into the timing data of the sequence data. For example, when the timing data is described in units of 384 notes as described above, the “resolution” is 96 because the 384 notes are divided into 96 notes. The “execution cycle” is a processing cycle when the automatic performance processing is executed, and is 10 ms in this embodiment as described above. Therefore, if “tempo” is 120, “resolution” is 96, and “interrupt period” is 10, the value of K is 1.92, and the timing data advances by 1.92 by one automatic performance process. Become. For example, assuming that the value of the timing data is “192 (= corresponding to the length of a half note)”, the performance of a half note is advanced by 100 automatic performance processes. In other words, the playback tempo can be changed by changing the value of K. The method for changing the performance tempo may be a method for changing the execution period of the automatic performance process or a method for correcting the value of the timing data without changing the execution period. As an initial value of the register TIME1, although not shown, the first timing data in the sequence data is set at the start of performance.

  As a result of step s181, when the value of the register TIME1 becomes 0 or less, YES is determined in step s182. In step s183, the first read pointer is advanced, and the sequence data indicated by the pointer is read. In step s184, it is determined whether or not the read data is timing data. Since the top timing data has already been read out at the start of the performance, event data stored next to the timing data is read out in step s183. Accordingly, the determination in step s184 is NO, and the process proceeds to step s185.

  In step s185, processing according to the read event data is executed. This process will be described later. Thereafter, the process returns to step s183 again, the first read pointer is advanced, and the next data is read. Since timing data is stored next to the event data, YES is determined in step s184, and the timing data read to the register TIME1 is added in step s186. As a result of adding the timing data, if the value of TIME1 is a positive value, the process proceeds to step s188. When note event data and lyric event data are continuous or when there is note event data corresponding to a chord, the timing data value may take 0 or a value close to 0. In such a case, In step s187, NO is determined, and step s183 and subsequent steps are repeated.

  In step s188, a pre-reading display process (described later) is executed. Thereafter, in step s189, the position of the current progress position display bar is moved to the right by an amount corresponding to the execution period (for example, 10 ms) of the automatic performance process. In s190, a process for reading the control target part (described later) is executed. In step s191, the scale assignment table is rewritten. In the scale assignment table, the scale of the chord constituent sound and the scale of the melody constituent sound need to be sequentially changed to the current scale according to the progress of the music. Therefore, in this scale assignment table rewriting process, if the current musical progression position is the chord change position, the scale of the chord constituent sound is changed according to the chord to be changed, and if the phrase separation position, The scale of the melody constituent sound is changed to one corresponding to the phrase section. In addition, what is necessary is just to perform discrimination | determination as being a code change position or a phrase delimiter position as follows. That is, since the chord progression is detected in step s15 described above in FIG. 13 and the phrase is extracted in step s16, the chord change position and the phrase delimiter position are stored at this point in time, as shown in FIG. It can be determined by managing the current progress position in the automatic performance processing and comparing the chord change position or phrase break position with the current progress position.

  FIG. 30 is a flowchart showing a performance event process which is a part of the “process according to event data” in step s185 described above. First, in step s201, it is determined whether or not the event is a melody part event. Each event is given a channel number, so it is possible to determine which part the event is by looking at this channel number. If it is a melody part event, it is determined in step s202 whether or not it is a key-on event. If it is a key-on event, the fourth read pointer is advanced in step s203. As a result, the fourth read pointer is always advanced in synchronization with the normal travel position. Next, in step s204, it is determined whether or not the flag AUTO is set to 1. When it is set to 1, the process proceeds to step s205, and the third read pointer is adjusted to the position of the fourth read pointer. As a result, when the melody is automatically played, the third readout pointer also advances in synchronization with the normal progress position, and the melody mode 1 performance can be resumed from the normal progress position by subsequent pad operation. It becomes. In step s206, the key-on event is output to the channel of the melody part of the sound source, and the musical sound of the melody part is generated. When the flag AUTO is not set to 1, the display state of “advance status” is changed in the same manner as the processing in step s130 described above in accordance with the difference between the positions of the third and fourth read pointers in step s207. . Since the melody is played by the operator's pad, no data is output to the tone generator circuit.

  When it is determined in step s202 that the event is not a key-on event (that is, a key-off event or a control change event), the process proceeds to step s208, where it is determined whether the flag AUTO is set to 1; By outputting the event data to the channel of the melody part of the tone generator circuit in s209, the sound of the melody part is muted and the volume, pitch, tone color, etc. are controlled. If the flag AUTO is not set to 1, data is not output to the tone generator circuit because a melody is played by the operator's pad.

  On the other hand, when it is determined in step s201 that the event is other than the melody part, it is determined in step s210 whether the event is other than the control target part. If the event is other than the part to be controlled, the event data is output to the corresponding channel of the tone generator circuit in step s211 to generate a musical sound, mute the sound, or the like. If the event is a part to be controlled, the tone generation is performed by the operator's pad operation, and therefore no data is output to the tone generator circuit here.

  FIG. 31 is a flowchart showing a lyrics event process which is a part of the “process according to event data” in the above-described step s185. In step s221, the progress position of the lyrics is displayed by changing the color of the character corresponding to the read lyrics. At this time, the color of the lyrics may be gradually changed from the left side, or may be changed at a time.

  FIG. 32 is a flowchart showing an end data process which is a part of the “process according to event data” in step s185 described above. In step s231, automatic performance processing is prohibited, and in step s232, all notes off are output to the tone generator circuit. This stops the automatic performance.

  FIG. 33 is a flowchart showing details of the prefetch display processing in step s188 described above. First, in step s241, it is determined whether or not the current progress position is a timing corresponding to a bar measure. If it is the timing of the measure battle, the value of the measure count register MEASURE is incremented by 1 in step s242, and it is determined whether or not the value has become 5 in step s243. The value of MEASURE is set to 1, and the display of the past four measures is deleted in step s245, and the display stage is shifted. In step s246, the performance event and lyrics event of each control target part for four measures are pre-read from the sequence data, and data for display is created and displayed on the display D. That is, in this example, the display amount of one stage is set to four bars, and this can be displayed in a plurality of stages (for example, two stages). Then, every time four measures have passed, the display of the past four measures is erased, and instead, the performance and lyrics data from the current position to the four measures ahead are pre-read and displayed. At this time, by deleting the past four measures, the display is made in the display area which has been vacated by shifting the other already displayed stages, and the latest four measures are displayed in the vacant area. The display method is not limited to such a display mode.

  FIG. 34 is a flowchart showing details of the control target part reading process in step s190 described above. In step s251, the predetermined value K is subtracted from the register TIME2 that stores the timing data read from the control target part data. The predetermined value K is the same value as the value subtracted in step s251 described above. As an initial value of the register TIME2, although not shown, the first timing data in the control target part data is set when the performance is started.

  As a result of step s251, when the value of the register TIME2 becomes 0 or less, YES is determined in step s252, the second read pointer is advanced in step s253, and the control target part data indicated by the pointer is read. In step s254, it is determined whether or not the read data is timing data. Since the top timing data has already been read out at the start of the performance, event data stored next to the timing data is read out in step s253. Accordingly, the determination in step s254 is NO, and the process proceeds to step s255.

  In step s255, processing according to the read event data is executed. This process will be described later. Thereafter, the process returns again to step s253, the second read pointer is advanced, and the next data is read. Since the timing data is stored next to the event data, YES is determined in step s254, and the timing data read to the register TIME2 is added in step s256. As a result of adding the timing data, if the value of TIME2 is a positive value, this process ends. If the note event data continues, the value of the timing data may be 0 or a value close to 0. In such a case, NO is determined in step s257, and step s253 and subsequent steps are repeated.

  FIG. 35 to FIG. 38 are flowcharts showing details of the “process according to event data” in step s255 described above. FIG. 35 shows processing when event data of the melody part is read. First, it is determined whether or not the event data read in step s261 is a key-on event. If it is a key-on event, the key-on event is written to the melody register in step s262. On the other hand, if it is a key-off event, the process proceeds to step s263, and the already-written key-on event corresponding to the key-off event is erased from the melody register. This melody register is a register that has a plurality of storage areas and holds key events that should be sounded at that point in each progression position of the music. When a key-on event is read, it is stored in this register. When a key-off event is read, the corresponding key-on event is erased from the register. Basically, melody parts are single-tone pronunciations, but duets may have multiple sounds at the same time. In consideration of this point, a plurality of storage areas are provided. When the pad is operated in the melody mode 2, the contents of this register are read out in the above-described step s144 and sounded.

  FIG. 36 shows the processing when the base part event is read out. First, it is determined whether or not the event data read in step s271 is a key-on event. If it is a key-on event, the key-on event is written to the base register in step s272. On the other hand, if it is a key-off event, the process proceeds to step s273, and the already-written key-on event corresponding to the key-off event is erased from the base register. This base register is a register having the same function as the melody register described above. When the pad is operated in the bass performance mode, the contents of this register are read out and sounded in step s144 described above.

  FIG. 37 shows the process when the code 1 part event is read. First, it is determined whether or not the event data read in step s281 is a key-on event. If it is a key-on event, the key-on event is written to the code 1 register in step s282. On the other hand, if it is a key-off event, the process proceeds to step s283, and the already-written key-on event corresponding to the key-off event is erased from the code register. The code 1 register is also a register having the same function as the melody register described above. When the pad is operated in the chord 1 performance mode, the contents of this register are read out in the above-described step s144 and sounded.

  FIG. 38 shows the processing when the base part event is read. First, it is determined whether or not the event data read in step s291 is a key-on event. If it is a key-on event, the key-on event is written to the code 2 register in step s292. On the other hand, if it is a key-off event, the process proceeds to step s293, and the already-written key-on event corresponding to the key-off event is erased from the code 2 register. The code 2 register is also a register having the same function as the melody register described above. When the pad is operated in the chord 2 performance mode, the contents of this register are read out in the above-described step s144 and sounded.

  Next, processing of other various sensors will be described with reference to FIGS. 39 to 43. Each process is executed every predetermined period (for example, 10 ms). FIG. 39 is a flowchart showing processing of the fret after touch sensor. In step s301, the output of the fret after touch sensor is read. In step s302, it is determined whether or not there is a change in sensor output. If there is a change, the output value of the fret aftertouch sensor is set as the first aftertouch in step s303, and this value is used as the control target part of the sound source circuit. To the other channel. The musical sound parameter controlled by the first after touch can be arbitrarily set, but the depth of vibrato is controlled, for example. Therefore, the degree of vibrato engagement can be controlled by changing the strength of pressing the fret.

  FIG. 40 is a flowchart showing processing of the pad after-touch sensor. In step s311, the output of the pad after-touch sensor is read. In step s312, it is determined whether or not the sensor output has changed. If there is a change, the output value of the pad aftertouch sensor is set as the second aftertouch in step s313, and this value is used as the control target part of the sound source circuit. To the other channel. The musical tone parameter controlled by the second after touch can be arbitrarily set. For example, the volume is controlled. Therefore, after the pad is operated, the volume after the musical sound is generated can be controlled by further pressing the pad. Note that the pad after-touch sensor and the pad hit sensor are different types of sensors, and it is preferable that the hit sensor does not react so much in an operation of pushing.

  FIG. 41 is a flowchart showing processing of the pad rotation sensor. In step s321, the output of the pad rotation sensor is read. In step s322, it is determined whether or not the sensor output has changed. If there has been a change, the output value of the pad rotation sensor is converted into a pitch bend value in step s323. At this time, when the pad rotation sensor is operated to the maximum according to the key of the music and the pitch of the musical sound being generated at that time, a predetermined coefficient is applied to the pitch bend value so that the sound on the scale in the key of the music is reached. Multiply. In this way, a sound on the scale is always produced when the pad rotation operator is operated to the maximum, and even a beginner can perform a musically strange performance. Then, the pitch bend value multiplied by the coefficient is output to the channel of the control target part of the tone generator circuit. Note that if you operate the pad rotation sensor during non-sounding and operate the pad in the operated state, you cannot know which value will be multiplied by the coefficient to make the final pitch sound on the scale. Is not multiplied by a coefficient, and the output value of the sensor is used as it is as the pitch bend value.

  FIG. 42 is a flowchart showing the processing of the wheel sensor. In step s331, the output of the wheel sensor is read. In step s332, it is determined whether there has been a change in sensor output. If there has been a change, in step s333, the output value of the wheel sensor is used as a wheel value, and this value is transferred to the channel of the control target part of the tone generator circuit. Output. The musical sound parameter controlled by the wheel value can be arbitrarily set. For example, the cutoff frequency of the filter is controlled. Therefore, the tone color of the musical tone can be controlled by operating the wheel near the pad after operating the pad.

  FIG. 43 is a flowchart showing processing of the mute switch pressure sensor. In step s341, the output of the mute switch pressure sensor is read. In step s342, it is determined whether or not the sensor output has changed. If there has been a change, the output value of the mute switch pressure sensor is stored in the register MUTE_PRES in step s343. The value of this register MUTE_PRES is used for tone color control during pad operation as described above.

In the above-described example, the control target part data without the non-sounding period is created in advance, and the melody mode 2, the base part, the chord 1 part, and the chord 2 part are played based on the data. However, such data is not created in advance, and if a pad operation is performed and that time is a non-sounding period, a note event to be sounded may be searched. . For example,
(1) If the point in time when the pad is operated is a soundless period, it is checked whether or not there is a note event (note on) after a predetermined time. If there is a note event, it will sound with that sound (FIG. 44A).
(2) If there is no note event in (1), it is checked whether there is a note event in a predetermined section (for example, one measure). If there is a note event, the sound of the nearest note event is generated (FIG. 44 (B)).
(3) If there is no note event in (2), the sound of the part other than the control target part at the time of pad operation is searched, the chord is detected from the found sound, and at least one of the chord constituent sounds is pronounced (When the melody part and bass part, one sound is generated, and when the chord 1 and 2 parts, multiple sounds are pronounced).
It may be like this.

Next, another embodiment will be described. This embodiment differs from the above-described embodiment in the following points.
(1) The scale sound and chord sound are determined without performing strict key detection or chord detection.
(2) Automatically switches to ad-lib performance mode when a pad is operated while pressing any fret switch, and sequence performance mode when the pad is operated without pressing a fret switch.
(3) In the ad-lib performance mode, if the fret switch is turned off during sound generation, the automatic transition to the nearest pitch of any of the automatic performance musical sounds being played at that time is automatically made. After that, until the fret switch is operated again or the pad is operated, the operation of automatically shifting to the nearest pitch of any of the automatic musical tones being played at that time continues (ad-lib) Follow mode).

  Another embodiment will be described in detail with reference to FIGS. 45 to 51. Only the parts different from the above-described apparatus will be described here. FIG. 45 is a flowchart showing the scale sound detection process. This process is executed in place of the key detection at step s14 and the scale assignment table creation at step s17 in FIG. 13 (other processes are omitted). In step s351, the number of sounds appearing in the entire song, or the number × sound value (sound length), is obtained for each pitch name, and the rank is assigned in descending order. In step s352, the top seven sounds among the ranked note names are determined as scale sounds, and a scale assignment table is created based on the top seven sounds. That is, the seven most frequently occurring sounds are regarded as being substantially equivalent to the scale sound in the key of the music, and the upper seven sounds are used as the scale sound of the music. In this way, a complicated key detection algorithm is not required, and the apparatus can be simplified.

  FIG. 46 is a flowchart showing the pad sound generation process. This process is an alternative to the above-described FIG. First, in step s361, it is determined whether any fret switch is turned on. When the fret switch is on, the mode is set to the ad-lib performance mode in step s362, and the ad-lib follow-up mode (described later) is also canceled. Thereafter, after performing an ad-lib performance sound determination process in step s363, a sound is generated with the determined sound in step s364. On the other hand, when the pad is operated with all the fret switches released, the mode is set to the sequence performance mode in step s365, and the sequence performance sound is generated in step s366. The processing in step s366 is similar to the processing in the sequence mode described above, and detailed description thereof is omitted here.

  FIG. 47 is a flowchart showing the ad-lib performance sound determination process in step s363 described above, in which sound is generated with the scale of the chord sound. In step s371, all note names currently sounded in the automatic performance (parts other than the drum part) are searched. In step s372, a scale assignment table is created based on the found pitch names. That is, when a pad is operated, a note name that is pronounced in an automatic performance is considered to be almost equivalent to a chord constituent sound at that point. In this way, a complicated code detection algorithm is not required, and the apparatus can be simplified. Note that a pitch name generated during a predetermined section (for example, one beat) including the time point when the pad is operated may be detected and used as a chord constituent sound at that time point. Then, the sound corresponding to the fret operated in step s373 is searched from the scale assignment table, and the sound to be generated is determined.

  FIG. 48 is a flowchart showing the ad-lib performance sound determination process in step s363 described above, where the sound is generated with the scale sound. Since the scale tone scale assignment table is created in step s352 described above, the sound corresponding to the operated fret is searched from the scale assignment table in step s381, and the sound to be generated is determined.

  FIG. 49 is a flowchart showing the ad-lib performance sound determination process in step s363 described above, where the chord sound and the scale sound are generated in a mixed scale. In other words, when the number of note sounds in the automatic performance is less than 7 sounds, or when there are 8 or more sounds, the scale sounds are taken into consideration so that they are aligned to 7 sounds. First, in step s391, all note names currently sounded in the automatic performance (parts other than the drum part) are searched. Next, in step s392, it is determined whether or not the found pitch name is 7 notes. If it is 7 notes, a scale assignment table is created based on the 7 sounds in step s393. When it is determined in step s392 that the number is not seven, it is determined in step s394 whether the number is less than seven or more. If there are fewer than seven sounds, in step s395, seven sounds are added by adding the sounds not included in the chord sound among the higher-order pitch names in the scale sound so as to become seven sounds. If it is determined in step s394 that there are more than 7 sounds, any sound is deleted in step s396 to obtain 7 sounds. At this time, the sound to be deleted is preferentially deleted from the sound that is not higher than the scale sound. In step s393, a scale assignment table is created based on the seven sounds. Thereafter, in step s397, a sound corresponding to the operated fret is searched from the scale assignment table to determine a sound to be generated. This has the following advantages. In the method of determining the scale based only on the scale sound, since the scale does not change even if the music progresses, there is a possibility that a sound having a poor compatibility with the chord at the time of pad operation may be generated. On the other hand, the method of creating a scale using only chord sounds is very good with chords at the time of pad operation because the scale changes sequentially as the chord progresses. Poor power. If you try to compensate for the lack of chord sounds with scale sounds, there is a high probability that a sound that is compatible with chord progression will be produced, and sometimes there will be sounds that are not found in chord constituent sounds, and monotony can be eliminated . Moreover, since the sound is a scale sound, it is not so musically strange.

  FIG. 50 is a flowchart showing the fret switch process. This process is an alternative to the fret switch process of FIG. In step s401, it is determined whether the fret switch is turned on or turned off. When turned on, the position of the turned-on fret switch is obtained. In step s403, it is determined whether or not the current mode is the ad-lib tracking mode, and whether or not the current sound is being generated in step s404. If both are YES, in step s405, the aforementioned ad-lib performance sound determination process is executed, and then in step s406, a portamento control command is output to the tone generator circuit at the determined pitch. As a result, the musical sound that has been generated so far smoothly changes to the pitch determined in step s405. In this ad lib follow mode, if the musical sound generated by the ad lib performance is a non-chord component sound and it is continuously sounding for a long time, it will not cooperate with other parts of the automatic performance and may be harsh. is there. In order to prevent this, when the fret switch is turned off and it is judged that there is no intention to continue the ad-lib performance immediately, the mode is automatically shifted to this ad-lib follow-up mode.

  On the other hand, when it is determined in step s401 that the fret switch is turned off, it is determined in step s407 whether or not the sound is being generated at that time. If the mute switch is operated before turning off the fret switch, the determination here is NO, but otherwise it is determined YES. In step s408, all sounds currently played in the automatic performance are searched, and the pseudo chord composing sound at that time is detected. In step s409, a sound closest to the sound being generated is searched for among the found sounds and determined as a new sound to be generated. In step s410, the ad lib follow mode is set.

  FIG. 51 is a flowchart showing the pronunciation pitch change process, which is executed every predetermined time (for example, 100 ms). There is no process corresponding to this process in the above-described embodiment. This is processing for the ad-lib following mode. First, in step s411, it is determined whether or not the ad-lib follow mode is set. If it is set, it is determined whether or not the ad-lib performance sound is currently being generated in step s412. If sound is being generated, all sounds currently being played in the automatic performance are searched in step s413. In step s414, it is determined whether or not the sound being sounded is not present in the found sound. If not, the sound found in step s415 is searched for the sound closest to the sound being sounded and newly sounded. Determine the sound to play. In step s416, a portamento control command is output to the tone generator circuit at the determined pitch. As a result, the musical tone that has been sounded changes smoothly to the pitch determined in step s415.

The following modifications are possible.
Although only one row of fret switches is arranged, a plurality of rows of fret switches may be arranged like a guitar string. At this time, in the case of ad-lib performance, the scale can be varied for each switch row or the sound range can be varied. Further, in the case of sequence performance, it is possible to change the part to be played for each switch row or to change the range of sound. In addition, the fret portion is not limited to a switch, and may be a pressure sensor.
In the performance of the melody mode 2 or the backing part, if the next sound is read within a predetermined time from the start of sound generation by the pad operation, the pitch may be shifted to the next sound at that time. In other words, if you originally intended to start sounding at the pitch of the next sound, but operated the pad slightly earlier and started to sound with the previous sound, you can play with the sound you originally intended. You can

Although an example in which the control change data included in the control target part is ignored has been shown, these data may also be validated.
When playing by the operator, the note event velocity is the value obtained from the pad operation, but the velocity value included in the original note event may be used as it is, or the velocity of the pad operation The velocities included in the note event may be combined to create a velocity intermediate between the two.
The shape is not limited to guitar-type instruments. The operation element is not limited to the pad, and may be a switch. In short, it is sufficient to have at least an operator for playing a pad or the like.

It is not necessary to realize all the functions described above with one electronic musical instrument, and individual functions may be mounted independently.
The music data may be supplied via a MIDI interface in addition to the memory cartridge, or may be supplied using various communication means.
Further, a background image may be displayed.

You may score the quality of the operation by the operator. In addition, the scoring result may be reflected in the control of various modes. For example, if the scoring result is good, the mode may be switched to a more advanced performance method mode, and conversely if the scoring result is bad, the mode may be switched to a simpler performance method mode. Further, if the scoring result is good, applause may be generated, and if the scoring result is not good, booing may be pronounced. Further, when the scoring result during the performance is bad, the performance may be shifted to the automatic performance instead of the performance by the operator during the performance.
The types of various switches and operability (how functions are executed and what functions are executed, etc.) may be arbitrary. A plurality of electronic musical instruments may be connected so that each performs a different part and performs an ensemble performance. In that case, performance data may be exchanged between each instrument, and the operation of all instruments may be comprehensively controlled. One instrument is in charge of control, and the other instruments are operated. The format may be such that only information is transmitted to one instrument.

Finally, it should be noted that there are the following embodiments of the electronic musical instrument related to the electronic musical instrument of the present invention.
(1) A first operation element, a second operation element, a storage means for storing performance data, and in response to an operation of the first operation element, the performance data is read from the storage means to the sound source circuit. Reading means for instructing sound generation based on the performance data, updating the performance position for each operation of the first operator, and instructing to mute the sound for which sound generation has already been instructed; An electronic musical instrument comprising: a mute instruction means for instructing a sound source circuit to mute in response to an operation of an operator.
According to the above configuration, the performance data is read out from the storage means and sounded each time the first operator is operated. At the same time, the sound that has been pronounced is muted. Therefore, a legato-like performance can be performed only by operating the first operator. If the second operator is operated as necessary, the musical sound being generated can be muted, so that a staccato performance can be achieved.

(2) a first operator, a second operator, a storage means for storing performance data, a reading means for sequentially reading performance data from the storage means according to the progress of the performance, and a first operator In response to the operation, the sound generation mute instruction means for instructing the sound source circuit to generate the sound corresponding to the performance data read from the storage means at the time of the operation, and for instructing the mute for the sound that has already been instructed to sound And a mute instruction means for instructing the muffler circuit to mute in response to an operation of the second operator.
According to the above configuration, every time the first operator is operated, a sound is generated based on the performance data read from the storage means at that time. At the same time, the sound that has been pronounced is muted. Therefore, a legato-like performance can be performed only by operating the first operator. If the second operator is operated as necessary, the musical sound being generated can be muted, so that a staccato performance can be achieved. Further, since the performance position is sequentially updated even if the first operation element is not operated, the operator may operate the first operation element without minding the performance position.

(3) a first operation element, a second operation element, a storage means for storing first and second performance data, and a first operation element from the storage means in response to an operation of the first operation element; A first reading means for reading performance data and instructing a tone generator circuit to generate a sound based on the first performance data, wherein the performance position is updated every time the first operator is operated; In accordance with the progress, the second performance data is sequentially read out from the storage means, and read out by the first readout means, the second readout means for instructing the tone generator circuit to generate sound based on the second performance data. Switching means for selectively validating one of sound generation by the first performance data and sound generation by the second performance data read by the second reading means, wherein the sound generation by the first reading means Is enabled In, when a manipulation of the second operation element, instead of the sound by the first reading means, electronic musical instrument characterized by comprising as to enable the sound output of the second read means.
According to the above configuration, when the performance position based on the operation of the first operator is not known, the automatic performance is executed instead of the performance of the operator by operating the second operator. . As a result, when the performance position of the operator deviates from the original performance position, the original performance position can be easily confirmed.

(4) In the electronic musical instrument according to (3) described above, when the first operating element is operated in a state where the sound generation by the second reading unit is valid, An electronic musical instrument characterized in that sound generation by the first reading means is made effective instead of sound generation by the second reading means.
By doing so, it is possible to easily return from the automatic performance to the performance by the operator.

It is a figure which shows the external appearance of the electronic musical instrument in embodiment of this invention. It is a figure which shows the detail of the panel switch PS in embodiment of this invention. It is a figure which shows the schematic block of the hardware constitutions in embodiment of this invention. It is a figure which shows the example of a performance of the melody mode 1 in the sequence mode in embodiment of this invention. It is a figure which shows the example of a performance of the melody mode 2 in the sequence mode in embodiment of this invention. It is a figure which shows the scale allocation table in embodiment of this invention. It is a figure which shows the sequence data which shows the original data of the performance music in embodiment of this invention. It is a figure which shows the data of multiple types of control object parts (a melody part, a base part, a chord 1 part, a chord 2 part) read by pad operation in the embodiment of the present invention. It is a figure which shows the data of the melody part in embodiment of this invention. It is a figure which shows the example by which the octave of the sound production pitch is controlled by the sound production range restriction table and the sound production range restriction table in the embodiment of the present invention. It is a figure which shows the example of a display on the display D in embodiment of this invention. It is a figure which shows the flowchart of the panel switch process in embodiment of this invention. It is a figure which shows the flowchart of the music selection switch process in embodiment of this invention. It is a figure which shows the flowchart of the start / stop switch process in embodiment of this invention. It is a figure which shows the flowchart of the control object part selection switch process in embodiment of this invention. It is a figure which shows the flowchart of the sequence switch process in embodiment of this invention. It is a figure which shows the flowchart of the melody mode switching process in embodiment of this invention. It is a figure which shows the flowchart of the scale selection switch process in embodiment of this invention. It is a figure which shows the flowchart of the ad lib switch process in embodiment of this invention. It is a figure which shows the flowchart of the panic switch process in embodiment of this invention. It is a figure which shows the flowchart of the mute switch process in embodiment of this invention. It is a figure which shows the flowchart of the fret switch process in embodiment of this invention. It is a figure which shows the flowchart of the pad hit | damage sensor process in embodiment of this invention. It is a figure which shows the flowchart of the pad sound generation process in embodiment of this invention. It is a figure which shows the flowchart of the melody mode 2 and non-melody part process in embodiment of this invention. It is a figure which shows the flowchart of the 1st timbre change process in embodiment of this invention. It is a figure which shows the flowchart of the 2nd timbre change process in embodiment of this invention. It is a figure which shows the flowchart of the ad lib process in embodiment of this invention. It is a figure which shows the flowchart of the automatic performance process in embodiment of this invention. It is a figure which shows the flowchart of the performance event process in embodiment of this invention. It is a figure which shows the flowchart of the lyric event process in embodiment of this invention. It is a figure which shows the flowchart of the end data process in embodiment of this invention. It is a figure which shows the flowchart of the prefetch display process in embodiment of this invention. It is a figure which shows the flowchart of the control object part reading process in embodiment of this invention. It is a figure which shows the flowchart of a melody part event process in embodiment of this invention. It is a figure which shows the flowchart of the base part event process in embodiment of this invention. It is a figure which shows the flowchart of the code | cord | chord 1 part event process in embodiment of this invention. It is a figure which shows the flowchart of the code | cord | chord 2 part event process in embodiment of this invention. It is a figure which shows the flowchart of the fret aftertouch sensor process in embodiment of this invention. It is a figure which shows the flowchart of the pad aftertouch sensor process in embodiment of this invention. It is a figure which shows the flowchart of the pad rotation sensor process in embodiment of this invention. It is a figure which shows the flowchart of the wheel sensor process in embodiment of this invention. It is a figure which shows the flowchart of a mute switch pressure sensor process in embodiment of this invention. It is a figure which shows the method of determining the note event which should be sounded in the soundless period in embodiment of this invention. It is a figure which shows the flowchart of the scale sound detection process in embodiment of this invention. It is a figure which shows the flowchart of the pad sound generation process in embodiment of this invention. It is a figure which shows the flowchart of the ad lib performance sound determination process (chord sound) in embodiment of this invention. It is a figure which shows the flowchart of the ad lib performance sound determination process (scale sound) in embodiment of this invention. It is a figure which shows the flowchart of the ad lib performance sound determination process (chord sound + scale sound) in embodiment of this invention. It is a figure which shows the flowchart of the fret switch process in embodiment of this invention. It is a figure which shows the flowchart of the pronunciation pitch change process in embodiment of this invention.

Explanation of symbols

1 ... CPU, 3 ... ROM, 4 ... RAM, 9 ... sound source circuit, P ... pad, D ... display circuit, MC ... music cartridge, PS ... panel switch, FS ... fret switch

Claims (2)

Operated by the player, the performance operator for instructing one of the performance operation position of the plurality of performance operation position,
A second performance operator operated by the performer and instructing pronunciation;
Storage means for storing performance data ;
And sequentially read reading means the performance data from the previous term memory means,
Depending on the operation of designating one of the performance operation position by said first performance operator, along with changing the pitch of the performance data read out by said reading means, a sound by the second performance operators depending on the operation of instructing a tone generation control means instructs the tone generator to sound corresponding to the performance data with the changes have been pitch,
An electronic musical instrument characterized by comprising: The sound generation control means changes the pitch of the performance data read by the reading means in units of octaves in response to an operation for instructing any performance operation position by the first performance operator. The electronic musical instrument according to claim 1 or 2.

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