JP3933757B2 - Score display conversion method - Google Patents

Description

[0001]
BACKGROUND OF THE INVENTION
The present invention relates to a score display conversion method for converting data input by a digital signal into a score and displaying it.
[0002]
[Prior art]
In recent years, electronic music using computers has become widespread. Data is often transmitted and received between a computer and an electronic musical instrument in a MIDI (Musical Instrument Digital Interface) standard data format (numerical format). For example, a performance using a music keyboard can be converted into MIDI data and input to a computer or the like, and can be processed by the computer or stored in a storage device. Also, these MIDI data can be input to a MIDI musical instrument for automatic performance.
[0003]
Furthermore, in recent years, a score display conversion system has been developed in which MIDI data is input and converted into a score and displayed on a display or printed by a printer. This type of score display conversion system can also edit the converted score.
[0004]
[Problems to be solved by the invention]
Generally, a MIDI device is created for the purpose of faithfully reproducing a performance using a music keyboard or the like. However, when humans perform, there are subtle tempo shifts and fluctuations. For this reason, in a conventional score display conversion system, when data input from a music keyboard or the like is converted into a score, the score is often converted into a score that cannot be played by humans. For example, in a conventional score display conversion system, 64 notes may be displayed in a performance of tempo 100, but it is almost impossible for a human to perform such a song.
[0005]
Note that a conventional score display conversion system is provided with a quantizing function for setting a minimum resolution when converting MIDI data into a score, and can be converted into an appropriate note if the minimum resolution is set appropriately. . However, in this case, it is necessary to set the minimum resolution in accordance with the tempo shift and fluctuation, which is extremely complicated and impractical.
[0006]
Further, in a conventional score conversion display system, when editing a score, there is a case where editing different from what the user intends is performed. For example, if one element is removed from the triplet shown in FIG. 39 (a), what should originally be shown in FIG. 39 (b) is converted as shown in FIG. 39 (c). In addition, since the conventional score conversion display system cannot divide a beat evenly, it is difficult to process a quintuplet or a quintuplet.
[0007]
As described above, an object of the present invention is to convert a musical score display method for inputting a digitized music data into a musical score, which does not require a complicated operation such as quantization and is difficult for humans to perform. It is another object of the present invention to provide a score display conversion method that can create a legible score that can be used for actual performance.
[0008]
[Means for Solving the Problems]
In the musical score display conversion method of the musical score display conversion system for inputting numerical music data and converting it into a musical score, the above-described problem is a number of pronunciations in one beat of the digitized music data , a pronunciation start position, In accordance with the pronunciation end position, one note combination is selected from a plurality of preset note combinations, and a score is created by repeating this , and the score is displayed on the display, or by a printer This is solved by a score display conversion method characterized by printing and displaying .
[0009]
The operation of the present invention will be described below.
In the present invention, combinations of notes of a plurality of patterns are prepared in advance, and those corresponding to the combinations of notes of the plurality of patterns according to the number of pronunciations in one beat, the pronunciation start position, and the pronunciation end position. select. By repeating this process, the input data is converted into a score and displayed on a display or printed by a printer. That is, in the present invention, since the combination of notes used for creating a score is determined in advance, it is possible to avoid creating a score with a combination of notes that cannot be played by humans. In addition, since the combination of notes to be selected is determined by the number of pronunciations in one beat, triplets, quintuples, quintuplets, etc. can be used. Further, in the present invention, since a combination of notes is selected according to the number of pronunciations in one beat and the start and end timing of the pronunciation, even if editing such as deletion or addition of notes is performed, it is converted into an appropriate combination of notes. The
[0010]
It should be noted that since the human performance causes a slight fluctuation of the tempo, the beat start position is not always accurate. For this reason, if the start position of one beat is strictly defined, it may be considered that the score is different from the actual performance. In order to avoid this, a sound that starts sounding a certain time before the start of one beat is a sound of that beat, and a sound that starts sounding a certain time before the end of one beat is The sound of the next beat is preferable.
[0011]
DETAILED DESCRIPTION OF THE INVENTION
Hereinafter, embodiments of the present invention will be described with reference to the accompanying drawings.
(First embodiment)
1 to 35 are diagrams showing a score display conversion method according to the first embodiment of the present invention. In this embodiment, an example in which MIDI data is converted into a score will be described.
[0012]
The standard MIDI file has the format shown in FIG. That is, the MIDI file is composed of a header portion and one or more tracks following the header portion. The header section records the format type, data length (Lh), number of tracks (N), and resolution. At the beginning of each track 1 to N, the data length (L1, L2,... Ln) and the actual data are recorded. It is recorded.
[0013]
Most of the actual data in each track is, for example, (1) turning on the signal of the pitch of B of channel A at a volume of C (C ≠ 0) (sounding), and (2) channel B of channel A Data related to the start and end positions of sound generation, such as turning on the pitch signal at 0 (turning off the sound), and turning off the pitch signal of channel A B (turning off the sound). is there. Of the actual data, those other than these relate to changes in the key or tempo, and are not directly related to conversion into notes or rests. Focusing only on the start and end of sound generation while ignoring the pitch, the MIDI data for one channel indicates the ON-OFF state transition shown in the schematic diagram of FIG. 2, in other words, the start and end timing of sound generation. It can be regarded as the data shown.
[0014]
In the following, a case will be described in which the time of one beat is 0.0 ≦ T <1.0, and a note pattern that can be considered from the number of sound generations is converted into a score on the basis of a quarter note.
In the present embodiment, with respect to the start position of sound generation, −0.1 ≦ T <0.9 is set as a signal processing range. For the end position, the signal processing range is set to −0.1 <T ≦ 0.9. In other words, a sound that starts sounding within -0.1 before the start time of one beat is a sound of that beat, and a sound that starts sounding after 0.9 before the end time of one beat is the next sound The sound of the beat.
[0015]
The length (time) of one beat is determined by the tempo, and one measure includes several beats.
(1) When the number of pronunciations is zero When the number of pronunciations in one beat is zero (when there is no sounding start data in one beat), the sound remains interrupted as shown in FIG. And the case where the sound continues to sound as shown in FIG. In the case of FIG. 3A, it is converted into a quarter rest as shown in FIG. In the case of FIG. 4A, it is converted into quarter notes as shown in FIG. 4B.
[0016]
(2) When the number of sounds is 1 As shown in FIG. 5, when the number of sounds in one beat is 1, conversion is performed as follows according to the start position S and the end position E.
(i) When S <0.2 In this case, when the end position E is 0.8 <E, 0.7 <E ≦ 0.8, 0.6 <E ≦ 0.7 , 0.4 <E ≦ 0.6, 0.3 <E ≦ 0.4, S <E ≦ 0.3, and conversion is performed as shown in FIG.
(ii) When 0.2 ≦ S <0.3 At this time, as shown in FIG. 7, the end position E is divided into 0.7 <E and S <E ≦ 0.7, respectively. Convert to
(iii) When 0.3 ≦ S <0.4 At this time, as shown in FIG. 8, the end position E is divided into 0.7 <E and S <E ≦ 0.7, respectively. Convert to
(iv) When 0.4 ≦ S <0.6 In this case, the end position E is divided into the case where 0.8 <E and the case where S <E ≦ 0.8, respectively, as shown in FIG. Convert to
(v) When 0.6 ≦ S <0.7 At this time, conversion is performed as shown in FIG.
(vi) When 0.7 ≦ S <0.9 (other than the above) At this time, conversion is performed as shown in FIG.
[0017]
(3) When the number of pronunciations is 2, as shown in FIG. 12, when the number of pronunciations in one beat is 2, the start position of the first pronunciation is S1, the end position is E1, and the start position of the second pronunciation Is S2, and the end position is E2, the conversion is performed as follows according to the positions of S1 and S2.
(i) When S1 <0.2 and 0.7 ≦ S2 <0.9 At this time, when the end position E1 is 0.6 ≦ E1 ≦ S2 and 0.4 ≦ E1 <0.6 , S1 <E1 <0.4, and conversion is performed as shown in FIG.
(ii) When S1 <0.2 and 0.6 ≦ S2 <0.7 At this time, when the end position E1 is 0.4 ≦ E1 ≦ S2, the case is divided into S1 <E1 <0.4. Thus, conversion is performed as shown in FIG.
(iii) When S1 <0.2 and 0.4 ≦ S2 <0.6 At this time, when the end positions E1 and E2 are 0.3 ≦ E1 ≦ S2 and 0.8 ≦ E2, 0.2 When ≦ E1 <0.3 and 0.8 ≦ E2, when 0.3 ≦ E1 ≦ S2 and S2 <E2 <0.8, 0.2 ≦ E1 <0.3 and S2 <E2 ≦ 0.8 In each case, conversion is performed as shown in FIG.
(iV) When S1 <0.2 and 0.3 ≦ S2 <0.4 In this case, the end position E2 is divided into the case of 0.7 ≦ E2 and the case of S2 <E2 <0.7. Each conversion is performed as shown in FIG.
(V) When S1 <0.2 and 0.2 ≦ S2 <0.3 In this case, when the end position E2 is 0.8 ≦ E2 and 0.4 ≦ E2 <0.8, S2 In the case of <E2 <0.4, conversion is performed as shown in FIG.
(Vi) When 0.2 ≦ S1 <0.3 and 0.7 ≦ S2 <0.9 In this case, when the end position E1 is 0.6 ≦ E1 ≦ S2, 0.3 ≦ E1 ≦ 0 .6, and conversion is performed as shown in FIG.
(Vii) When 0.2 ≦ S1 <0.3 and 0.4 ≦ S2 <0.7 At this time, when the end position E2 is 0.8 ≦ E2, and S2 <E2 <0.8 Each of them is converted as shown in FIG.
(Viii) When 0.3 ≦ S1 <0.4 At this time, conversion is performed as shown in FIG.
(iX) When 0.4 ≦ S1 <0.9 (other than the above) At this time, conversion is performed as shown in FIG.
[0018]
(4) When the number of pronunciations is 3 As shown in FIG. 22, when the number of pronunciations in one beat is 3, the start position of the first pronunciation is S1, the end position is E1, and the start position of the second pronunciation Is S2, the end position is E2, the start position of the third sound generation is S3, and the end position is E3, the following conversion is performed according to the positions of S1, S2, and S3.
(i) When S1 <0.2 and 0.4 ≦ S2 <S3 and 0.7 ≦ S3 <0.9 In this case, when the end position E1 is 0.3 ≦ E1 ≦ S2, S1 <E1 In the case of <0.3, conversion is performed as shown in FIG.
(ii) When S1 <0.2 and S1 ≦ S2 <0.4 and 0.7 ≦ S3 <0.9 In this case, when the end position E2 is 0.4 ≦ E2 ≦ S3, S2 <E2 In the case of <0.4, conversion is performed as shown in FIG.
(iii) When S1 <0.2 and 0.6 ≦ S3 <0.7 At this time, conversion is performed as shown in FIG.
(iV) When S1 <0.2 and 0.4 ≦ S3 <0.6 In this case, the end position E3 is divided into the case of 0.7 ≦ E3 and the case of S3 <E3 <0.7. Each conversion is performed as shown in FIG.
(V) When S1 <0.2 and 0.3 ≦ S3 <0.4 In this case, when the end position E3 is 0.6 ≦ E3, it is divided into the case of S3 <E3 <0.6, Each conversion is performed as shown in FIG.
(Vi) When 0.2 ≦ S1 <0.4 At this time, conversion is performed as shown in FIG.
(Vii) When 0.4 ≦ S1 <0.9 (other than above) At this time, conversion is performed as shown in FIG.
[0019]
(5) When the number of pronunciations is 4 As shown in FIG. 30, when the number of pronunciations in one beat is 4, the start position of the first pronunciation is S1, the end position is E1, and the start position of the second pronunciation Is S2, the end position is E2, the start position of the third sound generation is S3, the end position is E3, the start position of the fourth sound generation is S4, and the end position is E4. Convert to
(i) When E2 ≦ S3 <0.4, when 0.4 ≦ S3 <0.6, and when 0.6 <S3 <E3, conversion is performed as shown in FIG.
[0020]
(6) When the number of pronunciations is 5 When the number of pronunciations in one beat is 5, conversion is performed as follows with the start position S3 of the third pronunciation as a reference.
(i) When E2 ≦ S3 <0.35, conversion is performed separately as shown in FIG. 32, with 0.35 ≦ S3 <0.45 and 0.45 <S3 <E3.
[0021]
(7) When the number of pronunciations is 6 or 7 When the number of pronunciations in one beat is 6 or 7, it is converted as a tuplet using 16th notes as shown in FIG.
(8) When the number of sounds is 8 When the number of sounds in one beat is 8, as shown in FIG. 34, conversion is performed with 32 notes. However, as shown in FIG. 34, the connection between the fourth note and the fifth note is broken.
[0022]
(9) When the number of pronunciations is 9 or more When the number of pronunciations in one beat is 9 or more, it is converted as a tuplet using 32nd notes as shown in FIG.
In this way, a predetermined combination of notes is selected according to the number of pronunciations in one beat and the start and end timings of the pronunciation, and MIDI data is converted into a musical score by repeating this process.
[0023]
As described above, in the present embodiment, a combination of a plurality of notes used for creating a score is prepared in advance, and the number of pronunciations in one beat of the input MIDI data and the timing of the start and end of pronunciation are determined. Accordingly, since a corresponding one of these note combinations is selected, it is not converted into a score that cannot be played by humans. A sound that starts sounding a certain time before the start position of one beat determined by the tempo is the sound of that beat, and a sound that starts sounding a certain time before the end position is a sound of the next beat. Therefore, even if there is a slight fluctuation in the performance tempo, it can be converted into an appropriate score. Furthermore, in the present embodiment, it is not necessary for the user to set a minimum resolution for quantization, and a complicated operation is not necessary. Furthermore, it is possible to convert and display the use of tuplets, such as triplets, fivets, and seventuplets, which are difficult with conventional score display conversion systems. Therefore, when one element is removed from the triplet note shown in FIG. 39 (a), it is converted as shown in FIG. 39 (b), and conversely as shown in FIG. 39 (b). By converting a rest into a musical note, it is converted as shown in FIG.
[0024]
As a result, the note display conversion method of the present embodiment can be applied to a music practice system or a written book of popular music band scores.
In the above example, an example is shown in which a note is converted at the start and end timing of pronunciation. However, if the sound continues after conversion to a note, the notes are connected by a tie or slur, or are continuous. It is preferable that two or more notes are replaced with other notes to convert to a more easily viewable score.
[0025]
(Other embodiments)
In the first embodiment, the score display conversion method in the case of MIDI format data has been described. However, the data format is not limited to MIDI, and WAVE format data is also converted to a score in the same manner. can do.
For example, as shown in FIG. 36, when music having a tempo of 120 is played, the performance can be collected by a microphone or the like and converted into WAVE data.
[0026]
As shown in FIG. 36, even in the WAVE format data, the relationship between the sounding time and the score always matches. Conversely, for the WAVE data, if there is a relationship shown in FIG. 37 between the sounding timing and the score, the WAVE data can be converted into a score.
For example, if the practice start point (position 0.0 in FIG. 37) is known at the tempo 120, the WAVE is determined according to the number of pronunciations in one beat and the timing of the start and end of pronunciation as in the first embodiment. Convert data to music.
[0027]
In this case, as shown in FIG. 38, if the amplitude of the WAVE data is compared with a threshold value, when the value is equal to or greater than the threshold value and ON, and when the value is equal to or less than the threshold value, OFF, Like the form, the input data can be converted into a score.
In the above-described embodiment, the case where a quarter note such as four quarters or three quarters is used as a reference has been described. However, the present invention can also be applied to a case where an eighth note is used as a reference. Of course.
[0028]
【The invention's effect】
As described above, according to the present invention, one combination of notes from a plurality of preset combinations of notes according to the number of pronunciations in one beat, the pronunciation start position, and the pronunciation end position. Since the score is created by selecting and repeating this, the score can be converted into an easy-to-read score that can be used for actual performance without being converted into a score that cannot be played by humans. Further, there is no need for the user to set a minimum resolution for quantizing, and no complicated operation is required. Furthermore, it can be converted into a musical score in accordance with the actual performance such as a triplet, a fivet and a sevent.
[0029]
A sound that starts sounding a certain time before the start time of one beat determined by the tempo is a sound of that beat, and a sound that starts sounding a certain time before the end time of one beat is the next sound. Therefore, it is possible to prevent the sound from being converted into an appropriate score due to fluctuations in tempo.
[Brief description of the drawings]
FIG. 1 is a schematic diagram showing a format of a standard MIDI file.
FIG. 2 is a diagram schematically showing the contents of MIDI data when attention is paid only to the start and end of pronunciation.
FIG. 3 is a diagram showing ON-OFF state transition when the number of pronunciations in one beat is 0, and shows a state where the sound is interrupted.
FIG. 4 is a diagram showing ON-OFF state transition when the number of pronunciations in one beat is 0, and shows a state in which a sound continues to sound.
FIG. 5 is a diagram showing ON-OFF state transition when the number of pronunciations in one beat is one;
FIG. 6 is a diagram (No. 1) showing a combination of notes when the number of pronunciations in one beat is one;
FIG. 7 is a diagram (part 2) showing a combination of notes when the number of pronunciations in one beat is 1.
FIG. 8 is a diagram showing a combination of notes when the number of pronunciations in one beat is 1 (No. 3);
FIG. 9 is a diagram (part 4) illustrating a combination of notes when the number of pronunciations in one beat is 1.
FIG. 10 is a diagram (No. 5) showing a combination of notes when the number of pronunciations in one beat is 1;
FIG. 11 is a diagram (No. 6) showing a combination of notes when the number of pronunciations in one beat is 1;
FIG. 12 is a diagram showing ON-OFF state transition when the number of pronunciations in one beat is two.
FIG. 13 is a diagram (part 1) illustrating a combination of notes when the number of pronunciations in one beat is two.
FIG. 14 is a diagram showing a combination of notes when the number of pronunciations in one beat is 2 (part 2);
FIG. 15 is a diagram (No. 3) showing combinations of notes when the number of pronunciations in one beat is 2;
FIG. 16 is a diagram showing a combination of notes when the number of pronunciations in one beat is 2 (No. 4);
FIG. 17 is a diagram (No. 5) showing a combination of notes when the number of pronunciations in one beat is 2;
FIG. 18 is a diagram (No. 6) showing a combination of notes when the number of pronunciations in one beat is 2;
FIG. 19 is a diagram (No. 7) showing a combination of notes when the number of pronunciations in one beat is 2;
FIG. 20 is a view (No. 8) showing a combination of notes when the number of pronunciations in one beat is 2;
FIG. 21 is a diagram (No. 9) showing a combination of notes when the number of pronunciations in one beat is 2;
FIG. 22 is a diagram showing ON-OFF state transition when the number of pronunciations in one beat is 3.
FIG. 23 is a diagram (part 1) illustrating a combination of notes when the number of pronunciations in one beat is three;
FIG. 24 is a diagram (No. 2) showing a combination of notes when the number of pronunciations in one beat is 3;
FIG. 25 is a diagram (No. 3) showing a combination of notes when the number of pronunciations in one beat is 3;
FIG. 26 is a diagram (No. 4) showing a combination of notes when the number of pronunciations in one beat is 3;
FIG. 27 is a diagram (No. 5) showing a combination of notes when the number of pronunciations in one beat is 3;
FIG. 28 is a diagram (No. 6) showing a combination of notes when the number of pronunciations in one beat is 3;
FIG. 29 is a diagram (No. 7) showing a combination of notes when the number of pronunciations in one beat is 3;
FIG. 30 is a diagram showing ON-OFF state transition when the number of pronunciations in one beat is four.
FIG. 31 is a diagram showing a combination of notes when the number of pronunciations in one beat is four.
FIG. 32 is a diagram showing a combination of notes when the number of pronunciations in one beat is five.
FIG. 33 is a diagram showing combinations of notes when the number of pronunciations in one beat is 6 or 7.
FIG. 34 is a diagram showing a combination of notes when the number of pronunciations in one beat is 8.
FIG. 35 is a diagram showing a combination of notes when the number of pronunciations in one beat is nine.
FIG. 36 is a diagram illustrating a relationship between a score and WAVE data.
FIG. 37 is a diagram illustrating conversion from WAVE data to a score.
FIG. 38 is a diagram illustrating conversion from WAVE data to ON-OFF data.
FIG. 39 is a diagram showing a problem in a conventional score display conversion system.

Claims (3)

In a score display conversion method of a score display conversion system for inputting digitized music data and converting it into a score,
According to the number of pronunciations in one beat of the digitized music data , the pronunciation start position, and the pronunciation end position, a single note combination is selected from a plurality of preset combinations of notes, and this is selected. A musical score display conversion method characterized in that a musical score is created by repetition and the musical score is displayed on a display or printed and displayed by a printer .   2. The score display conversion method according to claim 1, wherein a sound that starts sounding a predetermined time before the start position of one beat determined by the tempo is a sound of that beat.   2. The score display conversion method according to claim 1, wherein a sound that starts sounding a predetermined time before the end position of one beat determined by the tempo is a sound of the next beat.

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