JP4424310B2 - Electronic musical instruments - Google Patents

Description

  The present invention relates to an electronic musical instrument such as a keyboard instrument provided with a plurality of performance operators such as keys, and more particularly to an electronic musical instrument that performs musical tone control by detecting the degree of operation of each performance operator in multiple stages.

  Conventionally, in an electronic musical instrument such as a keyboard instrument having a plurality of performance operators such as keys, legato control or slur control is performed when another performance operator is operated immediately after one performance operator is operated. Things are known.

  For example, in Patent Document 1 below, when note-on occurs, legato control is performed when the time difference between the note-on of the previous sound and the next sound is equal to or greater than a threshold value. In addition, legato control is performed when note-on of the next sound after the next sound does not come, when the velocity of the next sound is equal to or higher than the threshold, or when the pitch of the next sound is higher than the pitch of the previous sound. .

Also, in Patent Document 2 below, when a legato type key pressing change operation is detected, the pitch of the generated sound is gradually slid from the pitch that has been pronounced to the pitch of the new pressed key. That is, if a new key is pressed before the old key is completely released, a slur effect that smoothly changes the pitch of the generated musical tone from the pitch of the old key to the pitch of the new key is given.
JP 2005-10438 A JP-A 64-26896

  However, in Patent Document 1, the aspect of legato control is set in advance and is not changed as needed by a performance operation. In Patent Document 2, the pitch of the musical tone only changes smoothly from the pitch of the old pressed key to the pitch of the new pressed key, and the change mode is not changed at any time by the performance operation. For this reason, the conventional electronic musical instrument has a problem that the pitch change mode in the legato control or slur control is fixed, and the performance expression is not satisfactory.

  The present invention has been made in order to solve the above-described problems of the prior art, and its purpose is to perform a simple performance operation and to improve the sound generation characteristics of the next sound in relation to the degree of operation of the performance operator corresponding to the previous sound. It is to provide an electronic musical instrument that can be determined and enhance performance expression.

To achieve the above object, an electronic musical instrument according to claim 1 of the present invention is provided corresponding to each of a plurality of performance operators that can be operated independently and the plurality of performance operators, and corresponding performance operations. Based on the detection results of the operation degree detection means, a plurality of operation degree detection means for detecting the operation degree of the child at a plurality of stages including at least a note-on state and an operation state that is neither a note-on state nor a non-operation state A performance form determining means for determining a performance form; and a performance signal generating means for generating a performance signal in accordance with the performance form determined by the performance form determining means. The notes of the second performance operator different from the first performance operator until the first performance operator once in the operation state among the plurality of performance operators becomes the non-operation state. Is detected, it corresponds to the second performance operator based on the degree of operation of the first performance operator detected at the time when the note-on of the second performance operator is detected. It is characterized by determining the sound generation characteristics of a musical sound.

Preferably, the performance form determining means determines a change mode of a volume of a musical sound corresponding to the second performance operator based on the detected degree of operation of the first performance operator. 2).

  Preferably, the performance form determining means determines a pitch change mode of a musical tone corresponding to the second performance operator based on the detected degree of operation of the first performance operator. Item 3).

  More preferably, you may comprise as follows.

  The performance form determining means further determines the second performance operator according to a pitch difference between a pitch corresponding to the first performance operator and a pitch corresponding to the second performance operator. The change mode of the pitch of the corresponding musical sound is determined. Thereby, for example, a natural legato performance that matches the pitch difference becomes possible.

Preferably, when the musical sound corresponding to the first performance operator is sounding, the performance form determining means is configured to perform the operation after the time point when note-on of the second performance operator is detected. It is determined that the musical sound corresponding to the first performance operator being sounded is muted. Thereby, for example, natural legato performance in monophonic becomes possible.

  According to the first aspect of the present invention, it is possible to enhance the performance expression by determining the pronunciation characteristics of the next sound in relation to the operation level of the performance operator corresponding to the previous sound by a simple performance operation.

  According to the second aspect, for example, it is possible to perform a pseudo legato performance in which the volume change is natural and smooth.

  According to the third aspect, for example, it is possible to perform a pseudo legato performance in which the pitch change is natural and smooth.

  Hereinafter, embodiments of the present invention will be described with reference to the drawings.

  FIG. 1 is a block diagram showing an overall configuration of an electronic musical instrument according to an embodiment of the present invention.

  The electronic musical instrument is configured as a keyboard musical instrument, and as shown in FIG. 1, a detection circuit 3, a detection circuit 4, a ROM 6, a RAM 7, a timer 8, a display device 9, an external storage device 10, an interface (I / F) 11, A tone generator circuit 13 and an effect circuit 14 are connected to the CPU 5 via a bus 16.

  Furthermore, a performance operator 1 for inputting pitch information is connected to the detection circuit 3, and a setting operator 2 for inputting various information is connected to the detection circuit 4. The display device 9 displays various information such as musical scores and characters. A timer 8 is connected to the CPU 5. The I / F 11 includes a MID II / F and a communication I / F, and enables communication with other MIDI devices and server computers. A sound system 15 is connected to the sound source circuit 13 via an effect circuit 14.

  The detection circuit 3 detects the operation state of the performance operator 1, and the detection circuit 4 detects the operation state of the setting operator 2. The CPU 5 controls the entire apparatus. The ROM 6 stores a control program executed by the CPU 5, various table data, and the like. The RAM 7 temporarily stores various input information such as performance data and text data, various flags, buffer data, calculation results, and the like. The timer 8 measures the interrupt time and various times in the timer interrupt process. The external storage device 10 stores various application programs including the control program, various music data, various data, and the like.

  The tone generator circuit 13 converts the performance data input from the performance operator 1 or the set performance data into a musical sound signal. The effect circuit 14 gives various effects to the musical sound signal input from the sound source circuit 13, and the sound system 15 such as a DAC (Digital-to-Analog Converter), an amplifier, and a speaker receives the musical sound signal input from the effect circuit 16. To sound.

  Examples of the external storage device 10 include a flexible disk drive (FDD), a hard disk drive (HDD), a CD-ROM drive, and a magneto-optical disk (MO) drive. The external storage device 10 can also store control programs in addition to various information.

  FIG. 2A is a schematic diagram showing the relationship between the operation state of the performance operator 1 and the key operation switches. FIG. 2B is a cross-sectional view showing the configuration of the key operation switch. There are a plurality of performance operators 1, and as shown in FIG. 5A, the performance operator 1 corresponds to a white key 1W or a black key 1B on the keyboard. Hereinafter, when the white key 1W and the black key 1B are not distinguished from each other, the name “performance operator 1” is used.

  The key operation switch 20 is provided corresponding to each performance operator 1 and is driven by a pressing operation of the corresponding performance operator 1. The key operation switch 20 includes a first switch SWa composed of a fixed contact 21 and a movable contact 22, a second switch SWb composed of a fixed contact 23 and a movable contact 24, and a third switch SWc composed of a fixed contact 25 and a movable contact 26. It has a 3 make type switch. By pressing the key, makeup is performed in the order of the first switch SWa, the second switch SWb, and the third switch SWc. The detection circuit 3 (see FIG. 1) scans the state of each key operation switch 20, and sends the result to the CPU 5 as a detection signal. Note that the key operation switch 20 does not have to be of the contact type described above, as long as the degree of operation of the performance operation element 1 can be detected in a plurality of stages. Good.

  Although details will be described later, in this electronic musical instrument, a normal mode or a legato mode can be set as a performance mode. In the legato mode, a control pattern for controlling a musical sound corresponding to the performance operator 1 that is turned on later is determined in accordance with the degree of operation of the performance operator 1 that was previously operated.

  FIG. 3 is a conceptual diagram showing an example of the temporal transition of the pressed position of the performance operator 1. 4A is a plan view of the keyboard of the electronic musical instrument, and FIG. 4B is a diagram showing a control pattern determination table. This determination table is stored in the ROM 6, for example.

  As shown in FIG. 3, the key operation switch 20 detects the degree of operation of the corresponding performance operator 1 in a plurality of stages (four stages including note-off). That is, the state where the first switch SWa is not making, the state where the first switch SWa is making and the second switch SWb is not making, the state where the second switch SWb is making and the third switch SWc is not making, Four states are detected as the degree of operation, in a state in which the 3 switch SWc is made. When the first switch SWa is not making, note-off (key-off) is performed, and when the third switch SWc is making, note-on (key-on) is performed.

  Here, j0, jA, jB, and jC shown in FIG. 3 are status KJ indicating the state of the keyboard, and are information indicating the state of the entire keyboard, not the state of each performance operator 1. Here, the status KJ is determined by the current operation level of the performance operator 1 that is most recently note-on, and the behavior of the performance operator 1 that has not passed note-on is not involved in the determination of the status KJ.

  For example, the status KJ is set to jC for the first time when the third switch SWc of a certain performance operator 1 is made, and then becomes jB when the third switch SWc of the performance operator 1 is turned off. When SWb is turned off, it becomes jA, and when the first switch SWa is turned off, it becomes j0.

  Details of the key scanning process for generating the performance signal will be described later with reference to FIGS. 5 and 6. First, the basic performance process will be described here.

  [Normal sound generation] When the switch makes up in the order of a1, b1, c1, as shown in FIG. 3, a sound is generated when the third switch SWc is made. Since the performance operator 1 corresponds to a unique pitch, the pitch at the time of sound generation is defined by the depressed performance operator 1. Note on velocity is defined by the time between b1 and c1 (steps S103 → S110 → S111, S104 → S113, S105 → S114 → S112 / S201 → S202 → S210 → S204 in FIGS. 5 and 6). ).

  [Independent mute processing] When a2 shown in FIG. 3 has elapsed, mute is performed when the first switch SWa is turned off (steps S106 → S115 → S116 → S117 → S112 / S201 in FIGS. 5 and 6). → S207 → S208).

  [Independent re-sounding] When the second switch SWb and the third switch SWc are sequentially turned on again in the state where the second switch SWb of the performance controller 1 once turned on is turned off and KJ = jA ( When the switch is made in the order of b2 → c2 or b3 → c3), the third switch SWc makes a sound again (mute and re-sound) (steps S108 → S109, S107 in FIGS. 5 and 6). (S118 → S119, S104 → S113, S105 → S114 → S112 / S201 → S202 → S203 → S204). This is applied to continuous pronunciation of the same sound.

  Incidentally, when the performance switch 1 makes the third switch SWc again before the performance switch 1 turns off the second switch SWb, as shown by c4 in FIG. 3, no processing such as sound generation is performed (FIG. 5, FIG. 5). Steps S105 → S114 → S101 in FIG. 6).

  Musical sound control when the next performance operator 1 is operated before the note-on performance operator 1 is turned off is performed as follows. Thereafter, the performance operator 1 that is most recently note-on and not note-off is “key 1 (first performance operator)”, and the performance operator 1 that is operated after key 1 is “key 2 (second performance operator)”. The performance operator is distinguished from each other (see FIG. 4A). In the present embodiment, the number of keys 1 is one. The key 2 is plural when there are a plurality of performance operators 1 that are simultaneously operated in a half-pressed state. However, in the legato mode, the musical tone of the performance operator 1 with the corresponding third switch SWc turned on is finally obtained. Only the control pattern in the legato mode (see FIG. 4B) is controlled.

[Resonance (damper) sound processing]
When key1 is present and sounding, when the first switch SWa of the subsequent performance operator 1 is turned on and key2 is generated, a resonance (damper) sound is generated (steps S103 to S110 in FIGS. 5 and 6). → S111 → S112 / S201 → S207 → S209). In this case, the sound corresponding to the key 2 that resonates with the sound being sounded is pronounced by a known method. In the case of an acoustic piano, when the damper corresponding to key2 is removed from the string, a pseudo sound equivalent to the resonance sound generated by the resonance of the string corresponding to key2 to the sound being generated corresponding to key1 is generated. Is pronounced electrically.

  [Normal multiple pronunciations] In a normal mode other than the legato mode, when key2 is note-on during key1 pronunciation, key2 is pronounced as usual (similar to the normal single pronunciation above) over key1 ( Steps S105 → S114 → S112 / S201 → S202 → S210 → S204 in FIGS. 5 and 6). That is, in this case, normal musical tone control is performed in the polyphonic mode.

  [Legato Mode Processing] In the legato mode, when key2 is turned on while key1 is sounding, the sound of key1 is forcibly turned off, and according to status KJ at the time of key2's note-on (ie, the degree of operation of key1) The tone generation of key2 is controlled by the control pattern (see FIG. 4B) (see steps S105 → S114 → S112 / S201 → S202 → S210 → S211 in FIG. 5 and FIG. 6).

  FIG. 5 is a flowchart of the key scan process in the present embodiment. FIG. 6 is a flowchart of the performance signal generation process executed in step S112 of FIG. Here, although not shown, the main process is started when the electronic musical instrument is powered on. 5 and 6 are executed during the main process. In this main process, various variables are first initialized, and device settings including mode setting and tone color setting by the operation of the setting operator 2 are performed. Further, a musical tone process in which a set effect process is added to the performance signal generated in step S112 in FIG. 5 to amplify and output, an automatic performance process according to the setting, and the like are also performed.

  FIGS. 7A, 7B, 7C, and 7D are conceptual diagrams illustrating an example of tone control of key2 by the control patterns 1 to 4 in the legato mode illustrated in FIG. 4B. Here, the control pattern will be described. In these control patterns, the volume and pitch are controlled. In FIGS. 7A to 7D, the volume change of keys 1 and 2 is represented by the envelope waveform shown in the ADSR system at “level”. In “pitch”, the pitch change of keys 1 and 2 is represented.

  The control pattern 1 shown in FIG. 7A is applied when the operation degree of the key1 at the time of note-on of the key2 is a state where all of the first switch SWa to the third switch SWc are turned off (KJ = j0). Is done. In such a case, if the sound of key1 is completely attenuated, it is substantially the same as the normal single sounding of key2, and therefore there is no difference from the tone control in the normal mode. However, if the sound of key1 is not completely attenuated and remains, the sound of key1 is forcibly turned off when the note of key2 is turned on, as shown in FIG. At the same time, the key2 sound is generated. The volume and pitch of the sound of key2 are exactly the same as in the case of single sounding, the decay timing is the same as in the case of key2 single sounding, and the volume follows the velocity detected for key2.

  In the control pattern 2 shown in FIG. 7B, when the key 2 is turned on, the operation of the key 1 is such that both the second switch SWb and the third switch SWc are off and the first switch SWa is on (KJ = jA). Applicable when In this case, the key1 sound is forcibly turned off when the key2 note is turned on, and the key2 sound is generated. However, the volume of the sound of the key 2 is matched with the volume change when the sound of the key 1 is not forcibly turned off. Then, the sound of key2 is attenuated at a timing that would naturally attenuate if the sound of key1 was not forcibly turned off. Therefore, the volume of the sound of key2 does not depend on the velocity detected for key2, and the volume at the start of sounding is the same as the volume of the sound of key1 when forced off. In the example of FIG. 5B, the key 2 sound is generated from the middle of the sustain level.

  On the other hand, the pitch of the key 2 is started from the pitch between keys 1 and 2 (a pitch closer to the key 1 by a predetermined amount than the original pitch of the key 2) and gradually increased to the original pitch of the key 2. We will move to. As a result, a pseudo legato performance with a natural and smooth change in volume and pitch is obtained.

  In the control pattern 3 shown in FIG. 7C, when the key 2 is turned on, the operation of the key 1 is such that the third switch SWc is off and the first switch SWa and the second switch SWb are both on (KJ = jB). Applicable when In this case, the forced turn-off of the key 1 sound and the volume change of the key 2 sound are the same as in the control pattern 2. On the other hand, the pitch of the key 2 is started from the pitch of the key 1 and gradually shifted to the original pitch of the key 2. As a result, a pseudo legato performance, in particular a performance close to portamento, in which the volume and pitch changes are natural and smooth.

  The control pattern 4 shown in FIG. 7D is applied when the operation degree of the key1 when the note of the key2 is on is in a state where all of the first switch SWa to the third switch SWc are turned on (KJ = jC). Is done. In this case, the forced turn-off of the key 1 sound is the same as in the control patterns 2 and 3. The volume of the sound of the key 2 is different from the example of FIGS. 7B and 7C, and is an envelope waveform obtained by removing the waveform 31 and adding the waveform 32 from the envelope waveform 30 that starts when the key 2 is turned on. To do.

  That is, the attack level is suppressed by removing the waveform 31 from the original envelope waveform 30 of the key2. Further, the volume at the start of key2 sounding is set to be the same as the volume of key1 at the time of note-on of key2. Then, the waveform 32 is added so that the waveform is connected to the envelope waveform 30 obtained by removing the waveform 31 from the volume at the time of starting the sounding of the key2. In the portion corresponding to the sustain to release of the key 2 sound, the original envelope waveform 30 of the key 2 is followed, and the attenuation timing is the same as in the case of the key 2 single sounding.

  On the other hand, the pitch of the key 2 is switched from the pitch of the key 1 to the pitch of the key 2 when the note of the key 2 is turned on. As a result, a pseudo legato performance with a particularly natural and smooth change in volume is obtained.

  Here, in the control patterns 2 and 3 (FIGS. 7B and 7C), the pitch transition period in which the key 2 is gradually shifted to the original pitch is a fixed value. However, the present invention is not limited to this, and the pitch transition period may be set according to the velocity detected for key2 and / or the pitch difference from key1. Also, velocity and / or a pitch difference from key1 may be taken into consideration in the determination of the pitch at the start of key2 pronunciation.

  Next, the flowcharts of FIGS. 5 and 6 will be described. First, in step S101 in FIG. 5, the next n is determined. That is, in the key scanning process of FIG. 5, all performance operators 1 are scanned in order. The n value is a variable for specifying one performance operator 1 to be scanned this time. If the keyboard has 88 keys, it takes any value from n = 1 to 88.

  Next, the key operation switch 20 corresponding to the nth performance operator 1 (hereinafter referred to as “key Kn”) is scanned (step S102). In subsequent steps S103 to S108, the first switch SWa, the second switch SWb, and the third switch SWc of the key Kn are turned on (from the off state to the on state) or off event (from the on state to the off state). ) Is determined, and the process proceeds to processing according to the result of the determination.

  First, if there is an ON event of the first switch SWa in step S103, the counter ASW indicating the number of performance operators 1 currently in the operation state (at least the corresponding first switch SWa is on) is set to 1. Increment (step S110). Then, it is determined whether or not the condition that ASW = 2 and the status KJ is not j0 is satisfied (step S111). If the condition is not satisfied, the process returns to step S101. In order to add a resonance sound, the process proceeds to step S112.

  If there is an ON event of the second switch SWb in step S104, the timer (Kn) corresponding to the nth performance operator 1 is started (step S113), and the process returns to step S101. Here, the timer (Kn) is measured for each performance operator 1.

  If there is an on event of the third switch SWc in step S105, is the current on event of the third switch SWc an on event before the off event of the second switch SWb (in the example of FIG. 3, c4 It is determined whether it is an on event corresponding to (step S114). As a result of the determination, if it is an on event of the third switch SWc before the off event of the second switch SWb, it is not necessary to perform a sound generation process or the like, so the process returns to step S101. On the other hand, if not, the process proceeds to step S112 to perform sound generation processing.

  If there is an off event of the first switch SWa in step S106, the counter ASW is decremented by 1 (step S115), and it is determined whether KJ = jA is satisfied (step S116). As a result of the determination, if KJ = jA is established, it is a case where a note-on has been made, so the status KJ is set to j0 (step S117), and the process proceeds to step S112 in order to perform a silencing process. . On the other hand, if KJ = jA is not established, note-on has not been performed, and the process returns to step S101.

  If there is an off event of the second switch SWb in step S107, it is determined whether or not KJ = jB is established (step S118). As a result of the determination, if KJ = jB is established, it is a case of passing through note-on, so the status KJ is set to jA (step S119), and the process returns to step S101. On the other hand, if KJ = jB does not hold, note-on has not passed, so the timer (Kn) is cleared (step S120) and the process returns to step S101 to prepare for the re-counting of the timer (Kn).

  If there is an off event of the third switch SWc in step S108, the status KJ is set to jB (step S109), and the process returns to step S101.

  In step S112, the performance signal generation process of FIG. 6 is executed. First, in step S201, it is determined whether or not the timer (Kn) is timing. If the timer (Kn) is not timed as a result of the determination, it is determined that KJ = j0 is satisfied or not (step S207). When KJ = j0 is established, the key kn is note-off, so that the corresponding performance signal is rapidly attenuated by the [single mute process] (step S208), and this process is terminated. On the other hand, when KJ = j0 is not established, the first switch SWa of the key 2 is newly turned on. Therefore, the resonance sound is added by the [resonance (damper) sound processing] (step S209). This process ends.

  If the timer (Kn) is being timed as a result of the determination in step S201, it is the case through the step S114, and it is determined whether or not the key Kn is sounding (step S202). If not, it is determined whether or not the current performance mode is the legato mode (step S210). As a result of the determination, if it is not the legato mode, a performance signal corresponding to the key Kn is generated by the above-mentioned [normal single sound] or [normal multiple sound] (step S204).

  On the other hand, if the result of the determination in step S202 is that the key Kn is being sounded, the performance signal corresponding to the key Kn is stopped by the above [single re-sounding] (step S203), and then the key Kn is supported. A performance signal is newly generated (step S204).

  After the process of step S204, the process proceeds to step S205, the status KJ is set to jC, the timer (Kn) is cleared (step S206), and this process ends.

  If the result of the determination in step S210 is that the current performance mode is legato mode, then in step S211, the key2 musical tone control is performed by the control patterns 1 to 4 (see FIG. 4B) by the [legato mode processing]. I do. That is, first, if there is a sound of key1 that is the previous sound, it is forcibly turned off at the time of note-on of key2 that is the current key kn. At the same time, a performance signal corresponding to the key 2 is generated based on the current status KJ. Here, since the current status KJ shows the degree of operation of key1 after all, a performance signal corresponding to key2 is generated with a control pattern corresponding to the degree of operation of key1 (FIGS. 7A to 7D). )reference). Thereafter, the steps after step S205 are executed.

  According to the present embodiment, in the legato mode, the tone generation characteristic of the musical sound corresponding to the key 2 is determined based on the operation degree of the key 1 when the key 2 is on. As a result, for example, the degree of involvement of the key2 sound with respect to the key1 sound (dependency of changes in volume and pitch) can be easily adjusted by the key1 release condition without using a pitch bend operator or the like. Therefore, a legato performance etc. can be performed by simple performance operation, and performance expression power can be improved.

  In the present embodiment, the timbre with an attack has been described as an example, but the present invention can also be applied to a timbre without an attack, except for the process of removing the waveform 31 in the control pattern 4 (FIG. 7D). It is. In addition, each control pattern can be applied to a sound joint even for a tone color such as an organ that does not attenuate.

  In the example of FIG. 7, the case where the pitch of key2 is higher than that of key1 has been shown, but conversely, when the pitch of key2 is lower than that of key1, the direction of pitch transition is upside down. Is basically the same processing. Also, key1 and key2 do not necessarily have to be adjacent to each other.

  In the example of FIGS. 7A to 7D, the key 1 sound is forcibly turned off uniformly when the key 2 note is on. However, the present invention is not limited to this, and as shown in FIG. You may make it cross fade. FIG. 8 shows an example corresponding to the control patterns 2 and 3 (FIGS. 7B and 7C), but the present invention can also be applied to the control pattern 4 (FIG. 7D). Further, in the control pattern 1 (FIG. 7A), a fade-out may be provided to mute the sound of the key1.

  In this embodiment, the key operation switch 20 is a 3-make type, but a more detailed control pattern may be provided as a 4-make type or more. On the other hand, in order to simplify the configuration, a 2-make type may be used. In the case of the 2-make type, for example, the control pattern 3 may be abolished.

  In the present embodiment, key1 has been once note-on, but is not limited thereto. For example, the performance operator 1 that is in the latest operation state without passing through note-on is assumed to be “key1a”. Then, when the key 2 operated after the key 1a is turned on, the tone generation characteristic of the musical sound corresponding to the key 2 may be determined according to the degree of the operation of the key 1a at that time.

  In this case, for example, when the degree of operation of the key 1a is between the first switch SWa and the second switch SWb, weak portamento with respect to the sound of the musical tone corresponding to the key 2 (the time required for changing the pitch is short). Is granted. Further, when the degree of operation of the key 1a is between the second switch SWb and the third switch SWc, strong portamento (long time required for changing the pitch) is given to the sound of the musical tone corresponding to the key 2. . In these cases, since the key 1a is not turned on, the musical tone control of the key 2 is performed in a state where the musical tone corresponding to the key 1a is not generated. When the key 1a is note-on, the control is the same as described above (see FIG. 7D). In addition, the control is not limited to portamento, and pitch pitch bend control at the start of sound generation may be used.

  In the present embodiment, the key operation switch 20 is a 3-make type, and the note-off is performed when the first switch SWa is turned off. However, the present invention is not limited to this. For example, like a normal 2-make switch, the second switch SWb and the third switch SWc detect note-on and note-off and also detect velocity, and the first switch SWa simply controls the tone of the subsequent key2. You may make it use only for doing.

  In this case, the performance operator 1 related to the control of the musical tone of the subsequent key 2, that is, the performance operator 1 in the latest operation state is temporarily turned on as in the key 1 described in the above embodiment. Alternatively, it may be an operation state without passing through note-on as in the key 1a described above.

  Note that the tone generation characteristics of the musical sound corresponding to the key 2 controlled in the legato mode are not limited to the exemplified volume and pitch.

  In the present embodiment, the key of the keyboard instrument is exemplified as the performance operator, but the present invention is not limited to this. For example, the present invention can be applied to an electronic musical instrument having various performance operators that are provided and operated independently such as pedal keys.

1 is a block diagram illustrating an overall configuration of an electronic musical instrument according to an embodiment of the present invention. FIG. 5 is a schematic diagram (FIG. (A)) showing the relationship between the operation state of the performance operator and the key operation switch, and a sectional view (FIG. (B)) showing the configuration of the key operation switch. It is a conceptual diagram which shows an example of the time transition of the pressing position of a performance operator. It is a top view (figure (a)) of the keyboard of this electronic musical instrument, and a figure (figure (b)) which shows the determination table of a control pattern. It is a flowchart of the key scan process in this Embodiment. It is a flowchart of the performance signal generation process performed by step S112 of FIG. It is a conceptual diagram ((a)-(d)) which shows an example of the musical tone control of the 2nd performance operator by the control patterns 1-4 in legato mode. It is a conceptual diagram which shows the modification of the control pattern in legato mode.

Explanation of symbols

  DESCRIPTION OF SYMBOLS 1 Performance operator, 20 Key operation switch (operation degree detection means), 5 CPU (Performance form determination means, performance signal generation means), key1 1st performance operator, key2 2nd performance operator

Claims (3)

Multiple performance controls that can be operated independently,
Provided in correspondence with each of the plurality of performance operators, and detecting the degree of operation of the corresponding performance operator at a plurality of stages including at least a note-on state and an operation state that is neither a note-on state nor a non-operation state. A plurality of operation degree detection means;
A performance form determining means for determining a performance form based on a detection result by the operation degree detection means;
Performance signal generating means for generating a performance signal in accordance with the performance form determined by the performance form determining means,
The performance form determining means is configured to allow the first performance operation until the first performance operator once in an operation state among the plurality of performance operators is in a non-operation state by the operation degree detection means. When note-on of a second performance operator different from the child is detected, the degree of operation of the first performance operator detected when note-on of the second performance operator is detected An electronic musical instrument characterized by determining a tone generation characteristic of a musical sound corresponding to the second performance operator on the basis of the musical instrument.   The said performance form determination means determines the change mode of the volume of the musical sound corresponding to the said 2nd performance operation element based on the detected operation degree of the said 1st performance operation element. Item 1. An electronic musical instrument according to Item 1. The performance form determining means determines a pitch change mode of a musical tone corresponding to the second performance operator based on the detected degree of operation of the first performance operator. The electronic musical instrument according to claim 1 or 2.

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