JP4978176B2 - Performance device, performance realization method and program - Google Patents

Description

  The present invention relates to a performance device including a plurality of performance operators for a performer to perform.

  Among performance devices equipped with performance operators for performance such as electronic keyboard instruments, the order of pronunciation indicated by the music data is matched to the timing when the player (user) operates the operators regardless of the type of the operator. Some of them have a function that allows you to generate musical sounds according to In a performance using this function, a music piece can be played in accordance with the performance content indicated by the music data, regardless of which performance operator is operated. For this reason, the performance is mainly used for practicing the timing at which the operator should be operated. Since the musical sound to be generated depends on the music data and does not depend on the operation operator to be operated, that is, it can be performed by operating any of the operators, the function will be referred to as the “any key function” hereinafter. To.

  In the performance using the any key function, the music data indicating the performance content of the music is used for setting (selecting) the musical sound to be generated by the operation of the performance operator. The method of advancing the performance includes a method of proceeding by operating the performance operator (hereinafter referred to as “manual progression method”) and a method of automatically proceeding along the music data (hereinafter referred to as “automatic progression method”). It can be divided roughly. In the manual progression method, the musical sound produced by the operation of the performance operator is selected according to the number of operations performed so far, and in the automatic progression method, it is selected according to the timing when the operator is operated. The

  In a performance apparatus equipped with an any key function, it is normal that only one musical tone is generated by one operation of a performance operator, and only one musical tone is generated at the same time. However, among the conventional performance devices equipped with the any key function, there is one in which a plurality of musical sounds can be generated simultaneously as described in Patent Document 1. The performance operator is hereinafter referred to as “key”.

  In the conventional performance device described in Patent Document 1, a chord part is assumed as a performance part to be performed by a performer, and each pitch of the constituent sounds of a chord (chord) is set as a candidate pitch. The setting of the candidate pitch is updated as needed as the performance progresses. When the performer operates the key, the musical tone is played with the pitch selected from the candidate pitches or the pitch converted to higher or lower (turned) in octave units according to the pitch assigned to the key. Let In this way, it is possible to simultaneously generate musical tones with the number of constituent sounds by operating the keys.

Specifically, the selection of the musical sound to be generated is performed as follows.
When the key is operated, first, it is confirmed whether there is an unsounded sound in the candidate pitches. As a result, if an unsounding sound can be confirmed, it is confirmed whether or not the pitch of the key operated this time is higher than the pitch of the key operated last time, and thereby the pitch of the key operated last time. If it turns out that a higher pitch key has been operated this time, it looks for an unsounded candidate pitch that is higher than the pitch of the musical sound that was generated in the previous operation, and if there is such a candidate pitch, Select the pitch. If not, a candidate pitch that has not been pronounced is selected, and a musical tone is produced with a pitch that is converted to one octave above.

  Even if all the candidate pitches are sounding, the pitches of the key operated last time and the key operated this time are compared. As a result, if the performer operates a key with a pitch higher than the previously operated key, the musical tone is further pronounced with a pitch obtained by converting one of the candidate pitches being pronounced one octave higher. . Conversely, when it is confirmed that the pitch of the key operated this time is lower than the pitch of the key operated last time, the same selection is performed with the pitches reversed.

  As described above, in the conventional performance device described in Patent Document 1, the performance content of the chord part indicated by the music data can be performed, and the performance content is changed according to the performance operation actually performed by the performer. That is, the performance operation actually performed by the performer is reflected in the performance content. As a result, performances that feel natural to the performer can be performed.

A performer may perform multiple performance parts. For example, keyboard instruments often play melody parts and chord parts. For this reason, it seems that there are many people who want to be able to perform a plurality of performance parts even when using music data. Accordingly, it is also important to provide a performance device that can perform such a performance.
JP 2004-177893 A

  The subject of this invention is providing the performance apparatus which can perform several performance parts using music data.

The performance device according to the present invention includes a melody part, a chord part, and a base part as performance parts in a performance apparatus having a plurality of performance operators for a performer to perform , and the performance contents of each performance part The music data storage means for storing the music data indicating the music data, and the music data stored in the music data storage means, for each performance part, the pitch of the musical sound represented by the music data according to the progress of the performance A performance part that causes a musical tone to be generated by the operated performance operator when a pitch setting means to be set as a candidate pitch at any time and any one of the performance operators is operated. The bass part is selected according to the pitch assigned to the performance operator, and the melody part and the chord part select the bass part to the assigned pitch. When Ri is not selected, chosen according to priority defined between them, a sound control means for sound by the musical tone generating apparatus tones by the candidate pitch that the selected said pitch setting means playing part was was set, the It has.

The performance realizing method of the present invention is provided in a performance device having a melody part, a chord part, and a base part as performance parts, and having music data storage means for storing music data indicating the performance contents of each performance part. A method for realizing a performance by a player using a plurality of performance operators, wherein the performance data is stored for each performance part with reference to music data stored in the music data storage means. The pitch of the musical tone represented by the music data is set as a candidate pitch at any time, and when one of the plurality of performance operators is operated, a musical tone is played by the operated performance operator. The bass part is selected by the pitch assigned to the performance operator, and the melody part and the chord part are the bass part. If you do not select the assigned pitch, selected according to the priority determined between them, realize playing by causing sound by the musical tone generating apparatus tone by the setting candidate pitch in performance part that the selected Let

The program of the present invention has a melody part, a chord part, and a base part as performance parts, music data storage means for storing music data indicating the performance contents of each performance part, and a performance for a performer to perform With reference to the music data stored in the music data storage means in a computer that can be used as a performance device having a plurality of performance operators, the music data is stored according to the progress of the performance for each performance part. any time the sound of a tone height expressed as a candidate pitch, the pitch setting function of setting, when any of the performance operators of among the plurality of performance operators is operated by the operated performance operator A performance part for generating a musical sound is selected based on the pitch assigned to the performance operator for the bass part, and the melody part and the chord part are selected for the base part. If you do not select spurt by high sound assigned the, selected according priority defined between them, sound control to sound by the musical tone generating apparatus tone by said selected the set candidate pitch in performance parts have And realize the function.

  In the present invention, referring to music data indicating the performance contents of a plurality of performance parts, for each performance part, the pitch of the musical sound represented by the music data according to the progress of the performance is set as a candidate pitch at any time, When one of the performance operators is operated, a performance part that causes the musical sound to be generated by operating the performance operator is selected from the plurality of performance operators, and the selected performance part is selected. A musical tone is generated by the candidate pitch set in (or a pitch specified from the candidate pitch). For this reason, a performer can perform a plurality of performance parts without operating a performance operator for generating a musical sound to be generated, that is, operating a performance operator other than the performance operator. Can do.

  In the performance of the plurality of performance parts, a plurality of performance operators are divided into a plurality of groups, one or more performance parts are assigned to each group, and reference pitch data set for each performance part with reference to music data is set. Among them, it is possible to select candidate pitches used for sound generation by operating the performance operator according to the performance part assigned to the group to which the performance operator belongs. In this case, the performer can select a performance part that generates a musical tone by a performance operator to be operated.

Hereinafter, embodiments of the present invention will be described in detail with reference to the drawings.
<First Embodiment>
FIG. 1 is a configuration diagram of a performance device according to the first embodiment. The performance apparatus according to the present embodiment is a keyboard instrument, and includes a CPU 1 that controls the whole, a ROM (Read Only Memory) 2 that stores programs executed by the CPU 1, various control data, music data to be played, and the like, and a CPU 1 RAM (Random Access Memory) 3 used for work, a keyboard 4 having a plurality of keys (keys as performance operators), a switch group 5 having various operators, and MIDI (Musical Instrument Digital Interface) data, for example. A tone generator 6 that generates waveform data of a musical tone for which pronunciation is instructed, outputs an audio signal obtained by D / A conversion of the waveform data, and amplifies and outputs the audio signal output from the tone generator system 6 An amplifier circuit 7, a speaker 8 that emits a musical tone by an audio signal input from the amplifier circuit 7, a CPU 1, a ROM 2, and a RAM , Keyboard 4, a switch group 5, the bus 9 which connects the tone generator system 6 together, a.

  The CPU 1 executes a program recorded in the ROM 2 to perform control according to an operation performed by the performer (user) on the keyboard 4 or the switch group 5. When an operation is performed on the keyboard 4, a tone generation instruction for a musical tone having a pitch assigned to the operated key is issued to the sound source system 6. As a result of the sound source system 6 generating waveform data and outputting an audio signal to the amplifier circuit 7 in accordance with the instruction, the musical sound is produced by the speaker 8. Thereby, the sound source system 6 corresponds to a musical sound generator. When an operation is performed on the switch group 5, various settings including designation of music data are performed in accordance with the operation element on which the operation has been performed. The musical sound generator may not be mounted on the performance device.

As a mode that can be set by operating the switch group 5, there is a mode in which a musical tone having a pitch specified from music data is generated by a key operation on the keyboard 4 (hereinafter, “any key mode”). The any key mode is a mode according to the present invention. Therefore, for the sake of convenience, the following description will be made on the assumption that the any key mode is set unless otherwise specified. Here, it is assumed that the music data used in the any key mode is selected. The following is also assumed.
(1) There are three performance parts (hereinafter referred to as “target performance parts”) to be performed by the performer: a melody part, a chord part, and a bass part.
(2) For the progress of the performance, an automatic progress method is adopted in which the performance is automatically advanced according to the music data.
(3) The melody part, chord part, and base part data are stored in the music data as data of different channels (hereinafter referred to as “melody channel”, “code channel”, and “base channel”, respectively). Yes.

FIG. 5 is a diagram for explaining the structure of musical sound data constituting the music data.
As shown in FIG. 5, the musical sound data constituting the music data is obtained from the event data indicating the contents of the performance event and the time data indicating the time interval (Δt) until the musical sound data to be processed next is processed. Composed.

  The time interval Δt is expressed in units of the minimum time interval changed by the tempo. The same applies to other times or time intervals. The event data related to the tone generation includes, for example, the event type indicating whether the event is tone generation or mute, the number indicating the tone pitch (hereinafter referred to as “scale number”), and the channel number. It is what you have. Thereby, the music data has a configuration in which musical sound data prepared for each event (musical sound) is arranged in the processing order. Different channels are assigned to the performance parts constituting the music. In the chord part for playing chords (chords), which is one of the performance parts, as chord sounding event data, for example, chord name data indicating the type of chord and root (root) instead of scale numbers. A scale number (root scale number) indicating the pitch of is inserted. The music data or the musical sound data is not limited to the above-described configuration. Further, the music data may be stored in the RAM 3 by being prepared via a communication network or a portable recording medium, instead of being prepared in a nonvolatile memory such as the ROM 2.

  The CPU 1 generates a command to be sent to the sound source system 6 from the event data that is to be processed (hereinafter referred to as MIDI data) and sends it to instruct the start of sound generation or mute. If chord name data and root scale number are inserted in the event data, the pitch of each chord constituent sound is specified from the chord name data and scale number, and MIDI data is generated for each chord constituent sound. And send it out. The timing to be processed is determined in consideration of the operation on the keyboard 4 in addition to the time data in the target performance part, and is determined only from the time data in the other performance parts. Accordingly, when the any key mode is set, the musical sound of the target performance part is emitted according to the performance of the user, and the musical sounds of the other performance parts are automatically emitted.

  When the sound source system 6 receives MIDI data for instructing sound generation from the CPU 1, it generates waveform data for tone generation according to the pitch specified by the scale number (note number) in the MIDI data. The converted waveform data is converted into an analog audio signal and output to the amplifier circuit 7. The generation of the waveform data is performed until the MIDI data instructing the mute is sent from the CPU 1 and actually mute. Generation of such waveform data and output of an audio signal obtained by converting the generated waveform data enable sound emission according to an instruction from the CPU 1.

Hereinafter, the operation of the CPU 1 when the any key mode is set will be described in detail with reference to the flowcharts shown in FIGS. 2 to 4 and 8.
FIG. 2 is a flowchart of the main process. The main process is an excerpt of the main process executed after the power is turned on, and the flow is shown. The main process is realized by the CPU 1 executing the program stored in the ROM 2.

First, in step A1, initial processing is performed. In the initial process, initialization of various variables is performed. After execution of the process of step A1, the process proceeds to step A2.
Steps A2 to A5 form a repetitive loop, and are repeatedly executed at predetermined time intervals, for example.

  In step A2, the automatic performance process shown in FIG. 3 is executed. This is a process that reads music data, sets the pitch of the musical tone that the music data indicates to be played as the candidate pitch for each target performance part that the performer is to perform, and automatically plays the other performance parts. It is. After the execution, the process proceeds to step A3. In the automatic progress method, the setting of the candidate pitch is updated as needed according to the progress of the automatic performance.

  In step A3, the keyboard process shown in FIG. 8 is executed. This is a process for generating a musical tone in accordance with the player's operation on the keyboard 4 (key pressing or key release). Here, the processing executed when the any key mode is set is extracted and shown in FIG. After executing the keyboard process, the process proceeds to step A4.

  In step A4, a sound source sound generation process is executed. The musical tone to be sounded or muted is specified by executing the automatic performance process in step A2 and the keyboard process in step A3, and the MIDI data generated by the specification is stored in an area secured in the RAM 3. The sound source sound generation process is a process for instructing the sound source system 6 to generate or mute the specified musical sound by sending the MIDI data stored in the area to the sound source system 6. The instruction is given and an audio signal is output from the sound source system 6 to the amplifier circuit 7, and as a result, a musical sound is generated through the speaker 8. After executing the sound source sound generation process, the process proceeds to step A5.

In step A5, other processes including responding to the operation on the switch group 5 are executed, and the process returns to step A2.
The pitch data indicating the set candidate pitches is stored in an area secured on the RAM 3 for each performance part. FIG. 6 is a data configuration diagram of the area. As shown in FIG. 6A, pitch data indicating the candidate pitch set in the melody part is stored in the candidate pitch buffer 1. Similarly, the pitch data of the chord part is stored in the candidate pitch buffer 2 shown in FIG. 6B, and the pitch data of the base part is stored in the candidate pitch buffer 3 shown in FIG. 6C. The reason why the pitch data stored in the candidate scale buffers 1 and 3 is one is that it is assumed that both the melody part and the bass part will not sound two or more sounds at the same time. The reason why the pitch data of six pitches can be stored in the candidate scale buffer 2 is that it is possible to handle up to six chords of constituent sounds.

  FIG. 3 is a flowchart of the automatic performance process. The automatic performance process is called at step A2 in FIG. The music data to be processed is read from the ROM 2 and stored in the RAM 3.

  As described above, the musical sound data constituting the music data has a structure in which time data indicating the processing timing of the next musical sound data is added to the event data indicating the contents of the event (FIG. 5). In step B1, it is determined whether or not there is event data at the processing timing indicated by the time data, and when it is determined that there is event data at the processing timing, it is determined whether or not the performance part of the event data is the target performance part. judge. If the event data is for a melody channel, chord channel, or bass channel, the determination is yes and the process moves to step B2, and if none of them is true, the determination is no and the process proceeds to step B3. Transition. If it is determined that there is no event data at the processing timing, the automatic performance processing is terminated here, although not particularly shown.

  In step B2, the candidate pitch capturing process shown in FIG. 4 is executed, the automatic performance process is terminated, and the process returns to the main process in FIG. In the other step B3, normal reproduction processing for automatically performing performance parts that are not performance targets is executed. Thereby, MIDI data is generated from the event data of the performance part that is not the performance target, and the MIDI data is stored in the area secured in the RAM 3. The data stored in the area is used to cause the sound source system 6 to perform actual sound generation and mute at step A4 in FIG. After execution of the normal playback process, the automatic performance process is terminated, and the process returns to the main process of FIG.

  FIG. 4 is a flowchart of the candidate pitch capturing process. The candidate pitch capturing process is called at step B2 in FIG. 3, and stores pitch data in the candidate pitch buffers 1 to 3 shown in FIG.

  In step B2-1, if the event data confirmed to have reached the processing timing in step B1 in FIG. 3 is for the melody part (indicating a musical sound that is pronounced as a melody sound), the event indicated by the event data Depending on the content of the sound (here, either pronunciation or mute), the pitch data constituting it is stored in the candidate pitch buffer 1 in FIG. 6A, or the stored pitch data is cleared. Do. The clear is also expressed as “NODATA”.

  In step B2-2, if the event data confirmed to have reached the processing timing in step B1 in FIG. 3 is that of the chord part, the chord name data inserted in the event data and the root scale number are used. , The pitch data of each constituent sound of the chord is specified, and the specified pitch data is selected from the candidates shown in FIG. 6B according to the event content (in this case, pronunciation or mute) indicated by the event type. Either stored in the pitch buffer 2 or cleared from the buffer 2 to be in a NODATA state.

  In step B2-3, if the event data confirmed to have reached the processing timing in step B1 in FIG. 3 is that of the base part (indicating a musical sound that is pronounced as a base sound), the event in the event data Depending on the content of the event indicated by the type (in this case, either pronunciation or mute), the pitch data corresponding to the scale number inserted in the event is stored in the candidate pitch buffer 3 in FIG. 6C, or Clearing from the buffer 3 is performed. Thereafter, the candidate pitch capturing process is terminated and the process returns to the automatic performance process.

  FIG. 8 is a flowchart of keyboard processing. The keyboard process is called at step A3 in FIG. As described above, the processing executed when the any key mode is set is also extracted here. The musical sound to be generated by operating the keyboard 4 is determined by executing this keyboard process.

  In the keyboard process, the candidate pitch buffers 1 to 3 shown in FIG. 6 are referred to. Further, the update is performed with reference to the AnyKey buffer and the previous key depression buffer in FIG. The AnyKey buffer is used for managing the tone generation in the any key mode, and as shown in FIG. 7A, a keyboard indicating the pitches assigned to the keys actually pressed by the performer. This is an area secured on the RAM 3 so that 10 sets of numbers, pitches actually generated corresponding to the key depression, and channel numbers used for the generation can be stored. In the following, a field for storing a keyboard number is called a keyboard field, a field for storing a pitch (data) is called a “pitch field”, and a field for storing a channel number is called a “channel field”. The number of sets in which data is stored in the AnyKey buffer (not in the NODATA state) matches the number of keys currently being pressed, that is, the number of musical tones being generated. The reason for storing 10 sets of data is that it is possible to simultaneously press up to 10 keys with 10 fingers of both hands. The reason why the channel field is provided is that a musical tone can be generated with a different tone for each performance part.

  As shown in FIG. 7B, the previous key pressing buffer is an area secured on the RAM 3 having the same keyboard field and pitch field as the AnyKey buffer. The keyboard field stores the key number of the key that was pressed last time, and the pitch field stores the pitch data of the musical tone that is pronounced corresponding to the key pressed.

  First, in step C1, a change in the state of a key on the keyboard 4 is determined. If the performer does not perform new key pressing or key release, there is no key whose state has changed, so that determination is made and the keyboard processing is terminated. If the performer performs a new key release, a determination to that effect is made (OFF), and the process proceeds to step C23. If the performer performs a new key press, a determination to that effect (ON) is made. Then, the process proceeds to step C2.

  In step C2, a search for extracting an empty area of the AnyKey buffer is performed. In step C3, which moves to the subsequent step, it is determined whether or not a free area of the AnyKey buffer has been extracted by the search. If the free area can be extracted, the determination is yes and the process moves to step C4. On the other hand, if the empty area cannot be extracted, that is, if ten musical sounds are already being generated, the determination is no and the keyboard process is terminated here.

  As you know, the bass part is played with the instrument responsible for the lowest note. Focusing on this, in this embodiment, a key range (bass key range) is set that can produce the sound of the bass part, and the tone that should be produced by that base part is pronounced according to the operation to that base key range. I try to let them. Except for the base key range, the key range (melody / code key range) that can generate the melody part or chord part tone is used. Therefore, in step C4, it is determined whether or not the newly pressed key is in the base key range. If the performer presses a new key in the bass key range, the determination is yes and the process moves to step C5. Otherwise, the player presses a new key in the melody chord range. If so, the determination is no and the process moves to step C7.

  In step C5, it is determined whether or not there is a bass sound to be played, that is, whether or not pitch data is stored in the candidate pitch buffer 3 of FIG. If pitch data is stored in the candidate pitch buffer 3, the determination is yes and the process proceeds to step C6, and if not, the determination is no and the process proceeds to step C9.

  In step C6, it is determined whether or not a musical tone is being generated based on the pitch data stored in the candidate pitch buffer 3. If the pitch data is stored in any pitch field of the AnyKey buffer in FIG. 7A, the musical tone is being sounded and the determination is YES, and the process proceeds to step C9. As a result, this key press is considered to be used to sound the chord part. Otherwise, the determination is no and the process moves to step C21.

  On the other hand, in step C7, it is determined whether or not there is a melody part musical tone to be generated, that is, whether or not pitch data is stored in the candidate pitch buffer 1 of FIG. If pitch data is stored in the candidate pitch buffer 1, the determination is yes and the process moves to step C8, where the pitch data is not stored, that is, the candidate pitch buffer 1 is in a NODATA state. If YES, the determination is no and the process moves to step C9.

  In step C8, it is determined whether or not the musical sound is being generated based on the pitch data stored in the candidate pitch buffer 1. If the pitch data is stored in any pitch field of the AnyKey buffer in FIG. 7A, the musical tone is being sounded and the determination is YES, and the process proceeds to step C9. Otherwise, the determination is no and the process moves to step C21.

  Steps C9 to C20 are processes in the case of sounding the chord part corresponding to the current key depression. The transition to Step C9 is that if there is no musical sound to be newly generated even if a key in the bass key range is pressed, or if a key in the melody / code key range is pressed, a new melody part is added. This is performed when there is no musical sound to be generated.

  In Step C9, it is determined whether or not there are unsounded sounds among the constituent sounds of the chord. If one or more pitch data is stored in the candidate pitch buffer 2 and some of them are not stored in the pitch field of the AnyKey buffer in FIG. As a result, the determination is YES and the process proceeds to step C10. If no pitch data is stored in the candidate pitch buffer 2 or if one or more pitch data is stored and all of them are stored in the pitch field of the AnyKey buffer, the unsounded component sound The determination is NO and the process proceeds to step C17.

  In step C10, it is determined whether or not the pitch of the key pressed this time is lower than that of the key pressed last time. If the player presses a key with a pitch lower than the key pressed last time, that is, the player presses a key to which a keyboard number smaller than the key number stored in the key field of the previous key pressing buffer is assigned. If the key is locked, the determination is yes and the process proceeds to step C14, and if not, the determination is no and the process proceeds to step C11.

  In step C11, it is assumed that the performer tried to produce a musical tone having a pitch higher than that at the time of the previous key depression, and the pitch field of the AnyKey buffer is stored in the pitch data stored in the candidate pitch buffer 2. No pitch data corresponding to is stored, and the pitch data of the treble higher than the pitch data of the constituent sound that was generated last time is searched. Next, in step C12, it is determined whether or not there is such pitch data. If such pitch data can be found, the determination is yes and the process proceeds to step C21, and if not, the determination is no and the process proceeds to step C13.

  Step C13 is executed when there is an unsounded sound in the constituent sounds of the chord, but there is no higher sound than the pitch data of the constituent sound generated in response to the previous key depression. The In this case, if the unsounded component sound is sounded as it is, it cannot respond to the intention of the player who wants to sound a higher sound component than the previous key depression. Therefore, in step C13, an octave UP conversion process is executed for setting the unsounded component sound to be generated at a pitch one octave higher. As a result, the sound of the chord is pronounced so that it feels natural while reflecting the intention of the performer (the chord is different from the melody and bass, even if the sound is converted in octaves) The natural nature of the performance is preserved). Thereafter, the process proceeds to step C21.

  Steps C14 to C16 are executed when there is an unsounding sound among the constituent sounds of the chord and the performer has pressed a key that is lower than the previous time this time. As a result, it is considered that the performer is trying to produce a lower component sound than when the key was pressed last time, and processing for responding to the intention is performed.

  In step C14, the pitch data stored in the candidate pitch buffer 2 does not contain pitch data in the pitch field of the AnyKey buffer, and the pitch data is lower than the pitch data of the constituent sound generated last time. Search for pitch data. Next, in step C15, it is determined whether or not there is such pitch data. If such pitch data can be found, the determination is yes and the process proceeds to step C21, and if not, the determination is no and the process proceeds to step C16.

  Step C16 is executed when there is an unsounded sound in the chord constituent sound, but there is no lower constituent sound than the pitch data of the constituent sound generated corresponding to the previous key depression. The For this reason, in step C16, an octave DOWN conversion process is executed to set the unsounded component sound to be generated at a pitch lowered by one octave. As a result, the constituent sounds of the chords are pronounced so that they feel natural while reflecting the intentions of the performer.

  Steps C17 to C20 are executed when all chord constituent sounds to be played are being produced. The key pressing operation can be regarded as an expression of the player's intention to generate more musical sounds than the present situation. From the viewpoint of reflecting the intention of the performer in the pronunciation of the actual musical sound, it can be said that it is preferable to generate a sound having a pitch different from that of the constituent sound currently being generated in accordance with the key depression operation. However, since all the constituent sounds to be pronounced have already been pronounced at the time of the transition to Step C17, it is necessary to select a musical sound that does not impair the naturalness of the performance from the musical sounds that are not currently being pronounced.

  As such a musical tone, in the present embodiment, a musical tone is used in which the pitch of any one of the constituent sounds of the chord being generated is converted up or down in octave units. The selection between upper and lower is made based on the pitch relationship between the key pressed last time and this time from the viewpoint of reflecting the intention of the performer in the pronunciation.

  The transition to step C17 is also performed when there is no chord to be generated. In this case, although not shown in particular, the keyboard process is terminated without executing steps C17 to C20.

In step C17, one pitch data is selected from the pitch data stored in the pitch field of the candidate pitch buffer 2 in FIG. After the selection, the process proceeds to step C18.
In step C18, as in step C10, it is determined whether or not the key pressed this time is lower than the key pressed last time. If the player presses a key that is lower than the previously pressed key, the determination is yes and the process moves to step C20, and if not, the determination is no and the process moves to step C19.

  In step C19, as in step C13, octave UP conversion processing is executed for the selected pitch data. Thereafter, the process proceeds to step C21. In the other step C20, the octave DOWN conversion process is executed for the selected pitch data as in the step C16. Thereafter, the process proceeds to step C21.

  At step C21, the pitch of the musical sound to be generated and the performance part of the musical sound are determined. If the performance part is a melody part or bass part, the pitch is a candidate pitch, if it is a chord part, the pitch is a candidate pitch, a pitch one octave higher than that, or a pitch one octave lower than that. is there. In step C21, a command (MIDI data in this case) to be output to the sound source system 6 is generated from the determined pitch and the performance part that generates the musical tone of that pitch, and stored in an area secured on the RAM 3. Further, the keyboard number of the key pressed this time, the pitch data indicating the candidate pitch, and the channel number corresponding to the performance part are stored in each field of the empty area searched in step C2 of the AnyKey buffer. In the subsequent step C22, the previous key pressing buffer in FIG. 7B is updated. That is, the keyboard number of the key pressed this time is stored in the keyboard field, and the pitch data of the tone actually generated by the current key pressing is stored in the pitch field. Thereafter, the keyboard process is terminated.

  In step C23 to which the process proceeds when it is determined in step C1 that the performer has not released a new key, the AnyKey buffer in FIG. 7A is searched, and the key whose keyboard number is currently pressed is searched. Extract the region that matches that of. In the next step C24, it is determined whether or not a matching area has been found. If a matching area can be found, the determination is yes and the process moves to step C25. Otherwise, the determination is no and the keyboard process is terminated here.

  In step C25, if there are a plurality of matching areas, one of them is selected, and a command (MIDI data) to be output to the sound source system 6 is generated using the pitch data of the pitch field and the channel number of the channel field. And stored in an area secured on the RAM 3. In addition, each field of the area storing the data used for generating the command of the AnyKey buffer is cleared to be in a NODATA state. Thereafter, the keyboard process is terminated.

  In this way, the above steps C23 to C25 are executed to respond to the key release operation. As a result of the execution, the constituent sound of the chord that has started sounding by pressing the key is muted by releasing the key. For this reason, the user (performer) can control the period of sound generation for each constituent sound of the chord.

The keyboard processing of FIG. 8 is as described above, and the main features and effects are as follows.
First, by providing priority to a plurality of performance parts, it is possible to generate sound from the sound of the target performance part having a high priority when the performer presses the key. In FIG. 8, it is realized by performing processing in order of priority. As a result, when the performer presses the melody / chord key range, the more important melody part is pronounced in preference to the chord part.

  Second, by changing the priorities of a plurality of performance parts depending on the key range that is pressed, the degree to which the player's intention is reflected in the pronunciation can be increased. In this embodiment, the priority is changed depending on whether or not a key in the base key area is pressed. When a key in the bass key range is pressed, the priority is in the order of the base part and the chord part, and the melody part is ignored. On the other hand, when the melody / code key area is pressed, the priority is in the order of the melody part and the chord part, and the base part is ignored.

  In this embodiment, there are three target performance parts, but the number of target performance parts may be at least greater than that. For example, there may be only two performance parts, a melody part and a chord part. In that case, step B2-3 in FIG. 4, the candidate pitch buffer 3 in FIG. 6C, and steps C4 to C6 in FIG. 8 are unnecessary.

  As for the music data, the data is described separately for each performance part, but the data that is not described separately for each part may be used. In that case, it is only necessary to analyze the performance content and specify the performance part to which the musical sound indicating the pronunciation belongs. Also, the format is not particularly limited. The music data may be acquired via a network or a portable computer-readable storage medium (memory card or the like), instead of being stored in the ROM 2 and prepared.

  The priority between performance parts is changed depending on whether or not a key in the bass key range is pressed. The change may be made by setting a key range for each performance part. The key range may be fixed, but may be changed by the user.

  In the present embodiment, when a key is further pressed under a situation where all the musical sounds to be generated are being generated, the musical sound is further generated by the key pressing. However, in such a situation, it may be possible to prevent further sound generation. That is, the key press may be ignored.

  Not all keys are pressed at the same time to generate a chord. The chords to be pronounced (the constituent sounds) are not always the same. Therefore, instead of selecting the constituent sounds by focusing on the pitch relationship of the keys pressed before and after, select the constituent sounds in a way that considers all the keys pressed for a certain period of time. Anyway. Since the constituent sounds differ depending on the chord, it is desirable to clear the previous key pressing buffer in accordance with the update of the candidate musical scale buffer 2 in order to avoid the influence of the previous chord.

<Second Embodiment>
In the said 1st Embodiment, the automatic progress method which advances a performance automatically along music data is employ | adopted. On the other hand, the second embodiment employs a manual progression method that proceeds by operating the performance operator. This allows players with low skills to perform at a pace that suits them.

  The configuration of the performance device according to the second embodiment is basically the same as that of the first embodiment. The operation is largely the same. For this reason, the description will be made in such a manner that only the portions different from the first embodiment are focused while using the reference numerals given in the first embodiment as they are. Here, the target performance part is assumed to be a melody part and a chord part.

  In the first embodiment, the keys on the keyboard 4 are divided into two groups: a base key range and a melody / code key range. The base key range is the base part, the melody / coat key range is the melody part, and the chord part. Are assigned for the performance of the two performance parts. On the other hand, in the second embodiment, the keys on the keyboard 4 are divided into two groups: a chord key area for chord part performance, and a melody key area for melody part performance other than the chord key area. Thereby, one performance part is assigned to each group. The progress of the performance is performed according to the operation to the melody key range, that is, according to the sound of the musical tone in the melody part.

  In order to enable the progress of the performance as described above, in the second embodiment, the automatic performance process executed as step A2 and the keyboard process executed as step A3 in the main process shown in FIG. Different from the embodiment. In other steps, the processing contents are the same or basically the same. Thus, the automatic performance process and the keyboard process executed in the second embodiment will be described in detail with reference to FIGS.

FIG. 9 is a flowchart of the automatic performance process executed in the second embodiment. First, the automatic performance process will be described in detail with reference to FIG.
The musical tone data to be processed in the music data is shifted by measuring the time interval Δt indicated by the time data constituting each musical tone data. In the second embodiment, when a musical tone to be generated is generated, that is, when pitch data is newly stored in the candidate pitch buffer 1 of FIG. 6A, a melody key that instructs the musical tone to be generated. Until the key is pressed to the area, the time measurement is temporarily stopped, so that the processing of the musical sound data in the music data is advanced in accordance with the performance of the melody part. The time can be measured using a timer interrupt process executed by an interrupt signal generated at a constant time interval (for example, the above-mentioned minimum time interval), or a hardware timer mounted on the CPU 1. Here, it is assumed that the time is measured using the timer interrupt process. The timer interrupt process, for example, increments or decrements a value indicating the measured time (hereinafter referred to as “timer value”) each time it is executed. Time counting by such timer interrupt processing can be stopped by disabling the interrupt signal for executing it.

  First, in step B10, it is determined whether or not the time is being measured. Whether or not the time is being measured can be determined by confirming whether or not the interrupt signal for executing the timer interrupt process is invalid, or confirming whether or not the timer value is updated. As a result of such confirmation, if it is determined that the time is being measured, the determination is yes and the process proceeds to step B11. Otherwise, the determination is no and the automatic performance process ends here.

  In step B11, it is determined whether or not the time interval Δt indicated by the time data (FIG. 5) added to the event data has elapsed since the previous event data was processed. If the previous event data does not exist (the event data to be processed next constitutes the musical sound data located at the head), or the timer value indicates the lapse of the time interval Δt, the determination is YES Then, the process proceeds to step B12. If it is none of these, the determination is no, the automatic performance process is terminated here, and the process returns to the main process in FIG.

  In step B12, the next musical tone data is read from the music data, and the time interval Δt indicated by the time data in the musical tone data is started. The timing is started by setting an initial value for the timer value. In the subsequent step B13, the channel (denoted as “performance ch” in the figure) indicated by the event data in the read musical sound data is determined. If the channel is that of the melody part (melody channel), it is determined to that effect, the process proceeds to step B14, the time measurement is temporarily stopped, and then the automatic performance process is terminated.

  Since the entire performance is advanced in accordance with the performance of the melody part, the pitch data is basically stored in the candidate pitch buffer 1 shown in FIG. In the keyboard processing, by pressing the key to the melody key range, the musical sound data to be processed in the music data is advanced to the musical sound data indicating the next musical sound in the melody part, and the pitch data specified from the musical sound data Is stored in the candidate pitch buffer 1 to prepare for the key depression to the next melody key range. For this reason, the transition to step B14 basically occurs when the performer does not give an instruction to generate a musical sound that has been generated at the melody part within that timing period. This allows the player to control the progress of the entire performance according to his / her performance while waiting for the performer to issue a tone generation instruction for the melody part.

  If it is found that there is no musical tone data to be read in step B12, the automatic performance process is terminated here, although not particularly shown. Step B12 and step B11 are performed in step B1 in the automatic performance process shown in FIG.

  The pitch data is stored in the candidate pitch buffer 1 after the timing for generating the first musical tone of the melody part. For this reason, the musical tone data indicating the pronunciation of the musical tone is read in step B12. When the musical tone data is read out in step B12, the process proceeds to step B14 to temporarily stop timing and store the pitch data in the candidate pitch buffer 1 together. . Whether or not the pitch data should be stored can be determined based on the presence or absence of pitch data stored in the candidate pitch buffer 1.

  On the other hand, if the channel indicated by the event data is that of the code part (code channel), this is determined in step B13 and the process proceeds to step B15. In the chord part event data, chord name data indicating the type of chord and root scale number indicating the pitch of the root are inserted. Therefore, in step B15, the pitch data of each constituent sound of the chord is specified from the chord name data and the root scale number, and the specified pitch data is used for the event content (in this case, the pronunciation and Depending on whether the sound is muted), it is stored in the candidate pitch buffer 2 in FIG. 6B, or cleared from the buffer 2 to be in a NODATA state. The automatic performance process ends thereafter.

  If the channel indicated by the event data is a channel other than the melody part and chord part, that is, a channel such as a rhythm part or a rhythm part, this is determined in step B13 and the process proceeds to step B16. In step B16, MIDI data to be sent to the sound source system 6 is generated from the event data and stored in the RAM 3. Thereafter, the automatic performance process is terminated.

FIG. 10 is a flowchart of keyboard processing executed in the second embodiment. Next, the keyboard process will be described in detail with reference to FIG.
The keyboard processing is extracted from the processing executed when the any key mode is set, as in the first embodiment. Steps having the same processing contents as in the first embodiment or basically the same processing steps are denoted by the same reference numerals (FIG. 12). Thus, the description will be made in a manner that focuses only on portions that are different from the first embodiment.

  First, in step D1, it is determined whether there is a key whose state has changed in the melody key range. If the key whose state has changed due to a new key press or key release is in the melody key range, the determination is YES, the process moves to step D2, and the melody key process for responding to the operation on the melody key range After executing the above, the keyboard process is terminated. If the key whose state has changed is in the chord key range, the determination is no, the process moves to step D3, and after performing accompaniment key processing to respond to an operation on the chord key range, Exit. If there is no newly pressed or released key, it is determined to that effect and the keyboard process is terminated here.

FIG. 11 is a flowchart of the melody key process executed as step D2. Next, the melody key process will be described in detail with reference to FIG.
First, in step E1, it is determined whether or not the change in state is caused by pressing a key. When the performer newly presses a key, information indicating that fact is notified from the keyboard 4 to the CPU 1, so that the determination is YES and the process proceeds to step E 2. Otherwise, the determination is NO Then, the process proceeds to step E6, where MIDI data for instructing the muting of the musical sound generated by pressing the key that has been released is created and stored in the RAM 3, and then the melody key process is terminated.

  In step E2, MIDI data for instructing the pronunciation of a musical tone is generated and stored in the RAM 3 using the pitch data stored in the candidate pitch buffer 1 of FIG. In the subsequent step E3, the musical sound data to be processed in the music data is fast-forwarded (advanced) and read out to musical sound data indicating the sound of the next musical sound in the melody part. In the next step E4, if the time measurement is temporarily stopped, the time measurement is restarted, that is, an interrupt signal for executing (starting) the timer interrupt process is made valid. Thereafter, the process proceeds to step E5, in which pitch data specified from the event data in the read musical tone data is stored in the candidate pitch buffer 1, and an initial value is set to the timer value, and then the keyboard process is terminated.

  In this way, by pressing the key into the melody key range, the pitch data of the musical sound to be generated next by the melody part is stored in the candidate pitch buffer 1, and the performance location is changed to the sounding start timing of the musical sound. . Thereby, the progress of the entire performance is managed according to the performance of the melody part.

  FIG. 12 is a flowchart of the accompaniment key process executed as step D3. Finally, the accompaniment key process will be described in detail with reference to FIG. In this accompaniment key process, steps having the same or basically the same processing contents as those in the first embodiment (FIG. 8) are denoted by the same reference numerals. Accordingly, only the parts different from the first embodiment will be described.

  First, in step F1, it is determined whether or not the change in state is caused by pressing a key. When the performer presses a new key, information indicating that is notified from the keyboard 4 to the CPU 1, the determination is YES and the process proceeds to step C 2. Otherwise, the determination is NO Then, the process proceeds to step C23.

  In the second embodiment, the process proceeds to step C9 after the process of step C3 is executed. The accompaniment key process is terminated by determining NO in step C3 or C24 and executing the process in step 22 or C25.

<Third Embodiment>
In the second embodiment, when a player presses any key in the melody key range, a musical sound to be generated in the melody part is generated. On the other hand, in the third embodiment, the musical sound is generated by pressing the key corresponding to the pitch of the musical sound to be generated by the melody part. This allows the performer to learn the correct key press while allowing the performer to perform at a pace that suits him.

  The configuration of the performance device according to the third embodiment is basically the same as that of the first embodiment, similarly to the second embodiment. The operation is largely the same. For this reason, the description will be made in such a manner that only the portions different from those in the first or second embodiment are focused while using the reference numerals given in the first embodiment as they are. Here, as in the second embodiment, the target performance part is assumed to be a melody part and a chord part.

  In the second embodiment, the keys on the keyboard 4 are divided into two groups: a chord key area for playing a chord part, and a melody key area for playing a melody part other than the chord key area, one for each group. A performance part is assigned. On the other hand, in the third embodiment, when a melody part is played, the player is required to press the correct key, so that only that key is used for playing the melody and the other keys are used for playing the chord. The progress of the performance is performed in response to pressing of the correct key to the melody key range. Since the keys for playing the melody are limited to the correct keys that should be operated in the normal performance, it is possible for the performer to avoid performing the performance in consideration of the key range. Since the number of keys that can be assigned to the performance part (melody part), which is the basis for the performance progress, is minimized, that is, the number of keys that can be assigned to other performance parts is increased. There are also advantages such as a greater degree of freedom in performances and a greater number of performance parts to which keys can be assigned.

  In order to allow the performance of the performance as described above, in the third embodiment, the keyboard process executed as step A3 in the main process shown in FIG. 2 is different from that in the second embodiment. In other steps, the processing contents are the same or basically the same. Therefore, only the keyboard process executed in the third embodiment will be described in detail with reference to FIG. FIG. 13 is a flowchart of keyboard processing executed in the third embodiment. As in the first and second embodiments, the keyboard process is extracted from the process executed when the any key mode is set. Steps having the same processing contents as or basically the same as those in the first embodiment are denoted by the same reference numerals.

  First, in step G1, the state change of the key on the keyboard 4 is determined. If the performer has not pressed and released a new key, there is no key whose state has changed, so that determination is made, and the keyboard process ends here. When the performer performs a new key release, it is determined to that effect (OFF) and the process proceeds to step G8. If the performer has pressed a new key, a determination to that effect is made (ON), and the process proceeds to step G2.

  In step G2, it is determined whether or not the pressed key corresponds to the pitch data stored in the candidate pitch buffer 1 of FIG. If the performer correctly presses the key to be pressed to instruct the next musical tone in the melody part, the determination is yes and the process moves to step G3. Otherwise, the determination is no. To step C2. As a result, it is considered that a chord playing key has been depressed, and processing for responding to the depressed key is executed. On the other hand, the processing contents of steps G3 to G6 are the same as steps E2 to E5 of FIG.

  On the other hand, in step G8, it is determined whether or not the key that has been released has instructed the pronunciation of a musical sound that is being generated in the melody part. If the musical tone is sounded by pressing the key, the determination is YES, the process proceeds to step G9, MIDI data for instructing the muting of the musical sound is generated and stored in the RAM 3, and then keyboard processing is performed. finish. Otherwise, the determination is no and the process moves to step C23.

  In the third embodiment, in the same way as in the second embodiment, in response to a musical sound generation instruction in the melody part, the performance location is advanced to the position of the musical sound to be generated next in the melody part and processed in the music data. Although the target musical tone data is shifted to musical tone data indicating the pronunciation of the musical tone, the performance does not have to proceed in this way. For example, in response to a tone generation instruction in a melody part, the processing after the tone data indicating the tone generation may be advanced.

<Fourth Embodiment>
In the second and third embodiments, the performance is advanced by operating the keyboard 4. On the other hand, in the fourth embodiment, the performance is advanced by operating the performance operators other than the keyboard 4.

  The configuration of the performance device according to the fourth embodiment is basically the same as that of the first embodiment, as in the second and third embodiments. The operation is largely the same. For this reason, the description will be made in such a manner that only the portions different from those of the first, second, or third embodiment are focused while using the reference numerals given in the first embodiment as they are. Here, the target performance part is assumed to be a melody part, chord part, bass part, and rhythm part.

  In the fourth embodiment, a pedal operated by a performer with a foot is assumed as a performance operator other than the keyboard 4 (upper key). Therefore, the performance device according to the fourth embodiment includes an interface 10 for the pedal 20, as shown in FIG. When the any key mode is set, the pedal 20 is made to function as a performance operator for instructing sound generation of the target performance part assigned thereto. The target performance part is a rhythm part, and the progress of the performance is performed according to the operation of the pedal 20. By using the pedal 20 as a performance operator, the performer can easily perform more performance parts at a pace suitable for him.

  In order to enable the progress of the performance as described above, in the fourth embodiment, the automatic performance process executed as step A2 and the other processes executed as step A5 in the main process shown in FIG. Different from the embodiment. In other steps, the processing contents are the same or basically the same. For this reason, only the keyboard processing and other processing executed in the fourth embodiment will be described in detail.

  FIG. 14 is a flowchart of an automatic performance process executed in the fourth embodiment. First, the automatic performance process will be described in detail with reference to FIG. In FIG. 14, the same reference numerals are given to the same components as those in the second embodiment (FIG. 9) or the same processing contents.

  In the fourth embodiment, after execution of the process of step B12, the process proceeds to step H1. In step H1, the channel indicated by the event data in the read musical tone data is determined. If the channel is that of a rhythm part (rhythm channel), it is determined to that effect, the process proceeds to step H2, the time measurement is temporarily stopped, and then the automatic performance process is terminated. If the channel indicated by the event data is that of the melody part, chord part, or base part, that fact is determined in step H1, the process proceeds to step B2, and the candidate pitch capturing process shown in FIG. 4 is executed. After that, the automatic performance process is terminated. Since the contents of the candidate pitch capturing process are the same as those of the first embodiment, the contents of the keyboard process executed as step A3 in the main process shown in FIG. 2 are also the same as those of the first embodiment. Yes.

  Data for generating a rhythm sound by the rhythm part (hereinafter “rhythm sound data”) is an area secured in the RAM 3 for the rhythm part, like the melody part and chord part which are other target performance parts. It is stored in an area (hereinafter referred to as “rhythm buffer”). Since the entire performance is advanced in accordance with the performance of the rhythm part, the storage of the rhythm sound data in the rhythm buffer is basically performed by another subroutine process. In the subroutine processing, as in the second embodiment, when the pedal 20 is pressed, the musical tone data to be processed in the music data is advanced to musical tone data indicating the next rhythm sound pronunciation in the rhythm part, and the musical tone data The rhythm sound data specified from the above is stored in the rhythm buffer to prepare for the next depression of the pedal 20. For this reason, the transition to step H3 basically occurs when the performer does not issue a sound generation instruction for the rhythm sound that has been sounded at the rhythm part within that timing period. This allows the player to control the progress of the entire performance according to his / her performance while waiting for the performer to issue a tone generation instruction for the rhythm part.

  The rhythm sound data is stored in the rhythm buffer after the timing for generating the first rhythm sound of the rhythm part. For this reason, the musical sound data indicating the pronunciation of the rhythm sound is read in step B12. When the musical sound data is read out in step B12, the process proceeds to step H3, where the time measurement is temporarily stopped and the rhythm sound data is also stored in the rhythm buffer. Whether or not to store the rhythm sound data can be determined by the presence or absence of the rhythm sound data stored in the rhythm buffer.

  In the fourth embodiment, information notified from the interface 10 is analyzed to determine a change in the state of the pedal 20, and a pedal process for responding to the determination result is executed in the other processes. Thereby, other processing differs from the first embodiment. Next, the pedal process will be described in detail.

  The flow of processing executed in the pedal processing is basically the same as the melody key processing shown in FIG. Therefore, the contents of the processing executed in each step will be specifically described with reference to FIG.

  In the pedal process, in step E1, the information notified from the interface 10 is analyzed, and it is determined whether or not the pedal 20 has changed its state due to pressing. When the performer presses the pedal 20 anew, information indicating that fact is notified from the interface 10 to the CPU 1, so the determination is YES and the process proceeds to step E <b> 2. If the state change due to the release occurs, the determination is no and the process proceeds to step E6, where MIDI data for instructing to mute the rhythm sound generated by pressing the pedal 20 is created and stored in the RAM 3. The pedal processing is terminated.

  In step E2, MIDI data for instructing rhythm sound generation is generated using the rhythm sound data stored in the rhythm buffer and stored in the RAM 3. In the next step E3, the musical sound data to be processed in the music data is fast-forwarded (advanced) to the musical sound data indicating the sound of the next rhythm sound in the rhythm part and read out. In the next step E4, if the time measurement is temporarily stopped, the time measurement is restarted, that is, an interrupt signal for executing (starting) the timer interrupt process is made valid. Thereafter, the process proceeds to step E5, where the rhythm sound data specified from the event data in the read musical sound data is stored in the rhythm buffer, the initial value is set to the timer value, and the keyboard process is terminated.

  In this way, in the pedal process, the same process as the melody key process in the second embodiment is executed in each step. Thereby, the progress of the entire performance is managed in accordance with the performance of the rhythm part performed by operating the pedal 20.

  In the second to fourth embodiments, the progress of the entire performance (other performance parts) is controlled in accordance with the performance of the performance part of interest. It may be used for progression, and may be advanced by a predetermined unit performance according to the operation of the performance operator. The unit performance may be set by the performer according to the music to be played, or may be automatically set by analyzing the contents of the music data. The performance part of interest and other performance parts to be played are not limited and may be set arbitrarily.

  The performance device according to the present embodiment (first to fourth embodiments) is realized by storing a program to be executed by the CPU 1 in the ROM 2 and executing the program. Such a program may be a CD-ROM, a DVD, Alternatively, it may be distributed by being recorded on a recording medium such as a detachable flash memory. Part or all of the program may be distributed via a communication network such as a public network. In such a case, the user can apply the present invention to a computer by acquiring the program and loading it into a computer that can be used as a performance device. Therefore, the recording medium may be accessible by a device that distributes the program. The computer may constitute a performance device, but can be connected to a device having a plurality of performance operators such as the keyboard 4, that is, can receive data indicating the contents of the performed performance operation. It may be.

It is a block diagram of the performance apparatus by this embodiment. It is a flowchart of a main process. It is a flowchart of an automatic performance process. It is a flowchart of a candidate pitch taking process. It is a figure explaining the structure of the musical sound data which comprises music data. It is a data block diagram of various candidate pitch buffers. It is a data block diagram of an AnyKey buffer and the last key press buffer. It is a flowchart of a keyboard process. It is a flowchart of the automatic performance process performed in 2nd Embodiment. It is a flowchart of the keyboard process performed in 2nd Embodiment. It is a flowchart of a melody key process. It is a flowchart of an accompaniment key process. It is a flowchart of the keyboard process performed in 3rd Embodiment. It is a flowchart of the automatic performance process performed in 4th Embodiment.

Explanation of symbols

1 CPU
2 ROM
3 RAM
4 Keyboard 5 Switch group 6 Sound source system 7 Amplifier circuit 8 Speaker 9 Bus 10 Interface 20 Pedal

Claims (3)

In a performance device having a plurality of performance operators for a performer to perform,
Music data storage means for storing music data indicating the performance content of each performance part , having a melody part, a chord part, and a base part as performance parts ;
A pitch setting means for referring to the music data stored in the music data storage means and setting the pitch of the musical sound represented by the music data as a candidate pitch at any time according to the progress of the performance for each performance part; ,
When any one of the plurality of performance operators is operated, a performance part that causes a musical sound to be generated by the operated performance operator is assigned, and the base part is assigned to the performance operator. The melody part and the chord part are selected according to the priority determined between them when the bass part is not selected according to the assigned pitch. A sound generation control means for causing a musical sound to be generated by a musical sound generator using the candidate pitch set by the pitch setting means;
The performance apparatus characterized by comprising. A plurality of performance operators provided in a performance device having a melody part, a chord part, and a base part as performance parts and having music data storage means for storing music data indicating the performance contents of each performance part are used. A method for realizing a performance by a performer,
With reference to the music data stored in the music data storage means, for each performance part, set the tone pitch of the musical sound represented by the music data as the candidate pitch according to the progress of the performance, as needed,
When any one of the plurality of performance operators is operated, a performance part that causes a musical sound to be generated by the operated performance operator is assigned, and the base part is assigned to the performance operator. The melody part and the chord part are selected according to the priority determined between them when the bass part is not selected according to the assigned pitch. The musical sound is generated by the musical sound generator using the set candidate pitch.
The performance realization method characterized by this. A music data storage means for storing music data indicating the performance contents of each performance part, and a plurality of performance operators for the performer to perform, having a melody part, a chord part, and a base part as performance parts In a computer that can be used as a performance device provided,
A pitch setting function for referring to the music data stored in the music data storage means and setting the pitch of the musical sound represented by the music data as a candidate pitch at any time according to the progress of the performance for each performance part; ,
When any one of the plurality of performance operators is operated, a performance part that causes a musical sound to be generated by the operated performance operator is assigned, and the base part is assigned to the performance operator. The melody part and the chord part are selected according to the priority determined between them when the bass part is not selected according to the assigned pitch. A sound generation control function for causing a musical sound to be generated by a musical sound generator using the set candidate pitch;
A program to realize

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