JP5104293B2 - Automatic performance device - Google Patents

Description

  The present invention relates to an automatic performance apparatus for performing automatic performance by determining a pitch based on performance information such as accompaniment pattern data and a specified chord. In particular, the present invention relates to an automatic performance device that allows a user to easily perform a natural automatic performance without a sense of incongruity simulating a predetermined performance on a stringed musical instrument.

Conventionally, the pitch of performance information such as accompaniment pattern data (also referred to as performance pattern data) prepared in advance is converted based on a separately designated (input) chord (chord), and the pitch-converted performance 2. Description of the Related Art Automatic performance apparatuses that automatically perform performances such as accompaniment based on information are known. An example of a technique related to such automatic performance is the invention described in Patent Document 1 shown below. According to the prior art described in Patent Document 1, accompaniment pattern data for playing a guitar and a pitch conversion table for a guitar that determines the pitch according to each string and position of the guitar are prepared in advance. In addition, when performing an automatic performance imitating a guitar performance, pitch conversion processing based on a specified chord is performed using these. That is, for the note number defined in the accompaniment pattern data for guitar according to the pitch of each accompaniment sound, it is interpreted as string information and position information without interpreting it as pitch information, and this string information and By referring to the pitch conversion table for the guitar corresponding to the specified chord according to the position information, the pitch with natural chord voicing (pitch relation) that matches the specified chord and that seems to be a guitar can be obtained. , And can be determined according to the note number.
JP 2006-258938 A

  By the way, in the prior art described in Patent Document 1 described above, in order to obtain a natural chord voicing during so-called chord stroke performance in which a plurality of musical tones (chord constituent sounds) are generated at the same timing, the performer usually The chord holding method is simulated with six strings, and the chord components are tabulated accordingly. However, in general, the chord where each sound of the chord constituent sounds such as the root (root sound) and the fifth sound differs depending on the type of the chord. For this reason, in the conventional automatic performance apparatus only for “specifying a string” as described above, depending on the type of chord input, a sound with a specific frequency of the chord constituent sound is intentionally set at an appropriate timing. There was a problem that the automatic performance imitating the performance generated by the instrument could not be performed correctly.

  For example, in order to sound a musical tone having a pitch of “C2”, which is the root of the Cmaj chord based on the Cmaj chord, in the first beat, the note number of “E2” designated to use five strings for the first beat. Even if the performance data is created, if the input code is a Gmaj code when performing automatic performance based on this performance data, the first beat is a musical tone having a pitch of “B1”, that is, the first beat is not the root of the Gmaj code. In other words, a musical tone having a third pitch among the chord constituent sounds has been generated. That is, when the input chord is a Gmaj chord, a performance pattern in which the first beat starts from the root note is not established. Furthermore, in a performance pattern in which the first beat starts from the root note, the performance pattern including the base movement may be generated by generating a musical tone having a pitch of “G1” using the sixth string as the third beat. However, even if an attempt is made to create performance data that generates a musical tone having a pitch of “G1” specified to use the 6th string at the third beat with the Cmaj code as a reference, the pitch determination table corresponding to the Cmaj code contains “G1”. No musical tone having a pitch of “G” is prepared, and it is only possible to create performance data for generating a musical tone having a pitch of “G2” on the octave.

  The present invention has been made in view of the above points, and not only an automatic performance that imitates the chord stroke performance of a stringed instrument, but also a natural automatic performance that mimics a predetermined performance of a stringed instrument, in particular, the specification of a chord component sound It is an object of the present invention to provide an automatic performance device in which a user can easily perform an automatic performance imitating a performance that is intentionally generated at an appropriate timing as a bass sound.

An automatic performance device according to the present invention is an automatic performance device that performs automatic performance by determining a pitch based on chord information and performance information sequentially read out from predetermined performance pattern data. Pattern storage means for storing performance pattern data including a plurality of pieces of performance information constituting the performance pattern, wherein the performance information includes order information for designating a specific frequency of chord constituent sounds, Table storage means for storing, for each chord type, a pitch determination table for specifying a pitch based on the order information and the position information; high acquires the chord constituent notes der shall specific frequency of lower pitch than the root of a chord constituent notes corresponding to each playing position of the chord, the chord information in a predetermined chord The pitch determination table is selected according to the acquired chord information, and the pitch is determined with reference to the selected pitch determination table based on the performance information sequentially read from the performance pattern data. A pitch specifying means for specifying, wherein when the pitch of the first beat is the root of the chord constituent sound, the pitch specifying means determines any pitch other than at least the first beat. According to the pitch of the chord constituent sound that is lower than the root tone, and according to the specified pitch, the root tone of the chord constituent tone is set to the first beat and the chord constituent tone is set to any one other than the first beat. It includes control means for generating performance information or musical sounds related to performances composed of performance patterns that emit sounds with pitches lower than the root tone as needed.

According to the present invention, the pitch information is specified using the pitch determination table configured to define the pitch of the chord component sound having a specific frequency lower than the root tone of the chord component sound by the order information and the position information. Then, according to the specified pitch, the root tone of the chord component tone is generated at the first beat, and the tone pattern lower than the root tone of the chord component tone is generated at any time other than the first beat. Performance information or musical sound related to the performance is generated. That is, the pitch determination table, explicitly defined otherwise any particular frequency sounds of lower pitch than the root (for example 5 ons or 3 add-like) of the chord component tones in each chords In addition, according to the rank information that specifies the specific frequency of the chord constituent sounds and the position information that specifies the performance position of the chord in the stringed instrument included in the performance information sequentially read out from the performance pattern data based on this When the pitch of the first beat is the pitch of the root tone of the chord component sound, at least one of the pitches other than the first beat is specified. By doing so, the user of the root of the chord component tones in the first beat, a sound of a specific frequency of lower pitch than the root of the chord component tones in any other than the first beat, the base specific A performance pattern including sound movement can be easily realized regardless of the type of input code.

  The present invention can be constructed and implemented not only as a device invention but also as a method invention. Further, the present invention can be implemented in the form of a program of a processor such as a computer or a DSP, or can be implemented in the form of a storage medium storing such a program.

  According to the present invention, by using the pitch determination table that explicitly defines the pitch of one specific frequency among the chord constituent sounds, the user can perform the performance including the bass sound regardless of the type of chord input. The effect that the pattern can be easily realized is obtained.

  Embodiments of the present invention will be described below in detail with reference to the accompanying drawings.

  FIG. 1 is a hardware configuration block diagram showing an embodiment of the overall configuration of an electronic musical instrument to which an automatic performance apparatus according to the present invention is applied. The electronic musical instrument shown in this embodiment is controlled by a microcomputer including a microprocessor unit (CPU) 1, a read only memory (ROM) 2, and a random access memory (RAM) 3. The CPU 1 controls the operation of the entire electronic musical instrument. For this CPU 1, ROM 2, RAM 3, storage device 4, detection circuits 5 and 6, display circuit 7, sound source / effect circuit 8, communication interface (I / F) via communication bus 1D (for example, data and address bus) 9 are connected to each other. The ROM 2 stores various control programs executed by or referred to by the CPU 1, various data, and the like. The RAM 3 is used as a working memory for temporarily storing various data generated when the CPU 1 executes a predetermined program, or as a memory for temporarily storing a currently executing program and related data. The A predetermined address area of the RAM 3 is assigned to each function and used as a register, flag, table, memory, or the like.

  The storage device 4 is executed by the CPU 1 with various data such as accompaniment pattern data (performance pattern data) for automatic performance, accompaniment style data (see FIG. 2 to be described later), or a pitch determination table (see FIG. 3 to be described later). Various control programs to be stored are stored. When the control program is not stored in the ROM 2 described above, the control program is stored in the storage device 4 (for example, a hard disk) and read into the RAM 3 to store the control program in the ROM 2. It is possible to cause the CPU 1 to perform the same operation. In this way, control programs can be easily added and upgraded. The storage device 4 is not limited to a hard disk (HD), but may be a flexible disk (FD), a compact disk (CD-ROM / CD-RAM), a magneto-optical disk (MO), or a DVD (Digital Versatile Disk). Any storage device may be used as long as it uses a storage medium in the form. Alternatively, a semiconductor memory such as a flash memory may be used.

  The performance operator 5A is, for example, a keyboard provided with a plurality of keys for selecting the pitch of a musical tone, and has a key switch corresponding to each key. (Keyboard etc.) can be used for manual chording by the user's hand-playing and chord designation (input) for automatic performance, as well as means for selecting accompaniment pattern data, etc., or setting timbres, effects, etc. It can also be used as a means. Further, the performance operator 5A may include a multi-pad composed of a plurality of pads. In such a case, accompaniment pattern data is assigned to each pad in advance, so that the performance operator 5A is based on the accompaniment pattern data according to each pad operation. The automatic performance may be appropriately started / finished. The detection circuit 5 generates a detection output by detecting the pressing and releasing of each key of the performance operator 5A or the operation state of each pad.

  The setting operator 6A is a variety of operators such as a mode designation switch for setting the electronic musical instrument in the chord match mode, a data selection switch for selecting accompaniment pattern data, or a button for instructing start / stop of automatic performance. is there. Of course, in addition to the above, the setting operator 6A includes various operators such as a numeric data input numeric keypad and a character data input keyboard for selecting, setting, and controlling the pitch, timbre, effect, and the like. May be. The detection circuit 6 detects the operation state of the setting operation element 6A, and outputs switch information and the like corresponding to the operation state to the CPU 1 via the data and address bus 1D.

  When the user operates the mode setting switch to set the electronic musical instrument to the chord match mode, the arbitrary key range of the keyboard according to the user setting is set to the “code key range”. . In other words, the electronic musical instrument has a key range dividing (split) function, and for example, at a dividing point (so-called split point) that divides the keyboard into two parts, the key range is divided into two parts, the low sound side and the high sound side. Be able to. Then, the key range on the left side of the split point is the “code key range”, and the user can input chords (chords) mainly in the “code key range” with the left hand. On the other hand, the key range on the high pitch side to the right of the split point is set as the “performance key range”, and the user can mainly input performance data such as a melody in the “performance key range” with the right hand. In other words, performance data consisting of note information and event information such as velocity and note-on (or note-off) generated according to the key pressing (or key release) operation for each key is not available for the keys in the “chord key range”. It is used as data for designating a chord to be referred to during automatic performance, and the keys in the “performance key range” are used as data for generating musical sounds as normal keyboard performance (manual performance).

  As the setting of the “code key range”, a division point (so-called split point) for dividing the keyboard into two parts, ie, the low frequency side and the high frequency side, is selected, and the low frequency range side is divided into the “code key range” from this division point. In addition, any appropriate method known in the art may be used. For example, a method may be used in which the user directly selects and sets a pitch range to be set as a “code key range” from all key ranges. Alternatively, a method of “all key chord detection” in which all chords are set as “performance key ranges” without specifying “chord key ranges” and chords are detected from the performance contents of all the key ranges may be employed.

  Returning to the description of FIG. 1, the display circuit 7 displays various screens corresponding to the operation of the setting operator 6A on a display 7A composed of, for example, a liquid crystal display panel (LCD) or a CRT. Various data stored in the ROM 2 and the storage device 4 or the control state of the CPU 1 can also be displayed. The performer can easily select accompaniment pattern data and set various performance parameters by referring to the various information displayed on the display 7A.

  The tone generator / effect circuit 7 can simultaneously generate musical sound signals in a plurality of channels, and can provide performance information (eg, performance data generated based on keyboard operation or accompaniment pattern data) provided via the communication bus 1D. The performance data generated in response to this is input, and the musical sound is synthesized based on the performance information to generate a musical sound signal. An effect can also be given to the generated musical sound signal. A musical sound signal generated from the sound source / effect circuit 8 is generated from a sound system 8A including an amplifier and a speaker. Any conventional configuration may be used for the configuration of the sound source / effect circuit 8 and the sound system 8A. For example, the tone generator / effect circuit 8 may employ any of various tone synthesis methods such as FM, PCM, physical model, formant synthesis, etc., or may be configured with dedicated hardware, or by software processing by the CPU 1. It may be configured.

  A communication interface (I / F) 9 is a MIDI input / output interface that transmits and receives performance data in MIDI format between an external device (not shown) and the electronic musical instrument, and various types of information such as non-MIDI data and control programs. For example, an interface such as RS-232C, USB (Universal Serial Bus), IEEE1394 (Eyetripe 1394), Bluetooth (trademark), an infrared transmitter / receiver, etc. has a function as a data input / output interface. Alternatively, an electronic musical instrument can be connected to an external device (for example, a server device) on the network via a wired or wireless communication network such as a LAN (Local Area Network), the Internet, or a telephone line. It may be a network interface capable of transmitting and receiving MIDI data, various information, a control program, and the like with the server device. Such a communication interface 9 may be both wired and wireless and may include both.

When the automatic performance device according to the present embodiment is applied to an electronic musical instrument, the performance operator 5A is not limited to a keyboard musical instrument, and may be any type such as a stringed musical instrument or a wind instrument. Further, the performance operator 5A, the display 7A, the sound source / effect circuit 8 and the like are not limited to those built in one apparatus body, and each apparatus is configured separately, and each apparatus is configured using communication means such as a communication interface or various networks. Needless to say, the present invention can be similarly applied to a device configured to connect the two.
The automatic musical instrument according to the present invention is not limited to the electronic musical instrument as described above, but can be any electronic musical instrument such as a karaoke device, a game device, a portable communication terminal such as a cellular phone, and an automatic musical piano. -You may apply to equipment. Moreover, the structure of a personal computer and application software may be sufficient.

  In the electronic musical instrument described above, a large number of accompaniment pattern data (performance pattern data) is stored in the storage device 4 or the like, and any one of the accompaniment pattern data is assigned in advance to each pad of the multi-pad described above. The accompaniment performance is automatically performed by appropriately reading the accompaniment pattern data assigned to the pad according to the above. Accordingly, accompaniment pattern data employed in the electronic musical instrument will be described with reference to FIG. FIG. 2 is a conceptual diagram showing an example of the data structure of accompaniment pattern data used for automatic performance in the present embodiment. The accompaniment pattern data PD is data for accompaniment with a short performance section for one phrase, for example, composed of a performance pattern simulating the performance mode of a predetermined stringed instrument, and the user can reproduce this data once or repeatedly during the operation of the pad. Automatic accompaniment for the desired performance length (performance section) can be performed. In the present embodiment, the accompaniment pattern data created exclusively for the 6-string guitar is particularly referred to as accompaniment pattern data PD (g).

  As shown in FIG. 2, the accompaniment pattern data PD is composed of header data, a sequence of timing data and performance data, and end data. The header data is data located at the beginning of the accompaniment pattern data. In addition to the music, pattern name, tempo, tone, etc., the accompaniment pattern data is dedicated to the guitar (PD (g)). In the case of dedicated information for guitar, information indicating whether it is for arpeggio performance or stroke performance is further defined. The timing data is data that defines the playback timing of the performance data located immediately after it in terms of the absolute time from the beginning of the song or the beginning of each measure, or the relative time from the previous event. The performance data can be divided into a plurality of types depending on the contents, but here, the performance data is mainly event data for instructing automatic performance such as note-on, note-off, program change, volume, and effect. End data is data indicating the end of the accompaniment pattern data.

  The performance data is composed of a note number, a duration indicating the duration of sound generation, a velocity indicating the sound intensity, and other data. In general, accompaniment pattern data is configured in SMF (Standard Midi File) format, note numbers take values from “0” to “127”, and the pitches increase from low to high in order of increasing numbers. It is associated. That is, in the normal accompaniment pattern data PD other than the guitar-specific accompaniment pattern data PD (g), the pitch name (eg “C”) and octave (eg “2”) are based on the note number (eg “48”). It will be specified. In the octave notation in the present embodiment, the center C (note number 60) is indicated as “C3”. On the other hand, in the accompaniment pattern data PD (g) dedicated to each guitar for stroke performance and arpeggio performance used in the present embodiment, the structure of the note number (numerical values “0” to “127”) is a normal accompaniment pattern. It is exactly the same as the data PD. However, in the present embodiment, when the accompaniment pattern data PD (g) dedicated to the guitar is reproduced (automatic performance), the interpretation of the note number is made different from that of the normal accompaniment pattern data PD. The note number of the accompaniment pattern data PD (g) is not substantially interpreted as pitch information. This will be described below.

  Regarding the note number of the accompaniment pattern data PD (g) for stroke performance, information corresponding to the pitch name is interpreted as “string information”, and information corresponding to the octave is interpreted as “position information”. “String information” is information that defines which one (one) of the first to sixth strings of the guitar should be pronounced. In a guitar, there are a plurality of positions (how to press each string) where a certain chord component can be played. “Position information” is information defining one of the plurality of positions. For example, if the note number is “59” which defines the pitch “B2”, the “B” indicating the pitch name is interpreted as string information and defines the string “1 string” to be pronounced, and the octave is The indicated “2” is interpreted as position information and defines the position “pos1”. Therefore, in the accompaniment pattern data PD (g) for stroke performance, “B2”, “E3”, etc., which are combinations of string information and position information, have no meaning as pitch information.

  On the other hand, for the note number of the accompaniment pattern data PD (g) for arpeggio performance, information corresponding to the pitch name is interpreted as “order information”, and information corresponding to the octave is interpreted as “position information”. The “order information” is information that fixes the number of chord constituent sounds to be pronounced in the arpeggio performance to 4 sounds and defines the order of relative pitches of the 4 sounds. The “position information” is the same as the position information in the case of the stroke performance. For example, if the note number is “59” that defines the pitch “B2”, “B” indicating the pitch name is interpreted as order information, and the pitch order (for example, a chord component sound). (2), which is the highest note among the four sounds, is defined, and “2” indicating the octave is interpreted as position information to define the position “pos1”. Therefore, in the accompaniment pattern data PD (g) for arpeggio performance, “B2”, “E3”, etc., which are combinations of order information and position information, have no meaning as pitch information.

  In the embodiment, automatic accompaniment can be performed by using accompaniment style data SD in addition to the accompaniment pattern data PD. The accompaniment style data SD is also accompaniment data, and its data format is also accompaniment pattern data PD. Is the same. As for the accompaniment style data SD, the one prepared exclusively for the 6-string guitar is particularly referred to as accompaniment style data SD (g). In the accompaniment style data SD, the interpretation of the note number differs between the accompaniment style data SD and the accompaniment style data SD (g), just as in the case of the accompaniment pattern data PD. Needless to say, accompaniment style data SD (g) is prepared for stroke performance and arpeggio performance, respectively.

  FIG. 3 is a conceptual diagram showing an embodiment of a guitar pitch determination table. Two guitar pitch determination tables are prepared for each chord, one for stroke performance and one for arpeggio performance. Here, Cmaj (C major) chord is shown in FIG. 3A and EM9 (FIG. 3B). Each pitch determination table for (E major, 9th) chord is shown. In addition to this, a large number of tables for each code are prepared, and a group of these tables is stored in advance in, for example, the ROM 2 or the storage means 4.

  The pitch determination table for stroke performance is configured such that one pitch is defined by string information and position information. The string information “D, E, F, G, A, B” defines that the sixth, fifth, fourth, third, second, and first strings are sounded, respectively. On the other hand, position information “2 (C2-B2), 3 (C3-B3), 4 (C4-B4), 5 (C5-B5)” defines positions pos1, pos2, pos3, and pos4, respectively. In a six-string guitar, there are a plurality of positions at which the same pitch name or chord can be generated depending on the combination of the string and the fret position. Each of the positions pos1 to 4 is set in advance so that the user can reasonably press the fret with the guitar and the constituent pitches are natural voicing like a guitar. For example, in the example of FIG. 3A, any of the positions pos1 to pos4 is natural voicing of the Cmaj code. In the pitch determination table, “x” indicates mute (no sound is generated).

  As described above, the accompaniment pattern data PD (g) for stroke performance and the accompaniment style data SD (g) for stroke performance are both created based on information about which string is to be sounded at which position is pressed. These note numbers correspond to, for example, the sixth, fifth, fourth, third, second, and first strings “D2 to D5, E2 to E5, F2 to F5, G2”, respectively. G5, A2-A5, B2-B5 ". On the other hand, of the pitch determination table for stroke performance, which chord is to be used for pitch conversion depends on the codes (hereinafter referred to as input codes) that are sequentially input (designated) in the chord range of the keyboard. Determined. For example, when a Cmaj chord is input, a pitch determination table for stroke performance associated with the Cmaj chord shown in FIG. 3A is used, and the string information is “F”. Based on the performance data whose position information is “3” (note event of note number “65”), the pitch “G2” is determined as the converted pitch. When the EM9 code is input, the pitch determination table for stroke performance associated with the EM9 code shown in FIG. 3B is used, the string information is “F”, and the position information is “3”. Based on the performance data (note event of note number “65”), the pitch “B2” is determined as the converted pitch.

  On the other hand, the pitch determination table for arpeggio performance is configured to define one pitch by order information and position information. The order information “D, E, F, G, A, B” defines the chord constituents to be pronounced in the arpeggio performance by the order of the relative pitch of each chord. Is. On the other hand, position information “2 (C2-B2), 3 (C3-B3), 4 (C4-B4), 5 (C5-B5)” defines positions pos1, pos2, pos3, and pos4, respectively. The position information defines one pitch on any one of the first to sixth strings of the guitar. As described above, in a six-string guitar, there are a plurality of positions at which the same pitch or chord can be generated depending on the combination of the string and the fret position. Each of the positions pos1 to 4 is set in advance so that the user can actually press the fret with the guitar and the constituent sounds are natural voicing like a guitar.

  As can be understood from the figure, in the pitch determination table for arpeggio performance shown in the present embodiment, “D” having the lower pitch among the order information “D, E, F, G, A, B”. And “E” is defined as “×” mute (no sound). That is, the correspondence with the order of the pitch of the sound is four sounds up to “B, A, G, F” (since only one sound per string can be pronounced at the same time when playing the guitar, 4 (Suggesting that each sound is produced using four different strings), that is, using only a predetermined number of strings (four strings) less than the number of strings the guitar has (here, six strings as an example) The order of the chord constituent sounds when the arpeggio performance is performed is defined by assigning four to “B, A, G, F” in descending order.

  This is because, as a typical arpeggio performance form on a guitar that is a stringed instrument, it is rare to use all six strings when playing a certain chord, and it is often performed mainly using only four strings. All the pitches that can be produced by each of the strings from “1st string” to “6th string” are 4 sounds from “B, A, G, F” (any one from 1st string to 6th string) Or 4 strings). That is, the pitch defined for the four sounds from “B, A, G, F” is not necessarily one of a plurality of pitches that can be generated by each of the strings “first string” to “fourth string”. Is not only defined. For example, in the pitch determination table for arpeggio performance associated with the Cmaj chord shown in FIG. 3A, “C2” is associated with “F” at position pos1, but “C2” is This is a pitch that cannot be pronounced from the fourth string of an actual guitar, and is originally produced from the fifth or sixth string as defined in the pitch determination table for stroke performance. Is high. Thus, unlike the above-described pitch determination table for stroke performance, the pitch determination table for arpeggio performance is not created with information on which string is to be sounded at which position is pressed. .

  As described above, the accompaniment pattern data PD (g) for arpeggio performance and the accompaniment style data SD (g) for arpeggio performance both indicate which pitch of the chord component sounds at any position. These note numbers are generated in accordance with, for example, the fourth sound, the third sound, the second sound, and the first sound in ascending order, “F2 to F5, G2 to G5”, respectively. , A2-A5, B2-B5 ". On the other hand, which chord to use for pitch conversion in the pitch determination table for arpeggio performance is determined by chords (hereinafter referred to as input chords) that are sequentially input (designated) in the chord range of the keyboard. This is the same as the pitch determination table for stroke performance described above.

  Further, in each pitch determination table for stroke performance and arpeggio performance shown in the present embodiment, in addition to the order information “D, E, F, G, A, B”, the order information “C #, C And the position information define a pitch of one specific frequency (rank). “C #, C”, which is ranking information, defines a pitch of a specific frequency such as a root (root sound) or 5 degrees among chord constituent sounds to be pronounced. As will be described in detail later, this is designed to be able to deal with a performance pattern or the like that intentionally generates a sound with a specific frequency (root, 5 degrees) among chord constituent sounds. (For example, see FIG. 7 described later). Note that the order information is not limited to “C #, C”, and any note name may be associated as long as it is not used in the order information “D, E, F, G, A, B”. Good.

  The present embodiment is configured so that two types of automatic performances of automatic accompaniment using a multi-pad and automatic accompaniment using an accompaniment style can be performed simultaneously.

  In automatic accompaniment using a multipad, accompaniment pattern data PD is assigned to each pad of the multipad, and when the user presses a desired pad, the accompaniment pattern data PD assigned to the pad is read, Automatic accompaniment is performed based on the accompaniment pattern data PD. Each of the pads can be assigned any of the ready-made accompaniment pattern data, the edited version of the ready-made accompaniment pattern data, and the post-created one by the user. Furthermore, the accompaniment pattern data PD assigned to each pad can be made different according to the performance style, mode, etc., and a desired one of the accompaniment pattern data PD larger than the number of pads is practically used for assignment. You can choose.

  On the other hand, in the automatic accompaniment using the accompaniment style, for example, the user selects one from a plurality of types of accompaniment style data SD stored in the ROM 2 or the storage device 4 and a playback start button (not shown) of the setting operator 5A. ) To enable the pitch conversion function for automatic accompaniment using the accompaniment style. Then, the selected accompaniment style data SD is read out, and automatic accompaniment is performed based on it. The accompaniment style data SD includes any of ready-made items, edited versions of ready-made items, and items created afterwards by the user.

  As for the accompaniment pattern data PD and the accompaniment style data SD, ready-made ones are stored in the ROM 2, and edited or created later are stored in the storage device 4. In addition, song data (not shown) is also stored in the ROM 2. Hereinafter, these data are collectively referred to as “automatic performance data”. In automatic accompaniment, a plurality of accompaniment pattern data PD can be reproduced in parallel, and automatic accompaniment based on accompaniment pattern data PD can be performed in parallel with automatic accompaniment based on accompaniment style data SD.

  During automatic accompaniment, the electronic musical instrument can be set to the chord match mode by a mode designation switch (not shown) of the setting operator 6A. In this chord match mode, chord input by key division is possible as described above, and an automatic accompaniment sound based on accompaniment pattern data PD (g) selected in advance by the user is based on the input chord. And it is sounded with the pitch determined with reference to the pitch determination table for guitar.

  In addition, the automatic accompaniment sound based on the accompaniment pattern data PD not dedicated to the guitar is pitch-converted using a pitch conversion table stored separately from the guitar pitch determination table. Since there is, explanation is omitted. On the other hand, in the non-code match mode, the accompaniment pattern data PD that is not dedicated to the guitar is simply pronounced at the pitch of the note number, but the note number of the guitar-specific pattern data PD (g) has the meaning of the pitch. Because it does not have, reproduction is prohibited. The accompaniment style data SD and SD (g) are always converted to match the chord, so there is no concept of chord match mode / non-chord match mode. The chord conversion method is the same as in the case of accompaniment pattern data PD and PD (g). Also, depending on the types of accompaniment pattern data PD and accompaniment style data SD, there are some that are not made to convert the pitch (for example, data including melodic phrases that are converted according to the chord) If the phrase is broken), the automatic accompaniment sound is not changed even if a chord is input. Alternatively, it is converted into a pitch that is translated by the difference of the route.

  Next, in the electronic musical instrument shown in the present embodiment, automatic accompaniment is executed while converting the pitch according to accompaniment pattern data (or accompaniment style data) prepared (or acquired) in advance and the input chord. Processing will be described with reference to FIGS. FIG. 4 is a flowchart showing an example of “main processing”. This process is a process that the CPU 1 starts in response to power-on of the electronic musical instrument.

  Step S1 executes an initialization process. The initialization processing includes clearing registers and initial setting of the current setting / operation state (state information) when the power is turned on. In step S2, “panel setting processing” is executed. This “panel setting process” accepts an operation of the setting operator 6A (including a multipad (not shown)) and performs device setting and the like. In step S3, "automatic performance processing" is executed. This will be described later (see FIG. 5). In step S4, "sound generation process" is executed. In this “sound generation process”, for example, after reproducing data (reproduction performance information) generated in accordance with the execution of step S3, an effect process is added to a musical sound signal generated based on the read data. Musical sound is generated (sounded) by outputting to the sound system. In addition to this, a musical tone is generated (sounded) based on a performance signal generated in response to manual operation of the keyboard by the user in parallel or independently. After the “sound generation process” is completed, the process returns to the process of step S2, and the processes of steps S2 to S4 are repeatedly executed.

  FIG. 5 is a flowchart showing an example of “automatic performance processing” (see step S3 in FIG. 4). In step S11, it is determined whether or not the code match mode is set. When it is determined that the chord match mode is set (when the accompaniment style data is reproduced, the chord match mode is always set) (YES in step S11), whether or not a chord is input in the “chord key range”. Is determined (step S12). Here, even if the key is pressed in the “code key range”, if the key is not formed as a code, it is determined that there is no code input. If the code match mode is not set or no code is input even if it is set (NO in either step S11 or step S12), the process proceeds to step S14 while the code is input. If there is (YES in step S12), the data indicating the input code is retained (step S13), and then the process proceeds to step S14.

  In step S14, it is determined whether or not the automatic performance is being executed. The automatic performance here includes not only automatic accompaniment based on the accompaniment pattern data PD or accompaniment style data SD described above, but also reproduction of song data. If it is determined that the automatic performance is not being executed (NO in step S14), the process ends. On the other hand, if it is determined that the automatic performance is being executed (YES in step S14), the currently performed automatic performance data is read (step S15), and the pronunciation is generated at the current timing among the read automatic performance data. It is determined whether there is data to be processed (step S16). If it is determined that there is no data to be sounded (NO in step S16), the process ends.

  On the other hand, if it is determined that there is data to be sounded (YES in step S16), it is determined whether or not the code match mode is set (step S17). When it is determined that the chord match mode is set (YES in step S17), it is determined whether the data to be sounded at the current timing is either the accompaniment pattern data PD or the accompaniment style data SD. (Step S18). When the chord match mode is not set, or even if the chord match mode is set, the data to be sounded at the current timing is neither the accompaniment pattern data PD nor the accompaniment style data SD (song data or the like). (NO in either step S17 or step S18), the reproduction data that is the performance data for reproduction is generated based on the data without converting the pitch (step S19), and the process of step S26 is performed. move on.

  On the other hand, as a result of the determination in step S18, if the data to be sounded at the current timing is the accompaniment pattern data PD or the accompaniment style data SD (YES in step S18), the data is the guitar type conversion target data. It is determined whether or not there is (step S20). Here, the guitar type conversion target data is the above-described accompaniment pattern data PD (g) or accompaniment style data SD (g). If it is determined that the data is not guitar type conversion target data (NO in step S20), the data is normal (that is, not dedicated to guitar) accompaniment pattern data PD or accompaniment style data SD, so the guitar described above. Refers to the pitch conversion table stored separately from the pitch determination table, converts the pitch (note number) of the data based on the input code defined by the stored data and converts Data for reproduction is generated at a later pitch (step S21).

  If it is determined that the data is guitar type conversion target data (YES in step S20), the data is dedicated guitar type accompaniment pattern data PD (g) or accompaniment style data SD (g). Further, it is determined whether the data is “Arpeggio performance type” or “Stroke performance type”. Data indicating these types is stored in advance in accompaniment pattern data PD (g) or accompaniment style data SD (g). If it is determined that the data type is “Arpeggio Performance Type” (YES in Step S22), the pitch determination table for the guitar to be used is specified for the arpeggio performance corresponding to the held chord, The guitar-type pitch conversion (specification) processing is executed with reference to (step S23). On the other hand, if it is determined that the data type is not “Arpeggio performance type” (NO in step S22), the pitch determination table for the guitar to be used is specified for the stroke performance corresponding to the held chord, With reference to this, a guitar-type pitch conversion (specification) process is executed (step S24). That is, the pitch determination table (for the specified arpeggio performance or stroke performance corresponding to the input code) is used as the pitch according to the combination of the order information in the note number of the data and the order information and the position information. Determine with reference to FIG.

  Here, as described above, in the accompaniment pattern data PD (g) or the accompaniment style data SD (g), the note number has no meaning in terms of pitch in terms of data interpretation in automatic accompaniment processing, and is generated for reproduction. Since it is only used to specify the pitch of the data, the concept of “pitch conversion” is not strictly correct regarding the processing of step S23 and step S24 (“pitch specification” or “pitch determination”). Etc.) However, since this processing corresponds to the conventional pitch conversion method (step S21) in which the note number is converted based on the input code, it is referred to as “guitar type pitch conversion (specific) processing” for convenience. ing.

  In step S25, reproduction data is generated with the specified pitch. In step S26, it is determined whether or not there is other read automatic performance data that should be processed simultaneously at the current timing. If there is something to be processed simultaneously (YES in step S26), the process returns to step S17. If there is nothing to be processed simultaneously (NO in step S26), the process ends.

  Next, the result of pitch specification by the guitar type pitch conversion (specification) processing in the present embodiment is compared with the conventional one. FIG. 6 is a diagram showing the result of pitch specification when executing the arpeggio performance on the staff.

  For example, the accompaniment pattern data PD (g) created based on the Cmaj code includes performance data consisting of eight note numbers, each of which is “E5, G5, F5, G5, A5, G5, F5, G5” If the input code is Cmaj code when executing the arpeggio performance based on this, since the position information is “5” for any performance data, the pitch in position pos4 in each pitch determination table shown in FIG. Is determined as the pitch of the reproduction data. Here, in conventional pitch conversion, that is, pitch conversion using the pitch determination table for stroke performance shown in FIG. 3, "5, 3, 4, 3, 2, 3, 4, 3" respectively. The pitch of each string is determined as the pitch of the reproduction data, and an arpeggio performance as shown in the left diagram of FIG. 6A is realized.

  On the other hand, assuming that the input code is an EM9 code, in the pitch conversion using the pitch determination table for stroke performance, “5, 3, 4, 3, 2, 3, 4, 3”, respectively, as described above. The pitch on each string is determined as the pitch of the playback data. In the case of the EM9 chord, the fifth string is muted. As shown in Fig. 2, the arpeggio performance is an incomplete performance that is not established as an arpeggio performance.

  This is compared with the pitch conversion according to the embodiment of the present invention, that is, the pitch conversion using the pitch determination table for arpeggio performance shown in FIG. In this case, the accompaniment pattern data PD (g) created on the basis of the Cmaj code is performance data composed of 8 note numbers, which are “F5, G5, F5, G5, A5, G5, F5, G5”, respectively. Shall be included. When executing an arpeggio performance based on this, even if the input code is Cmaj code or EM9 code, the pitch conversion using the pitch determination table for arpeggio performance is “4, 3, 4, 3, 2”, respectively. , 3, 4, 3 ”is determined as the pitch of the reproduction data, and the arpeggio performance shown in FIG. 6B is realized. As can be seen from this figure, especially when the input code is EM9 code, the first sound that was muted and cannot be pronounced in the past is not muted (that is, the sound is lost at the timing at which it should be pronounced). (None) You will be able to pronounce music.

  In addition, as described above, in the present embodiment, one specific frequency (rank) is determined by the rank information “C #, C” and the position information separately from the order information “D, E, F, G, A, B”. The pitch determination table is configured so as to prescribe the pitch of (), so that a performance pattern as shown in FIG. 7, that is, an arbitrary specific frequency (root, 5 degrees, 3 degrees, etc.) of chord constituent sounds is obtained. It is possible to cope with performance patterns that intentionally generate sounds as base sounds. This will be described below.

  For example, as shown in FIG. 7A, as accompaniment pattern data for arpeggio performance, a musical tone having a pitch of “C2”, which is the root of the Cmaj chord, is generated on the first beat with reference to the Cmaj chord. Even if performance data consisting of note numbers “F2, (B2, A2, G2), etc.” whose beats are shown in parentheses () are created, the input code is EM9 code when performing an arpeggio performance based on this performance data. The first beat is a musical tone having a pitch of “G # 2” (indicated by a dotted line in FIG. 7B), that is, the first beat is not the root note “E2” of the EM9 chord, but a chord component A musical tone having a pitch of “G # 2” of the third degree is pronounced. That is, when the input code is an EM9 code, a performance pattern in which the first beat starts from the root note is not established. Further, in a performance pattern in which the first beat starts from the root note, the performance pattern including the base movement may be generated by generating a musical tone having a pitch of “G1” as the third beat. However, even if an attempt is made to create performance data that produces a musical tone with the third beat “G1” based on the Cmaj code, an arpeggio performance pitch determination table corresponding to the Cmaj code (however, the rank information “C In the case of “#, C” not included), a musical tone having a pitch of “G1” (a corresponding note number) is not prepared, and a musical tone having a pitch of “G2” indicated by a dotted line in FIG. The performance data can only be created so as to sound (note number “G2” in the corresponding accompaniment pattern).

  However, in addition to the pitch conversion according to the embodiment of the present invention, that is, the order information “D, E, F, G, A, B”, the order information “C #, C” and the position information have one specific frequency. According to the pitch conversion using the pitch determination table configured to define the (rank) pitch, it is possible to easily realize the performance pattern including the bass sound as described above. That is, by explicitly defining in the pitch determination table rank information corresponding to a sound of an arbitrary specific frequency (root, 5 degrees, 3 degrees, etc.) among the chord constituent sounds in each chord, the first beat Performance data consisting of note number “C2” for simulating the root note in each chord and note number “C # 2” for simulating the fifth sound of the chord constituents in the third beat (example shown in FIG. 7) Then, “C2, (B2, A2, G2), C # 2, (B2, A2, G2)”) can be created. It becomes possible to easily realize the performance pattern including the code regardless of the input chord.

  As described above, according to the present embodiment, in the automatic performance, when the reproduction data is generated based on the read automatic performance data and the input code, the automatic performance data is the accompaniment pattern data PD (g) or the accompaniment style. In the case of data SD (g), the pitch determination table for the arpeggio performance corresponding to the input code is based on the pitch information of the reproduction data to be generated based on the order information and position information in the note numbers. To be determined. In particular, the pitch determination table for arpeggio performance prepared separately from for stroke performance simulates six strings as for stroke performance, and always produces one pitch for each string (or mute). Rather than associating, the main sound of the chord (chord) when playing with 4 notes is simulated, so that all 4 notes are always associated with one pitch. Not attached). Moreover, even in the pitch determination table for arpeggio performance, there is no fear that the pitch of two or more pitches corresponds to one string, and it is suitable for a guitar. Each pitch is set to achieve natural voicing. Therefore, regarding automatic performance of arpeggio performances, when determining the pitch of the playback data to be suitable for guitar accompaniment, the sound may be lost at the timing at which the original musical sound should be generated (no musical sound is generated). In addition, it is possible to easily realize an arpeggio performance without a sense of incongruity that is similar to chord voicing in an actual performance.

  In the pitch determination table, rank information is provided separately from the above-described order information, and based on the rank information and position information in the note number of the accompaniment pattern data PD (g) or the accompaniment style data SD (g). Thus, the pitch of the reproduction data to be generated is determined to be a pitch of one specific frequency (rank) in the chord constituent sounds. As a result, when creating a performance pattern that adds basic movement to an arpeggio performance, it is possible to explicitly include sounds of arbitrary order in chord constituent sounds such as root sounds and fifth-degree sounds. It is possible to easily realize a performance pattern including a bass sound in the chord type.

  Further, the accompaniment pattern data PD and the accompaniment style data SD are created in a MIDI format, and only the accompaniment pattern data PD (g) and the accompaniment style data SD (g) created specifically for the guitar are used to record their note numbers. Rather than interpreting it as pitch information, use the pitch determination table for the arpeggio performance by interpreting the position (pitch) when playing the chord component to be pronounced and the order or rank in that position. To determine the pitch. Therefore, the accompaniment pattern data PD (g) and accompaniment style data SD (g) dedicated to the guitar have basically the same configuration as the normal automatic performance data, and therefore it is easy to perform automatic performance processing in parallel with them. It is. Further, since the accompaniment pattern data PD (g) and the like are configured in an off-the-shelf data format, the configuration for creating or reproducing the accompaniment pattern data does not have to be complicated.

It should be noted that automatic performance data dedicated to the guitar and to be reproduced by converting the pitch according to the input chord is accompanied by at least order information (and order information) and the order information (and order information). It is sufficient that the data has a configuration corresponding to the position information, and is not limited to data in the MIDI format such as the accompaniment pattern data PD (g) and the accompaniment style data SD (g).
In this electronic musical instrument, a mode for performing automatic accompaniment dedicated to guitar is provided, and in this mode, only automatic accompaniment data dedicated to guitar such as accompaniment pattern data PD (g) and accompaniment style data SD (g) can be selected. If configured, it is not necessary to include data indicating guitar-specific data in the header data.

In this embodiment, the accompaniment pattern data PD (g) and the accompaniment style data SD (g) are dedicated to a six-string guitar. However, the present invention is not limited to this, and accompaniment pattern data for other stringed instruments such as a bass and the like. A corresponding pitch determination table may be created to realize automatic accompaniment with various stringed instrument sounds.
In the above-described embodiment, the pitch determination table for stroke performance also has one specific frequency (rank) for rank information and position information in addition to the order information, similarly to the pitch determination table for arpeggio performance. The pitch is defined. In this way, it is possible to easily realize a performance pattern including a bass sound regardless of the input chord even during stroke performance.
Further, the chord may be input from an external device in the form of a MIDI message or the like, or may be performed by reproducing chord progression data stored in advance.

1 is a block diagram of a hardware configuration showing an embodiment of an overall configuration of an electronic musical instrument to which an automatic performance device according to the present invention is applied. It is a conceptual diagram which shows one Example of the data structure of accompaniment pattern data. It is a conceptual diagram which shows one Example of the pitch determination table for guitars. It is a flowchart which shows one Example of a main process. It is a flowchart which shows one Example of an automatic performance process. It is the figure which showed the pitch of the pitch specific result at the time of an arpeggio performance on the staff. It is the figure which showed the performance pattern which produces | generates the sound of arbitrary specific frequency as a base sound among chord constituent sounds on the staff.

Explanation of symbols

DESCRIPTION OF SYMBOLS 1 ... CPU, 2 ... ROM, 3 ... RAM, 4 ... Storage device, 5, 6 ... Detection circuit, 5A ... Performance operator, 6A ... Setting operator, 7 ... Display circuit, 7A ... Display, 8 ... Sound source / effect Circuit, 8A ... Sound system, 9 ... Communication interface, 1D ... Communication bus

Claims (1)

An automatic performance device for performing automatic performance by determining pitch based on chord information and performance information sequentially read out from predetermined performance pattern data,
Pattern storage means for storing performance pattern data including a plurality of pieces of performance information constituting a performance pattern simulating performance on a predetermined stringed instrument, wherein the performance information specifies a specific frequency of chord constituent sounds Consisting of rank information and position information for specifying the playing position of a chord in the stringed instrument;
A table storage means for storing a pitch determination table for specifying a pitch based on the rank information and the position information for each chord type, wherein the pitch corresponds to each performance position of the chord on a predetermined string. a chord component tones der shall specific frequency of lower pitch than the root of a chord component notes,
Acquisition means for acquiring chord information;
A pitch that selects the pitch determination table in accordance with the acquired chord information and identifies the pitch with reference to the selected pitch determination table based on the performance information sequentially read from the performance pattern data A pitch specifying means, wherein when the pitch of the first beat is the root of a chord constituent tone, the pitch specifying means determines at least one pitch other than the first beat from the root tone. Specific to the pitch of low chord components,
A performance comprising a performance pattern that emits a root tone of a chord component tone at the first beat and a tone pitch lower than the root tone of the chord component tone at any time other than the first beat according to the specified pitch. And an automatic performance apparatus comprising control means for generating musical sounds.

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