JP5564921B2 - Electronic musical instruments - Google Patents

Description

  The present invention relates to an electronic musical instrument capable of playing an automatic accompaniment pattern and an electronic musical instrument program.

  In electronic musical instruments, a so-called “automatic accompaniment” function is well known. In automatic accompaniment, generally, a musical sound corresponding to a constituent sound of a chord designated by a user's key operation is generated according to an accompaniment sequence indicated by an automatic accompaniment pattern. The automatic accompaniment pattern may also include a melody sound composed of a single or a plurality of musical sounds, an obligato sound constituting a counter-melody of the melody sound, and a rhythm sound.

  By using the automatic accompaniment function, even a single player can perform a wide variety of musical sounds including chord sounds and rhythm sounds. On the other hand, performers without knowledge of chords have a problem that this function cannot be used effectively.

  In order to simplify the chord designation by the performer, for example, in Patent Document 1, each time the number of key presses exceeds a reference value, a plurality of automatic accompaniment patterns are sequentially switched and read out in a predetermined order. Electronic musical instruments that change according to the number of key presses have been proposed.

  Patent Document 2 proposes an electronic musical instrument that converts a player's key press into a chord constituent sound and plays an automatic accompaniment including the chord constituent sound. In this electronic musical instrument, the musical scale data is used to automate the scale specification, and even if the performer has no knowledge of chords, it is possible to perform automatic accompaniment with added expressions. Become.

JP-A-4-242297 JP 2004-177893 A

  For example, in the technique disclosed in Patent Document 1, since a plurality of chord patterns are switched, there is a possibility that changes in performance form become uniform.

  Also, with the technique disclosed in Patent Document 2, there is a possibility that an appropriate automatic accompaniment cannot be performed if the key pressing timing and the number of key presses are not appropriately given. That is, the performer does not need knowledge of chords, but requires a certain sense and knowledge about rhythm.

  Further, in the conventional automatic accompaniment, as disclosed in Patent Document 1, it is possible to change the automatic accompaniment pattern according to the number of key presses. It is desirable for the user to be able to perform various accompaniments in accordance with the user's intuitive performance expression by introducing elements that change the automatic accompaniment pattern in addition to the number of cases to be tracked.

  An object of the present invention is to provide an electronic musical instrument and an electronic musical instrument program capable of playing an appropriate automatic accompaniment according to an intuitive operation even if the performance is performed by a player who has no knowledge of chords. .

An object of the present invention is an automatic accompaniment pattern of a predetermined chord, and storage means for storing automatic accompaniment data including at least the chord name and the sound generation timing of the chord constituent sound;
An electronic musical instrument comprising: musical tone data generating means for generating musical tone data of a predetermined musical tone based on an operation of a performance operator arranged in parallel,
In the case where the number of operated performance operators is three, for the plurality of operated performance operators, the minimum of the frequency between the performance operator corresponding to the lowest sound and the performance operator corresponding to the center sound is the minimum. Control means for determining the inversion form of the chord based on the ratio to the frequency between the performance operator corresponding to the sound and the performance operator corresponding to the highest sound ;
The control means determines the pitch of the chord constituting sound to be pronounced based on the turning form and the chord name determined based on the frequency,
The musical tone data generating means generates musical tone data of chord constituent sounds whose pitches are determined by the control means at the sound generation timing.

An object of the present invention is a computer having a storage means for storing automatic accompaniment data including at least a chord name and a chord constituting sound, which is a predetermined automatic accompaniment pattern,
A musical sound data generation step for generating musical sound data of a predetermined musical sound based on the operation of performance operators arranged in parallel;
In the case where the number of performance operators operated is three, among the plurality of operated performance operators, the minimum of the frequency between the performance operator corresponding to the lowest sound and the performance operator corresponding to the central sound A control step of determining a turning form of the chord based on a ratio to a frequency between a performance operator corresponding to the sound and a performance operator corresponding to the highest sound ;
The control step includes a step of determining a pitch of a chord constituent sound to be pronounced based on a turning form and a chord name determined based on the frequency;
In the musical sound data generating step, musical tone data of the chord constituent sound whose pitch is determined in the control step is generated by the electronic musical instrument program generated at the sounding timing.

  According to the present invention, it is possible to provide an electronic musical instrument and an electronic musical instrument program capable of playing an appropriate automatic accompaniment according to an intuitive operation even if the performance is performed by a player who has no knowledge of chords. It becomes.

FIG. 1 is a diagram showing an external appearance of an electronic musical instrument according to the present embodiment. FIG. 2 is a block diagram showing the configuration of the electronic musical instrument according to the embodiment of the present invention. FIG. 3 is a flowchart showing processing executed by the electronic musical instrument 10 according to the present embodiment. FIG. 4 is a diagram for explaining an example of automatic accompaniment pattern data (accompaniment data). FIG. 5 is a diagram showing a score corresponding to the automatic accompaniment pattern of FIG. FIG. 6A is a flowchart illustrating an example of a main flow executed in the electronic musical instrument 10 according to the present embodiment, and FIG. 6B is a diagram illustrating a spirit of timer interrupt processing according to the present embodiment. is there. FIG. 7 is a flowchart showing an example of keyboard processing according to the present embodiment. FIG. 8 is a flowchart showing an example of melody key processing according to the present embodiment. FIG. 9 is a flowchart showing an example of the accompaniment key process according to the present embodiment. FIG. 10 is a diagram showing an example of song accompaniment processing according to the present embodiment. FIG. 11A is a flowchart showing an example of the reference time counting process according to the present embodiment, and FIG. 11B is a flowchart showing an example of the beat start process. FIG. 12 is a flowchart showing an example of elapsed time counting processing according to the present embodiment. FIG. 13A is a flowchart showing an example of melody processing according to this embodiment, and FIG. 13B is a flowchart showing an example of rhythm processing. FIG. 14 is a flowchart showing an example of chord sound accompaniment processing according to the present embodiment. FIG. 15 is a flowchart illustrating an example of the operation reflection process according to the present embodiment. FIG. 16 is a diagram illustrating the reference elapsed time and the accompaniment elapsed time in the present embodiment. FIG. 17 is a diagram for explaining the playback sound length of the chord sound obtained in the operation reflection process. FIG. 18 is a flowchart showing an example of the key depression number reflecting process according to the present embodiment. FIG. 19 is a diagram for explaining a chord constituent sound in the chord sound according to the present embodiment. FIGS. 20A to 20C are diagrams showing keys that are pressed when a chord of CMaj (C major) is played on the keyboard. FIG. 21 shows the frequency between the fingers of the lowest tone to the middle tone, the middle tone to the highest tone, and the lowest tone to the lowest tone for each of the major chords and minor chords in the basic form, first turn form, and second turn form. It is a table | surface which shows D1, D2, and D3. FIG. 22 shows white, from the lowest tone to the middle tone, from the middle tone to the highest tone, and from the lowest tone to the lowest tone, for the basic form, the first turning form, and the second turning form in each of the major chord C and the minor chord Am. It is a table | surface which shows the difference in the number of keys. FIG. 23 is a flowchart illustrating an example of the inter-finger frequency evaluation process according to the present embodiment. FIG. 24 is a flowchart illustrating an example of the inter-finger frequency evaluation process according to another embodiment. FIG. 25 is a diagram showing another example of the automatic chord accompaniment data according to the present embodiment. FIG. 26 is a diagram showing a score corresponding to the automatic accompaniment pattern of FIG.

  Embodiments of the present invention will be described below with reference to the accompanying drawings. FIG. 1 is a diagram showing an external appearance of an electronic musical instrument according to the present embodiment. As shown in FIG. 1, the electronic musical instrument 10 according to the present embodiment has a keyboard 11. In addition, on the upper part of the keyboard 11, switches (see reference numerals 12 and 13) for designating a tone color, starting and ending automatic accompaniment, designating a rhythm pattern, etc., and various information relating to the music to be played, for example, It has a display unit 15 for displaying timbre, rhythm pattern, chord name, and the like. The electronic musical instrument 10 according to the present embodiment has, for example, 61 keys (C2 to C7). In addition, the electronic musical instrument 10 can perform under one of two performance modes: an automatic accompaniment mode for turning on automatic accompaniment and a normal mode for turning off automatic accompaniment. Under the automatic accompaniment mode, 18 keys from C2 to F3 (see reference numeral 101) are used as accompaniment keys, and 43 keys from F # 4 to C7 (see reference numeral 102) are used as melody keys. . The key range indicated by reference numeral 101 is also referred to as an accompaniment key range, and the key range indicated by reference numeral 102 is also referred to as a melody key range.

  FIG. 2 is a block diagram showing the configuration of the electronic musical instrument according to the embodiment of the present invention. As shown in FIG. 2, the electronic musical instrument 10 according to the present embodiment includes a CPU 21, a ROM 22, a RAM 23, a sound system 24, a switch group 25, a keyboard 11, and a display unit 15.

  The CPU 21 follows the control of the electronic musical instrument 10 as a whole, the detection of key depression of the keyboard 11 and the operation of the switches (for example, reference numerals 12 and 13 in FIG. 1), and the operation of the keys and switches. Various processes such as control of the sound system 24 and performance of automatic accompaniment according to the automatic accompaniment pattern are executed.

  The ROM 22 stores various processes to be executed by the CPU 21, such as switch operation, key depression of any key on the keyboard, tone generation according to the key press, and tone generation data of the tone constituting the automatic accompaniment pattern. Remember. The ROM 22 stores a waveform data area for storing waveform data for generating musical sounds such as piano, guitar, bass drum, snare drum, and cymbal, and data (automatic accompaniment data) indicating various automatic accompaniment patterns. Automatic accompaniment pattern area. The RAM 23 stores a program read from the ROM 22 and data generated in the course of processing. In the present embodiment, the automatic accompaniment pattern has a melody automatic accompaniment pattern including a melody sound and obligato sound, a chord automatic accompaniment pattern including a chord sound, and a rhythm pattern including a drum sound. For example, the data record of the melody automatic accompaniment pattern includes the tone color, pitch, tone generation timing (pronunciation time), tone length, and the like of the musical tone. The record of the chord automatic accompaniment pattern data includes data indicating chord constituent sounds in addition to the above information. The rhythm pattern data includes the tone color of the musical tone and the sounding timing.

  The sound system 24 includes a sound source unit 26, an audio circuit 27, and a speaker 28. For example, when the sound source unit 26 receives information about the depressed key or information about the automatic accompaniment pattern from the CPU 21, the sound source unit 26 reads predetermined waveform data from the waveform data area of the ROM 22, and generates musical tone data of a predetermined pitch. Generate and output. The sound source unit 26 can also output waveform data, particularly waveform data of percussion instrument sounds such as a snare drum, bass drum, and cymbal, as musical sound data. The audio circuit 27 D / A converts and amplifies the musical sound data. Thereby, an acoustic signal is output from the speaker 28.

  The electronic musical instrument 10 according to the present embodiment generates a musical tone based on the key depression of the keyboard 11 under the normal mode. On the other hand, the electronic musical instrument 10 enters an automatic accompaniment mode when an automatic accompaniment switch (not shown) is operated. Under the automatic accompaniment mode, pressing a key in the melody key range generates a musical tone with the pitch of that key. In addition, the automatic accompaniment pattern is controlled in accordance with the depression of the key in the accompaniment key range, and a musical tone is generated according to the controlled automatic accompaniment pattern. The automatic accompaniment pattern includes an automatic melody accompaniment pattern that accompanies a change in pitch, such as piano and guitar, an automatic chord accompaniment pattern, and a rhythm pattern that does not accompany changes in pitch, such as a bass drum, snare drum, and cymbal.

  In the present embodiment, the sound generation timing of the automatic accompaniment pattern, particularly the chord automatic accompaniment pattern, is controlled according to the key pressing timing of the key in the accompaniment key range. In the present embodiment, the inversion form of the chord that is generated in the automatic chord accompaniment pattern is controlled by the interval between a plurality of keys pressed in the accompaniment key range. Furthermore, when there is no key depression in the accompaniment key range, the sound generation of the melody automatic accompaniment pattern and the chord automatic accompaniment pattern is stopped and only the rhythm pattern is generated.

  FIG. 3 is a timing chart schematically showing the relationship between the key depression of the accompaniment key range according to the present embodiment and the control of the automatic accompaniment pattern, and FIG. 4 is an example of chord accompaniment data in the data of the automatic accompaniment pattern. FIG. 5 is a diagram illustrating a musical score corresponding to the automatic accompaniment pattern of FIG.

  In FIG. 3, reference numeral 300 indicates an assumed operation. When the performer performs key pressing and key release at the same sound timing as the assumed operation 300, an automatic chord accompaniment pattern is generated at the same timing as the chord accompaniment data initial value (see reference numeral 320). That is, the assumed operation is assumed to be an operation when the performer performs the same chord accompaniment pattern as the chord accompaniment data initial value. Further, the key pressing time (see reference numeral 351) in this assumed operation is used as the assumed sound length value in the process of FIG. 15 described later.

  In FIG. 3, the chord automatic accompaniment data initial value is exemplarily represented as a pulse obtained by dividing one beat into two. When the musical piece is considered to be a 4/4 time signature, the rise and fall of the pulse in the chord automatic accompaniment data initial value respectively indicate the start position of the sixteenth note.

  It is considered that the actual operation by the performer is as shown by reference numeral 310. For example, the key press timing (reference numeral 311) of the performer at the first beat is earlier than the assumed operation. In this case, the CPU 21 according to the present embodiment executes a process for advancing the read time of the automatic chord accompaniment data (see reference numeral 310). Therefore, the controlled chord accompaniment data has a sounding timing earlier than the initial chord accompaniment data initial value (see reference numeral 331).

  On the other hand, the key press timing (see reference numeral 312) of the second beat player is later than the assumed operation. In this case, the CPU 21 executes a process for delaying the read time of the chord accompaniment data (see reference numeral 322). Therefore, the controlled chord accompaniment data has a sounding timing earlier than the initial chord accompaniment data initial value (see reference numeral 332). Even when the actual key pressing timing by the performer changes, the drum pattern (see reference numeral 340) and the automatic melody accompaniment pattern (not shown in FIG. 3) do not change.

  Further, in the present embodiment, when the user does not press the key in the accompaniment key range for a predetermined period (see reference numeral 313), the automatic accompaniment pattern is sounded, more specifically, the melody automatic accompaniment pattern and chord The sound generation of the automatic accompaniment pattern is stopped and only the rhythm pattern is sounded (see reference numerals 323 and 333).

  Furthermore, in this embodiment, not only whether the key pressing timing is earlier or later than the key pressing timing in the relative operation, but also depending on whether the time length during which the key is pressed is longer or shorter than the time length in the assumed operation. Also, the chord sound automatic accompaniment data can be controlled. For example, the key press time length (see reference numeral 314) of the player at the 5th beat (the 2nd measure 1st beat) is shorter than the key press time length in the assumed operation. In this case, the CPU 21 executes a process for shortening the tone length of the tone to be generated in the automatic chord accompaniment data (see reference numeral 324). Therefore, in the controlled chord accompaniment data, the tone length is shorter than the tone length of the musical tone included in the chord auto accompaniment data initial value (see symbol 334).

  In addition, the time length of the key press by the performer at the sixth beat (second beat of the second measure) is longer than the time length in the assumed operation. In this case, the CPU 21 executes a process for increasing the tone length of the generated musical tone in the automatic chord accompaniment data (see reference numeral 325). Therefore, in the controlled chord accompaniment data, the tone length is longer than the tone length of the musical tone included in the chord auto accompaniment data initial value (see symbol 335).

  In the above example, the so-called “previous” performance can be realized by advancing the sound generation timing of the automatic chord accompaniment data (see reference numeral 331), or the sound generation timing of the automatic chord accompaniment data is delayed (see reference numeral 332). Thus, a so-called “rear” performance can be realized. Further, by shortening the tone length of the musical sound constituting the automatic chord accompaniment data (see symbol 334), a so-called “tight” performance can be realized, or by increasing the tone length of the musical tone (see symbol 335). So-called “sloppy” performance can be realized.

  As shown in FIG. 4, in the present embodiment, the chord automatic accompaniment data includes a bass sound, a first chord constituent sound (root sound), a second chord constituent sound (third sound), and a third chord constituent. Sounds (fifth sound), fourth chord constituent sounds (seventh sound, tension notes, etc.). Actually, the accompaniment data includes a chord name, a sounding start time, a sound length, and the like in addition to the bass sound and the chord constituent sound.

  In the example shown in FIG. 4, the first and second beats become musical sounds based on the chord name “C7”, and the third and fourth beats become musical sounds based on the chord name “F7”. The beats (the first and second beats of the second measure) are musical tones based on the chord name “G7”, and the seventh and eighth beats (the third and fourth beats of the second measure) are chord names “ The musical tone is based on “C6”.

  In the example of FIG. 4, in the first beat and the second beat, first, the length of 1.5 beats (a quarter note in 4/4 time) is followed by 0.5 beats (4/4). A chord component sound is generated with a note length of 8 notes (time signature), and four bass sounds are sequentially generated with a sound length of 0.5 beats (8/4 notes for 4/4 beats). The same applies to the third and fourth beats and the fifth and sixth beats. The musical score shown in FIG. 5 represents the automatic chord accompaniment data shown in FIG. 4 on a 5-line score.

  Furthermore, in this embodiment, the order of chord constituent sounds can be changed in the accompaniment key range based on the interval between keys pressed by the performer. The order of the chord constituent sounds corresponds to a so-called triad inversion. Compared to the first and second inversion forms, the lowest note is the third note by raising the root to an octave compared to the basic and basic forms when the lowest note is the root. The second turning form in which the lowest sound is the fifth sound is included by raising the third sound an octave (by lowering the fifth sound an octave compared to the basic form).

  FIG. 25 is a diagram showing another example of the automatic chord accompaniment data according to the present embodiment. In this example, the fourth chord constituent sound shown in FIG. 4 is omitted. On the other hand, in the example shown in FIG. 25, code turn information is shown. The code turning information is information indicating the turning form of each code, and indicates any one of the basic form, the first turning form, and the second turning form. The chord turn information is information added to the chord automatic accompaniment data in a turn type reflection process (step 1501 in FIG. 15) described later. The musical score shown in FIG. 26 represents the automatic chord accompaniment data shown in FIG. 25 on a 5-line score.

  In the chord accompaniment process (FIG. 14), the chord composition sound is determined according to the number of key presses, and when the number of key presses is 3, the chord auto accompaniment data has a chord configuration in a predetermined turn form. Sound is made. Accordingly, the chord name, the pronunciation start time, and the sound length are initially stored in the ROM 22 as chord automatic accompaniment data, and the chord constituent sound is determined based on the number of key presses in the chord accompaniment process. Final chord accompaniment data may be generated. Alternatively, a chord component sound is stored in the ROM 22 in addition to the chord name, pronunciation start time, and tone length, and a predetermined chord component sound is selected from the chord component sounds stored in the ROM 22 in the chord sound accompaniment process. Then, final code automatic data may be generated.

  Hereinafter, processing executed in the electronic musical instrument 10 according to the present embodiment including control of automatic chord accompaniment data will be described in more detail. FIG. 6A is a flowchart illustrating an example of a main flow executed in the electronic musical instrument according to the present embodiment. FIG. 6B is a diagram illustrating an example of timer interrupt processing according to the present embodiment.

  In the timer interrupt processing, when the main flow shown in FIG. 6A is being executed, the counter value of the interrupt counter is incremented at a predetermined time interval (step 611).

  As shown in FIG. 6A, when the electronic musical instrument 10 is turned on, the CPU 21 of the electronic musical instrument 10 performs initial processing (initialization processing) including clearing and clearing of data in the RAM 23 and an image on the display unit 15. ) Is executed (step 601). When the initial process (step 601) ends, the CPU 21 detects each operation of the switches constituting the switch group 25, and executes a switch process that executes a process according to the detected operation (step 602).

  For example, in the switch process (step 602), various switch operations such as a tone color designation switch, an automatic accompaniment pattern type designation switch, and an automatic accompaniment pattern on / off designation switch are detected. When the automatic accompaniment pattern is turned on, the CPU 21 switches the performance mode to the accompaniment mode. Data indicating the performance mode is specified in a predetermined area of the RAM 23. Similarly, data indicating the type of timbre and automatic accompaniment pattern is also stored in a predetermined area of the RAM 23.

  Next, the CPU 21 executes keyboard processing (step 603). FIG. 7 is a flowchart showing in more detail an example of keyboard processing according to the present embodiment. In the keyboard process, the CPU 21 scans the keys on the keyboard 11. An event (key on or off) as a key scanning result is temporarily stored in the RAM 23. The CPU 21 refers to the key scanning result stored in the RAM 23 to determine whether or not there is an event for a certain key (step 702). If it is determined Yes in step 702, the CPU 11 determines whether or not the key in which the event has occurred is a melody key range key (melody key) (step 703). When it is determined Yes in step 703, the CPU 21 executes melody key processing (step 704).

  FIG. 8 is a flowchart showing in more detail an example of melody key processing according to the present embodiment. As shown in FIG. 8, the CPU 21 determines whether or not the event is key-on (step 801). If it is determined Yes in step 801, the CPU 21 executes a sound generation process for the key that has been turned on (step 802). In the sound generation process, the CPU 21 reads out the tone color data for the melody key and the data indicating the pitch of the key stored in the RAM 23 and temporarily stores them in the RAM 23. In a sound source sound generation process (step 605 in FIG. 6), which will be described later, data indicating tone color and pitch is given to the sound source unit 26. The sound source unit 26 reads the waveform data in the ROM 22 according to the data indicating the timbre and pitch, and generates musical tone data of a predetermined pitch. Thereby, a predetermined musical sound is generated from the speaker 28.

  If it is determined No in step 801, the event is a key-off. Therefore, the CPU 21 executes a mute process for the key that has been turned off (step 803). In the silencing process, the CPU 21 generates data indicating the pitch of the musical sound to be muted and temporarily stores it in the RAM 23. Also in this case, in the sound source sound generation process (step 605) described later, data indicating the tone color and pitch of the musical sound to be muted is given to the sound source unit 26. The sound source unit 26 mutes a predetermined musical sound based on the given data.

  When it is determined No in step 703, the CPU 21 determines whether or not the automatic accompaniment pattern is being played (step 705). For example, in step 705, the CPU 21 determines whether or not the automatic accompaniment pattern is on and the performance mode is the accompaniment mode. When it is determined No in step 705, the CPU 21 executes a melody key process (step 704).

  On the other hand, if it is determined Yes in step 705, that is, if the automatic accompaniment pattern is being played, the CPU 21 executes accompaniment key processing (step 706). FIG. 9 is a flowchart showing an example of the accompaniment key process according to the present embodiment. As shown in FIG. 9, in the accompaniment key process, the CPU 21 first determines whether or not the event is key-on (step 901). If it is determined Yes in step 901, the CPU 21 determines whether or not the key pressing timing is within the evaluation target range (step 902). The evaluation target range is a predetermined time range obtained by adding a predetermined time before and after the key pressing time in the assumed operation. In FIG. 3, the key pressing time for the first beat is indicated by reference numeral 351 in the assumed operation. A time range (see reference numeral 350) obtained by adding a predetermined time before and after the key pressing time 351 is the evaluation target range. If a key is turned on in the accompaniment key range (Yes in step 901), information on the key that is turned on (for example, a key number) is stored in the RAM 23. If the key is turned off (No in step 901), for example, information (key number) of the key that has been turned off is deleted from the RAM 23.

  If it is determined Yes in step 902, the CPU 21 starts a timer and starts sound length counting (step 903). In the present embodiment, a plurality of key presses can be considered, but it is determined that the first key press in the evaluation target range is determined to be Yes in step 902. Next, the CPU 21 calculates a deviation between the key pressing time in the assumed operation and the actual key pressing time, and temporarily stores it in the RAM 23 as a timing evaluation value (step 904). For example, consider the key-on at the first beat in FIG. The key pressing time in the assumed operation is a rise time in the key pressing time indicated by reference numeral 351. Therefore, “(rise time) − (actual key pressing time)” may be calculated. This timing evaluation value is used for controlling the tone generation timing of a musical tone when performing an automatic chord accompaniment pattern described later.

  Thereafter, the CPU 21 increments the key pressing number count value indicating the number of keys pressed, which is temporarily stored in the RAM 23 (step 905). The key press count value is used to determine the chord type when performing a chord automatic accompaniment pattern performance to be described later. Even when it is determined No in step 902, the increment of the key press count value in step 905 is executed.

  Next, the CPU 21 refers to the key pressing number count value and determines whether or not the key pressing number is 4 or more (step 906). In the present embodiment, since the maximum number of key presses is 4 to determine the chord type in the automatic chord accompaniment pattern, the CPU 21 is pressed at a stage where the key press is 4 or more (Yes in step 906). The white key / black key ratio evaluation value indicating the ratio of the white key to the black key is calculated with reference to the pitches of the respective keys (step 907). The white key / black key ratio evaluation value may be, for example, “number of black keys pressed / number of white keys pressed” or “number of black keys pressed / (black key + white key) pressed”. It may be “the number of keys”. The calculated white key / black key ratio evaluation value is temporarily stored in the RAM 23.

  As described above, the timer is started by turning on the key in the accompaniment key range, and the timing evaluation value, the key press count value, and the white key / black key ratio table value are obtained and temporarily stored in the RAM 23.

  When it is determined No in step 906, the CPU 21 refers to the key pressing number count value to determine whether the key pressing number is 3 (step 908). If it is determined No in step 908, the process ends. On the other hand, when it is determined Yes in step 908, the CPU 21 executes a finger frequency evaluation process (step 909). In the finger frequency evaluation process, the CPU 21 determines chord turning information indicating the chord turning form to be generated according to the chord automatic accompaniment pattern according to the process described later, and temporarily stores the determined chord turning information in the RAM 23. To remember.

  If it is determined No in step 901, that is, if it is determined that the key is off (key release), the CPU 21 determines whether the key release timing of the key is within the evaluation target range (step 910). ). The evaluation target range is the same as that in step 902 described above. If it is determined Yes in step 910, the CPU 21 stops the timer and ends the sound length count (step 911). The CPU 21 temporarily stores the timer value in the RAM 23 as the operation sound length value.

  Next, the CPU 21 decrements the key press count value temporarily stored in the RAM 23 (step 912). Further, the CPU 21 refers to the key pressing number count value and determines whether or not the key pressing number is 4 or more (step 913). If it is determined Yes in step 913, the CPU 21 refers to the pitch of each key being pressed, and calculates a white key / black key ratio evaluation value indicating the ratio between the white key and the black key. (Step 914).

  If NO is determined in step 913, the CPU 21 refers to the key press count value and determines whether the key press is 3 (step 915). If it is determined No in step 915, the process ends. On the other hand, when it is determined Yes in step 915, the CPU 21 executes a finger frequency evaluation process (step 916).

  Next, the inter-finger frequency evaluation process will be described in more detail. FIGS. 20A to 20C are diagrams showing keys that are pressed when a chord of CMaj (C major) is played on the keyboard. FIG. 20A shows keys (C, E, and G from the bottom) that are pressed with a basic chord. In general, the chord is pressed by the little finger, middle finger, and thumb of the left hand, respectively, with the lowest, middle, and highest sounds. Therefore, in the present embodiment, the frequency between fingers refers to the number of semitones between keys pressed with the little finger, middle finger, and thumb, that is, the difference between the key numbers of the keys pressed.

  In the basic form of CMaj, since the key number difference is 4 between the lowest sound C and the intermediate sound E, the frequency D1 = 4 between the lowest sound and the intermediate sound is between fingers. Further, since the key number difference between the intermediate sound E and the highest sound G is 3, the frequency D2 = 3 between the fingers of the intermediate sound and the highest sound is obtained. Further, the frequency D3 = D1 + D2 = 7 between the fingers of the lowest and highest sounds.

  FIG. 20 (b) shows keys (E, G, C from the bottom) that are pressed with the first inversion chord. In the first turning form of CMaj, the frequency D1 = 3 between fingers of the lowest note E and the intermediate tone G, and the frequency D2 = 5 between fingers of the intermediate note G and the highest note C. Further, the frequency D3 = 8 between fingers of the lowest and highest sounds. FIG. 20 (c) shows keys (G, C, E from the bottom) that are pressed with the second inversion chord. In the second turning form of CMaj, the frequency D1 = 5 between fingers of the lowest sound G and the intermediate sound C, and the frequency D2 = 4 between fingers of the intermediate sound C and the highest sound E. Further, the frequency D3 = 9 between the fingers of the lowest and highest sounds.

  FIG. 21 shows the frequency between the fingers of the lowest tone to the middle tone, the middle tone to the highest tone, and the lowest tone to the lowest tone for each of the major chords and minor chords in the basic form, first turn form, and second turn form. It is a table | surface which shows D1, D2, and D3. In the table 2100, the inter-finger frequency of the major code (Maj) (see reference numeral 2110) and the inter-finger frequency of the minor code (min) (see reference numeral 2120) are shown. In Table 2100, the overall frequency, that is, the ratio (D1 / D3 or D2 / D3) to the frequency between fingers D3 from the lowest sound to the highest sound is shown below the frequency between fingers. For example, in the major chord (Maj), it can be seen that there is a difference in the ratio of the finger frequency D1 from the lowest sound to the intermediate sound to the finger frequency D3 from the lowest sound to the highest sound, depending on the turning form.

  FIG. 22 shows the basic form, the first turning form, and the second turning form for each of the major chord C and the minor chord Am, from the lowest tone to the middle tone, from the middle tone to the highest tone, and from the lowest tone to the lowest tone. It is a table | surface which shows the difference of the number of white keys. According to Table 2100 in FIG. 22, the following can be intuitively understood.

In the basic form, the number of white keys from the lowest to middle and from the middle to highest is equal.
In the first turn form, the number of white keys from the lowest tone to the middle tone is smaller than the number of white keys from the middle tone to the highest tone,
In the second turn form, the number of white keys from the lowest tone to the middle tone is larger than the number of white keys from the middle tone to the highest tone.

  In the present embodiment, the inversion form of the chord to be generated is determined in accordance with the above-described difference in the frequency between fingers or the difference in the number of white keys, that is, the degree of opening of the player's fingers.

FIG. 23 is a flowchart illustrating an example of the inter-finger frequency evaluation process according to the present embodiment. As shown in FIG. 23, the CPU 21 obtains information on keys in the on state in the accompaniment key range stored in the RAM 23, and calculates finger frequencies D1, D2, and D3 (step 2301).
In the following calculation, only D1 and D3 are used. Since D3 is the sum of D1 and D2, after obtaining D1 and D2, these may be added to obtain D3, or directly from the key information (key number) without obtaining D2. D3 may be obtained.

  Next, the CPU 21 checks the range of the value of the ratio D1 / D3 of the inter-finger frequency D1 from the lowest sound to the intermediate sound with respect to the inter-finger frequency D3 from the lowest sound to the highest sound (step 2302). When the ratio D1 / D3 is 0.4 <D1 / D3 ≦ 0.6, the CPU 21 stores information indicating the basic form in the RAM 23 as the code turning information (step 2303). When the ratio D1 / D3 is 0.4 ≧ D1 / D3, the CPU 21 stores information indicating the first turning form in the RAM 23 as the code turning information (step 2304). If 0.6 <D1 / D3, the CPU 21 stores information indicating the second turning form in the RAM 23 as the code turning information (step 2305). The chord turn information is used to determine the order of chord constituent sounds to be generated in the chord sound accompaniment process (step 1007 in FIG. 10) described later.

  When the keyboard process (step 603 in FIG. 6) ends, the CPU 21 executes a song accompaniment process (step 604). FIG. 10 is a diagram showing an example of song accompaniment processing according to the present embodiment. As shown in FIG. 10, the CPU 21 determines whether or not the automatic accompaniment pattern is being played (step 1001). If it is determined YES in step 1001, the CPU 21 generates musical sounds (melody sound, obligato sound, chord sound (accompaniment sound by chord), rhythm sound) in the automatic accompaniment pattern. As described above, the automatic accompaniment data includes data of four types of musical sounds, that is, melody sound, obligato sound, chord sound, and rhythm sound. The melody sound and obligato sound constitute an automatic melody accompaniment pattern, and the chord sound constitutes an automatic chord accompaniment pattern. Also, a rhythm pattern is constituted by the rhythm sound.

  For the generation of this musical tone, a reference time process (step 1010) in which a process for managing the elapsed time of the automatic accompaniment pattern is executed with reference to the following four processes, that is, the interrupt counter value. , An accompaniment time process (step 1011) in which a process for managing the elapsed time (accompaniment elapsed time) for the chord sound is executed, and an event process by a reference elapsed time for generating a musical sound based on the reference time generated in step 1010 ( Step 1012) and event processing (Step 1013) by accompaniment elapsed time for generating a musical tone based on the accompaniment elapsed time generated in Step 1011 are included.

  In the reference time process (step 1010), the CPU 21 executes a reference time count process (step 1002) and a beat start process (step 1003).

  FIG. 11A is a flowchart showing an example of the reference time counting process according to the present embodiment, and FIG. 11B is a flowchart showing an example of the beat start process. In the reference time counting process, the CPU 21 acquires the counter value of the interrupt counter (step 1101). Next, the CPU 21 updates the reference elapsed time by adding the acquired counter value to the accompaniment elapsed time previously stored in a predetermined area of the RAM 23 (step 1102). The updated reference elapsed time is stored in a predetermined area of the RAM 23.

  Next, the CPU 21 adds the acquired counter value to the intrabeat count value stored in the predetermined area of the RAM 23 to update the intrabeat count value (step 1103). The in-beat count value is a value indicating a temporal position during one beat. The updated in-beat count value is also stored in a predetermined area of the RAM 23. Thereafter, the CPU 21 clears the counter value of the interrupt counter for use in the next reference time counting process (step 1104).

  Further, in the beat start process, the CPU 21 refers to the in-beat count value and determines whether or not the processing time corresponds to the start of the beat (step 1111). If it is determined Yes in step 1111, the CPU 21 determines whether or not there is no key depression for the past one beat or more (step 1112). When it is determined Yes in step 1112, the CPU 21 executes chord sound stop processing (step 1113). In the chord sound stop process (step 1113), the CPU 21 stops the sound generation of the melody sound, obligato sound and chord sound for a predetermined period (for example, one measure). That is, the tone generator 26 is not instructed to generate tone data of tone color and pitch corresponding to the melody tone, obligato tone and chord tone, respectively.

  In FIG. 3, when the user does not press the key in the accompaniment key range for a predetermined period (see reference numeral 313), the melody automatic accompaniment pattern including the melody sound and obligato sound among the automatic accompaniment patterns, and the chord sound are displayed. The automatic chord accompaniment pattern including the sound is stopped and only the rhythm pattern is sounded (see reference numerals 323 and 333). This is a result of the execution of steps 1111 to 1113 of the beat start process.

  Next, the accompaniment elapsed time processing in step 1011 will be described. The accompaniment elapsed time processing includes accompaniment elapsed time counting processing (step 1003). FIG. 12 is a flowchart showing an example of elapsed time counting processing according to the present embodiment. As shown in FIG. 12, the CPU 21 acquires the reference elapsed time stored in the RAM 23 (step 1201). Next, the CPU 21 acquires the timing evaluation value stored in the RAM 23 (step 1202). The CPU 21 reflects the timing evaluation value in the accompaniment elapsed time (step 1203). In step 1203, an accompaniment elapsed time that defines the sounding timing of the chord sound in the automatic chord accompaniment pattern is obtained by adding the timing evaluation value to the reference elapsed time.

  In FIG. 16, the assumed operation and the reference elapsed time are indicated by reference numerals 1601 and 1602, respectively. In the reference elapsed time, n, n + 1,... Indicate internal times based on the reference elapsed time.

  When the key is pressed at a time earlier than the key pressing timing in the assumed operation due to the so-called previous movement, the accompaniment elapsed time = (reference elapsed time−d1) in consideration of the timing evaluation value d1 (d1 <0). ), And the internal time based on the accompaniment elapsed time is ahead of the internal time based on the reference elapsed time (see reference numeral 1611).

  On the other hand, when the key is pressed at a time later than the key pressing timing in the assumed operation due to the so-called rear glue, the accompaniment elapsed time = (reference elapsed time) in consideration of the timing evaluation value d2 (d2> 0). -D2), and the internal time based on the accompaniment elapsed time is later than the internal time based on the reference elapsed time (see reference numeral 1621).

  Next, event processing based on the reference elapsed time in step 1012 will be described. The event processing based on the reference elapsed time includes melody processing (step 1005) and rhythm processing (step (step 1006). FIG. 13A is a flowchart showing an example of melody processing according to the present embodiment. FIG. 13B is a flowchart illustrating an example of rhythm processing.

  As shown in FIG. 13A, in the melody process, the CPU 21 refers to the reference elapsed time stored in the RAM 23 (step 1301). Next, the CPU 21 refers to the data of the melody automatic accompaniment pattern for the melody sound and obligato sound constituting the melody automatic accompaniment pattern, and determines whether or not the time (song time Δt) for processing the next event has elapsed. Is determined (step 1302).

  If it is determined Yes in step 1302, the CPU 21 reads out the record corresponding to the next event for the melody sound and the record corresponding to the next event for the obligato sound from the automatic melody accompaniment pattern data. (Step 1303), data indicating the timbre, pitch and pitch in the record are temporarily stored in the RAM 23 (Step 1304). As will be described later, in the sound source sound generation process (step 605 in FIG. 6), data indicating the tone color, pitch, and tone length of the melody sound and obligato sound temporarily stored in step 1304 is given to the sound source unit 26. .

  Since a plurality of musical sounds may be generated at the same time, after step 1304, the process returns to step 1301 again, and the process is repeated until it is determined No in step 1302.

  As shown in FIG. 13B, in the rhythm process, the CPU 21 refers to the reference elapsed time stored in the RAM 23 (step 1311). Next, the CPU 21 refers to the rhythm pattern data with respect to the rhythm sounds constituting the rhythm pattern, and determines whether or not the time (rhythm time Δt) for processing the next event has elapsed (step 1312). .

  If YES is determined in step 1312, the CPU 21 reads a record corresponding to the next event for the rhythm sound from the rhythm pattern data (step 1313), and stores data indicating the tone color of the rhythm sound in the RAM 23. Temporarily store (step 1314). As will be described later, in the sound source sound generation process (step 605), data indicating the tone color of the rhythm sound temporarily stored in step 1314 is given to the sound source unit 26.

  Since a plurality of musical sounds (rhythm sounds) should be generated at the same time, the process returns to step 1311 again after step 1404, and the process is repeated until it is determined No in step 1312.

  Next, event processing based on the accompaniment elapsed time in step 1012 will be described. The event processing based on the accompaniment elapsed time includes chord sound accompaniment processing (step 1007). FIG. 14 is a flowchart showing an example of chord sound accompaniment processing according to the present embodiment. As shown in FIG. 14, in the chord sound accompaniment process, the CPU 21 refers to the accompaniment elapsed time stored in the RAM 23 (step 1401). Next, the CPU 21 refers to the chord automatic accompaniment pattern data for the chord sound and determines whether or not the time (accompaniment time Δt) for processing the next event has elapsed (step 1402). In the melody process (FIG. 13 (a)) and the rhythm process (FIG. 13 (b)), the reference elapsed time is referred to. In the chord sound accompaniment process, the accompaniment elapsed time is referred to. As described with reference to FIGS. 12 and 16, the accompaniment elapsed time is an accompaniment elapsed time reflecting a timing evaluation value that is a difference between the key pressing timing in the assumed operation and the actual key pressing timing.

  If it is determined Yes in step 1402, the CPU 21 reads a record corresponding to the next event for the chord sound from the chord accompaniment pattern data (step 1403). Also, in the chord sound accompaniment process, the tone length and chord name are changed according to the note length and the number of key presses performed by the performer, and the order of the chord constituent sounds to be generated is changed to chord turn information. Therefore, in order to change, CPU21 performs an operation reflection process (step 1404). FIG. 15 is a flowchart illustrating an example of the operation reflection process according to the present embodiment.

  As shown in FIG. 15, in the operation reflection process, the CPU 21 refers to the operation sound length value obtained in step 909 and stored in the RAM 23, and executes the process of reflecting the sound length of the chord sound to be generated. (Step 1501). The length of the chord sound is calculated as follows.

Sound length = (operation sound length value / assumed sound length value in the assumed operation) * the sound length indicated by the chord sound accompaniment data initial value. Corresponds to key time.

  The rest length is a value obtained by subtracting the calculated sound length from the step time until the next chord sound generation timing. FIG. 17 is a diagram for explaining the playback sound length of the chord sound obtained in the operation reflection process. In the accompaniment example 1, the note sound length t2 is half of the sound length t1 indicated by the chord sound accompaniment data initial value, which is (operation sound length value / assumed sound length value in assumed operation) = 0. This is the case. In the accompaniment example 2, the note length t3 is 1.5 times the length t1 indicated by the chord sound accompaniment data initial value, and this is the operation sound length value / the assumed sound length value in the assumed operation. ) = 1.5.

  Next, the CPU 21 refers to the key pressing number count value and determines a chord constituent sound to be generated according to the key pressing number (step 1502). FIG. 18 is a flowchart showing an example of the key depression number reflecting process according to the present embodiment. As shown in FIG. 18, the CPU 12 acquires and refers to the key press count value stored in the RAM 23 (step 1801). As described above, in the present embodiment, the chord automatic accompaniment pattern data includes the bass sound, the first chord constituent sound (root sound), the second chord constituent sound (third sound), and the third chord constituent. Including a sound (fifth sound) and a fourth chord constituent sound (seventh sound, tension note, etc.) (see reference numeral 1900 in FIG. 19). In particular, the fourth chord constituent sound (reference numeral 1910 in FIG. 19) is a chord constituent sound other than the three chords including the sixth sound, the seventh sound, the ninth sound, and the like (referred to as “tension added chord constituent sound” for convenience). : Code 1904) or a chord component sound to which a musical sound corresponding to the octave sound of the root sound is added (referred to as “tension non-added chord component sound” for convenience: reference numeral 1905). Yes.

  When the key press count value is “1”, the CPU 21 generates chord sound control information indicating that the chord component sound to be generated is only the bass sound (see reference numeral 1901 in FIG. 19). The data is temporarily stored in the RAM 23 (step 1802). When the key press count value is “2”, the CPU 21 determines that the chord constituent sound to be generated is the base sound, the first chord constituent sound (root), and the third chord constituent sound (fifth sound). (See reference numeral 1902) is generated and temporarily stored in the RAM 23 (step 1803).

  Further, when the key press count value is “3”, the CPU 21 includes the chord constituent sound including the bass sound, the first chord constituent sound, the second chord constituent sound, and the third chord constituent sound. That is, chord sound control information indicating that it is a bass sound and a triad (see reference numeral 1903) is generated and temporarily stored in the RAM 23 (step 1804). Further, when the key press count value is “4” or more, the chord constituent sounds are the base sound, the first chord constituent sound, the second chord constituent sound, the third chord constituent sound, and the fourth chord sound. Chord sound control information indicating that a chord constituent sound is included is generated and stored in the RAM 23 (step 1805).

  When the key pressing number determination process (step 1502) ends, the CPU 21 determines whether or not the key pressing number count value is 4 or more (step 1503). If it is determined Yes in step 1503, the CPU executes a chord reflection process (step 1504). In the chord reflection process according to the present embodiment, the CPU 21 refers to the white key / black key ratio evaluation value stored in the RAM 23, and if the pressed key includes a black key, the fourth code As a constituent sound, a tension added chord constituent sound including the seventh sound and a tension note is selected (see reference numeral 1904 in FIG. 9). On the other hand, if the black key is not included in the depressed key, the CPU 21 selects a tension code non-added chord constituent sound as the fourth chord constituent sound (see reference numeral 1905 in FIG. 9). The selected chord sound control information is temporarily stored in the RAM 23.

  When it is determined No in step 1503, the CPU 21 determines whether the key press count value is 3 (step 1505). If it is determined Yes in step 1505, the CPU 21 executes a turn conversion conversion process (step 1506). In the turn form conversion reflection process, when the key press count value is 3, the order of the chord constituent sounds is changed according to the chord turn information obtained in the inter-finger frequency evaluation process.

  More specifically, the CPU 21 determines whether or not the code turning information stored in the RAM 23 indicates a basic form (step 1511). If NO in step 1511, that is, if the code turning information indicates the basic form, the processing is ended as it is. That is, the chord sound control information that is the chord constituent sound in the order of the root sound, the third sound, and the fifth sound is maintained as it is from the lowest pitch.

  When it is determined Yes in step 1512, the CPU 21 determines whether the code basic information indicates the first diversion form (step 1512). If it is determined Yes in step 1512, the root sound is increased by one octave (step 1513). As a result, chord sound control information including information indicating the order of the third sound, the fifth sound, and the root sound is generated from the lowest pitch and stored in the RAM 23.

  It is determined as No in step 1512 that the code turning information indicates the second turning form. Therefore, the CPU 21 lowers the fifth sound by one octave (step 1514). As a result, chord sound control information including information indicating the order of the fifth sound, the root sound, and the third sound is generated from the lowest pitch and stored in the RAM 23.

  Thereafter, the CPU 21 temporarily stores, in the RAM 23, data indicating the pitches and lengths of the musical tones constituting the chords based on the tone of the chord constituent sounds and the determined order of the chord constituent sounds and the chord constituent sounds. Store (step 1405). As will be described later, in the sound source sound generation process (step 605 in FIG. 6), the data indicating the tone color, pitch, and tone length temporarily stored in step 1404 is given to the sound source unit 26.

  In the chord sound accompaniment process, a plurality of musical tones (chords) should be generated at the same time. Therefore, after step 1404, the process returns to step 1401 again, and the process is repeated until it is determined No in step 1402.

  When the song accompaniment process (step 604 in FIG. 6) ends, the CPU 21 executes a sound source sound generation process (step 605). In the sound source sound generation process, for example, the CPU 21 supplies the sound source unit 26 with data indicating the tone color and pitch of the tone to be generated, which is generated by the melody key process (step 704 in FIG. 7), or the tone to be muted. Data indicating the tone color and pitch of the sound is supplied to the sound source unit 26. Further, the CPU 21 gives the data indicating the tone color, pitch, and length of the melody sound and obligato sound generated in the song accompaniment process (FIG. 10) to the sound source unit 26, and the data indicating the tone color of the rhythm sound. To the sound source unit 26. Further, the CPU 21 provides the sound source unit 26 with data including the tone color of the chord constituent sound and the pitch and tone length of each chord constituent sound.

  The sound source unit 26 reads the waveform data in the ROM 22 in accordance with data indicating tone color, pitch, tone length, etc., and generates predetermined musical tone data. Thereby, a predetermined musical sound is generated from the speaker 28.

  When the sound source sound generation process (step 605) ends, the CPU 21 executes other processes (for example, image display on the display unit 15, etc .: step 606) and returns to step 602.

  According to the present embodiment, the CPU 21 obtains a finger frequency indicating the interval between two keys for a plurality of operated keys, and determines a code turning form based on each of the finger frequencies. Thereby, the turning form of the chord can be changed according to the form of the finger when the player presses the key. Therefore, even if the performer does not know the key name at the time of actual chord playing, an appropriate inversion chord is based on the finger form and the interval between keys pressed by the finger of the form. Can make constituent sounds.

  In particular, in the present embodiment, when there are three operated keys, the CPU 21 determines the turning form based on the frequency between the key corresponding to the lowest sound and the key corresponding to the center sound. . In general, when a chord is played with the left hand, the key is often pressed with three fingers: a little finger, a middle finger or an index finger, and a thumb. An appropriate code turning form can be determined in consideration of the interval between the key pressed by the little finger and the middle finger or the index finger.

  Further, in the present embodiment, the frequency between the key corresponding to the lowest sound and the key corresponding to the middle sound is based on the ratio to the frequency between the key corresponding to the lowest sound and the key corresponding to the highest sound. To determine the turning form. That is, the turning form is determined in consideration of the distance between the little finger and the middle finger or the index finger and the distance between the little finger and the thumb. This makes it possible to determine an appropriate code turning form according to the form of the finger that has been pressed more.

  The present invention is not limited to the above embodiments, and various modifications can be made within the scope of the invention described in the claims, and these are also included in the scope of the present invention. Needless to say.

  For example, in the above-described embodiment, as shown in FIG. 23, from the lowest sound to the highest sound with the frequency D1 between fingers from the lowest sound to the intermediate sound without distinguishing between the major chord (Maj) and the minor chord (min). The code turn information is determined according to the range of the value of the ratio D1 / D3 to the inter-finger frequency D3. However, the present invention is not limited to this, and the major code (Maj) and the minor code (min) are distinguished from each other. Code turning information may be determined.

  FIG. 24 is a flowchart illustrating an example of the inter-finger frequency evaluation process according to another embodiment. In FIG. 24, step 2401 is the same as step 2302 of FIG. Next, the CPU 21 determines whether the chord is a major chord with reference to the chord automatic accompaniment pattern (step 2402). Steps 2403 to 2406 that are subsequently executed when Yes is determined in Step 2402 are substantially the same as Steps 2302 to 2305 in FIG.

  However, in steps 2403 to 2406, when the ratio D1 / D3 is 0.52 <D1 / D3 ≦ 0.62, the CPU 21 stores information indicating the basic form in the RAM 23 as the code turning information ( Step 2404). When the ratio D1 / D3 is 0.52 ≧ D1 / D3, the CPU 21 stores information indicating the first turning form in the RAM 23 as the code turning information (step 2405). If 0.62 <D1 / D3, the CPU 21 stores information indicating the second turning form in the RAM 23 as the code turning information (step 2406).

  Even if No in step 2302, that is, if the chord automatic accompaniment pattern is a minor chord, the CPU 21 executes substantially the same processing (steps 2407 to 2410) as the major chord. Steps 2407 to 2410 are also substantially the same as steps 2302 to 2305 in FIG.

  However, in steps 2407 to 2410, when the ratio D1 / D3 is 0.38 <D1 / D3 ≦ 0.48, the CPU 21 stores information indicating the basic form in the RAM 23 as the code turning information ( Step 2408). When the ratio D1 / D3 is 0.48 ≧ D1 / D3, the CPU 21 stores information indicating the first turning form in the RAM 23 as the code turning information (step 2409). If 0.48 <D1 / D3, the CPU 21 stores information indicating the second turning form in the RAM 23 as the code turning information (step 2410).

  In the other embodiments described above, it is possible to determine the code turning form that more closely matches the form of the finger by changing the element that determines the code turning form depending on whether the code name is a major code or a minor code. I am doing so.

  In particular, in the other embodiments described above, the frequency between the performance operator corresponding to the lowest sound and the performance operator corresponding to the center sound corresponds to the highest sound from the performance operator corresponding to the lowest sound. For determining the ratio between the performance operators to be performed, whether the chord name is a major chord or the chord name is a minor chord, the basic form, the first turn form, or the second turn form The range of values is changed. For example, the ratio range (maximum value and minimum value) for determining the basic form is smaller when the code name is a minor code (minimum value: 0.38, maximum value: 0. 48). This is based on the fact that, in the basic form, the interval between the lowest tone and the intermediate tone is smaller in the case of minor chords than in the case of major chords.

  In the above embodiment, in the automatic accompaniment mode, the automatic chord accompaniment pattern sounding timing and sounding time (sound length) of the automatic accompaniment pattern are determined according to the actual key pressing timing and key pressing time in the accompaniment key range. However, the present invention is not limited to this, and the sound generation timing and the sound length of the melody sound or obligato sound of the melody automatic accompaniment pattern may be controlled.

  In the above embodiment, the key pressing timing in the assumed operation is the beginning of the beat, and the comparison between the actual key pressing timing and the key pressing timing in the assumed operation and the key pressing time are performed for each beat. However, the present invention is not limited to this, and may be every plural beats (for example, two beats) or every measure.

  Furthermore, in the above embodiment, when the key press count value is “4” or more and the black key is included in the pressed key, the CPU 21 generates the fourth chord constituent sound. , A tension-added chord composing sound including the seventh sound and a tension note, that is, a chord composing sound having a more complicated chord name is selected. However, the present invention is not limited to this. Based on the ratio of the black key and the white key, if the ratio of the black key among the pressed keys is equal to or greater than the ratio of the white key, the tension-added component sound is not generated. You may choose.

DESCRIPTION OF SYMBOLS 10 Electronic musical instrument 11 Keyboard 12, 13 Switch 15 Display part 21 CPU
22 ROM
23 RAM
24 Sound System 25 Switch Group 26 Sound Source 27 Audio Circuit 28 Speaker

Claims (2)

A storage means for storing automatic accompaniment data which is an automatic accompaniment pattern of a predetermined chord and includes at least a chord name and a sound timing of a chord constituent sound;
An electronic musical instrument comprising: musical tone data generating means for generating musical tone data of a predetermined musical tone based on an operation of a performance operator arranged in parallel,
In the case where the number of operated performance operators is three, for the plurality of operated performance operators, the minimum of the frequency between the performance operator corresponding to the lowest sound and the performance operator corresponding to the center sound is the minimum. Control means for determining the inversion form of the chord based on the ratio to the frequency between the performance operator corresponding to the sound and the performance operator corresponding to the highest sound ;
The control means determines the pitch of the chord constituting sound to be pronounced based on the turning form and the chord name determined based on the frequency,
The electronic musical instrument, wherein the musical sound data generating means generates musical sound data of chord constituent sounds whose pitches are determined by the control means at the sounding timing. A computer having a storage means for storing automatic accompaniment data including a chord name and a sound timing of chord constituent sounds, which is a predetermined automatic accompaniment pattern,
A musical sound data generation step for generating musical sound data of a predetermined musical sound based on the operation of performance operators arranged in parallel;
In the case where the number of performance operators operated is three, among the plurality of operated performance operators, the minimum of the frequency between the performance operator corresponding to the lowest sound and the performance operator corresponding to the central sound A control step of determining a turning form of the chord based on a ratio to a frequency between a performance operator corresponding to the sound and a performance operator corresponding to the highest sound ;
The control step includes a step of determining a pitch of a chord constituent sound to be pronounced based on a turning form and a chord name determined based on the frequency;
An electronic musical instrument program characterized in that in the musical sound data generating step, musical tone data of a chord constituting sound whose pitch is determined in the control step is generated at the sounding timing.

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