JP7263998B2 - Electronic musical instrument, control method and program - Google Patents

Description

The present invention relates to an electronic musical instrument, control method and program.

Electronic musical instruments such as digital keyboards are equipped with processors and memories, and can be said to be embedded computers with keyboards. Models equipped with a sound source and speakers allow you to enjoy performances with a variety of tones on their own. Most of the models conform to the MIDI (Musical Instrument Digital Interface) standard, and some models are known to have an automatic accompaniment function.

The automatic accompaniment function has multiple modes. In basic mode, pressing the start button starts looping the rhythm section and waits for a chord to be specified. In this state, for example, when C major chords are pressed, the machine interprets the C major chord and automatically reproduces a melody matching it. In another mode, a rhythm pattern that fits the melody line played by the user is automatically selected by the machine and played in the background.

Japanese Patent Application Laid-Open No. 2001-175263

Since an electronic musical instrument generates sound electronically, it is easy to manipulate the sound itself. In other words, it is easy to add expression to the sound. For example, skillful manipulation of performance operators such as volume pedals, pitch benders, and modulation wheels enables rich emotional expressions.
However, it is difficult to skillfully operate these performance controls.
The present invention was born from the background described above, and an object of the present invention is to provide an electronic musical instrument, a control method, and a program capable of realizing a richer performance expression even if the user cannot operate these performance controls well. to provide.

According to the embodiment, the electronic musical instrument sequentially generates accompaniment tones corresponding to an automatic accompaniment pattern based on a first user operation on the chord input keyboard, and sets setting data different from the automatic accompaniment pattern, A second user on a melody input keyboard, wherein said setting data is a first setting based on note information and velocity information of a key pressed by said first user operation and corresponds to a first timing of said automatic accompaniment pattern. When the first setting for changing the pronunciation state of the melody tones by the operation is included, the pronunciation state of the melody tones to be pronounced according to the second user operation is changed based on the first setting corresponding to the first timing. to execute the process.

According to the present invention, it is possible to realize a richer performance expression.

FIG. 1 is an external view showing an example of an electronic musical instrument according to an embodiment. FIG. 2 is a block diagram showing an example of the control system for the electronic keyboard instrument according to the embodiment. FIG. 3 is a functional block diagram showing an example of processing functions of the CPU 201 and contents stored in the ROM 202 according to the embodiment. FIG. 4A is a diagram showing an example of an automatic accompaniment pattern. FIG. 4B is a diagram showing an example of automatic accompaniment data corresponding to the automatic accompaniment pattern of FIG. 4A. FIG. 5A is a diagram showing an example of an automatic accompaniment pattern. FIG. 5B is a diagram showing an example of automatic accompaniment data corresponding to the automatic accompaniment pattern of FIG. 5A. FIG. 6 is a flow chart showing an example of a processing procedure by the accompaniment control section 201b. FIG. 7 is a diagram for explaining that the note information shown in FIG. 5B is changed along the back chord. FIG. 8 is a diagram showing an example of accompaniment generated by the accompaniment control section 201b. FIG. 9 is a diagram showing an example of setting data stored in the ROM 202. As shown in FIG. FIG. 10 is a diagram for explaining effect addition data for controlling brightness. FIG. 11 is a flow chart showing an example of the procedure of accompaniment sound production processing according to the embodiment. FIG. 12 is a diagram for explaining portamento. FIG. 13 is a diagram showing another example of setting data stored in the ROM 202. As shown in FIG. FIG. 14 is a diagram showing another example of setting data stored in the ROM 202. As shown in FIG. FIG. 15 is a diagram showing another example of setting data stored in the ROM 202. As shown in FIG. FIG. 16 is a diagram showing another example of setting data stored in the ROM 202. As shown in FIG. FIG. 17 is a diagram showing another example of setting data stored in the ROM 202. As shown in FIG. FIG. 18 is a diagram showing another example of setting data stored in the ROM 202. As shown in FIG. FIG. 19 is a diagram showing another example of setting data stored in the ROM 202. As shown in FIG.

Embodiments according to one aspect of the present invention will be described below with reference to the drawings. The embodiments described below are merely examples of the present invention in every respect, and various improvements and modifications can be made without departing from the scope of the present invention. That is, when carrying out the present invention, a specific configuration according to the embodiment may be appropriately employed.

<Appearance and keyboard>
FIG. 1 is an external view showing an example of an electronic musical instrument according to an embodiment. In this embodiment, a digital keyboard 100 is assumed as an electronic musical instrument. A digital keyboard 100 includes a keyboard 101 , a first switch panel 102 , a second switch panel 103 , and an LCD (Liquid Crystal Display) 104 .

A keyboard 101 is a set of keys. Each key is an operator for designating a pitch. It is also possible to embed light-emitting diodes in each key and make it play a role as a performance guide by lighting it up.

The keyboard 101 includes a chord input keyboard 101a and a melody input keyboard 101b provided on the higher tone side than the chord input keyboard 101a. The chord input keyboard 101a is pressed with the left hand to specify bass notes and chords in automatic accompaniment. The melody input keyboard 101b is played with the right hand to play the melody. A split point, which is a boundary between the chord input keyboard 101a and the melody input keyboard 101b, is preset to a key of pitch F3, for example. Some models allow you to change the split point.

The first switch panel 102 is a user interface for instructing various settings such as volume specification, automatic performance tempo setting, and automatic performance start. The second switch panel 103 is used to select various modes, select automatically played tunes, or select tone colors. The LCD 104 functions as a display unit that displays lyrics and various setting information during automatic accompaniment and automatic performance. Furthermore, the digital keyboard 100 may include a speaker (sound generator) for producing musical tones generated by a performance on the rear surface, side surface, rear surface, or the like.

<Configuration>
FIG. 2 is a block diagram showing an example of the control system 200 of the digital keyboard 100 according to the embodiment. The control system 200 includes a RAM (Random Access Memory) 203, a ROM (Read Only Memory) 202, an LCD 104, an LCD controller 208, an LED (Light Emitting Diode) controller 207, a keyboard 101, a first switch panel 102, and a second switch. It has a panel 103 , a key scanner 206 , a MIDI interface (I/F) 215 , a system bus 209 , a CPU (Central Processing Unit) 201 , a timer 210 , a tone generator system 300 and a sound system 400 .
The tone generator system 300 includes a tone generator 204 implemented as, for example, a DSP (Digital Signal Processor) and an effector 212 . Sound system 400 includes digital-to-analog converter 211 and amplifier 214 .

The CPU 201, ROM 202, RAM 203, sound source 204, digital-to-analog converter 211, key scanner 206, LED controller 207, LCD controller 208, and MIDI interface 215 are connected to a system bus 209, respectively.

A CPU 201 is a processor that controls the digital keyboard 100 . That is, the CPU 201 reads programs stored in the ROM 202 into the RAM 203 as a working memory and executes them to implement various functions of the digital keyboard 100 . The CPU 201 operates according to clocks supplied from the timer 210 . The clock is used, for example, to control sequences of automatic performance and automatic accompaniment.

A ROM 202 stores a program for realizing processing according to the embodiment, various setting data, automatic accompaniment data, and the like. The automatic accompaniment data may include preset rhythm patterns, chord progressions, bass patterns, or melody data such as obbligato. The melody data may include pitch information of each sound, pronunciation timing information of each sound, and the like.

The sounding timing of each sound may be the interval time between soundings or the elapsed time from the start of the automatically played music. A tick is often used as the unit of time. A tick is a unit based on the tempo of a song, which is used in a general sequencer. For example, if the resolution of the sequencer is 480, one tick is 1/480 of the time of a quarter note.

The automatic accompaniment data may be stored not only in the ROM 202 but also in an information storage device or information storage medium (not shown). The format of the automatic accompaniment data may conform to the file format for MIDI.

The tone generator 204 is, for example, a so-called GM tone generator conforming to the GM (General MIDI) standard. This kind of sound source can change the timbre by giving a program change as a MIDI message, and can control a predetermined effect by giving a control change.

Sound source 204 is capable of producing, for example, up to 256 voices simultaneously. The tone generator 204 reads musical tone waveform data from, for example, a waveform ROM (not shown) and outputs it to the effector 212 as digital musical tone waveform data. The effector 212 processes the digital musical tone waveform data to add various effects. For example, an equalizer that emphasizes a specific band, a chorus that layers slightly shifted sounds, and a delay that creates an echo effect are typical examples. The effected wet sound or the no-effect dry sound is output to the digital-to-analog converter 211 as digital musical tone waveform data.

A digital-to-analog converter 211 converts the digital musical tone waveform data into an analog musical tone waveform signal. The analog musical tone waveform signal is amplified by an amplifier 214 and output from a speaker (not shown) or an output terminal.

Effects can also be obtained by controlling the sound source 204 with MIDI messages without using the effector 212 . For example, portamento can be specified on/off by a control change as a MIDI message, and the degree of application (portamento time) in steps of 0-127. Various effects such as reverb, tremolo, chorus, and celeste have also been designed into MIDI. Effects such as brightness and modulation can also be controlled with control changes. Furthermore, the effects obtained by operating the pitch bender and modulation wheel can also be controlled with control changes.

The key scanner 206 constantly monitors the key depression/key release state of the keyboard 101 and the switch operation states of the first switch panel 102 and the second switch panel 103 . The key scanner 206 then informs the CPU 201 of the states of the keyboard 101 , the first switch panel 102 and the second switch panel 103 .

The LED controller 207 is, for example, an IC (Integrated Circuit). The LED controller 207 illuminates the keys of the keyboard 101 according to instructions from the CPU 201 to navigate the performer's performance. The LCD controller 208 is an IC that controls the display state of the LCD 104 .

The MIDI interface 215 inputs MIDI messages (performance data, etc.) from external devices such as the MIDI device 4, and outputs MIDI messages to external devices. The digital keyboard 100 can exchange MIDI messages and MIDI data files with an external device using an interface such as a USB (Universal Serial Bus). The received MIDI message is passed to the tone generator 204 via the CPU 201 . The tone generator 204 produces sound according to the tone color, volume, timing, etc. specified by the MIDI message.

A storage device 3 as a removable medium may be connected to the system bus 209 via USB, for example. Examples of the storage device 3 include a USB memory, flexible disk drive (FDD), hard disk drive (HDD), CD-ROM drive, and magneto-optical disk (MO) drive. When the program is not stored in the ROM 202, the program is stored in the storage device 3 and read into the RAM 203 to cause the CPU 201 to perform the same operation as when the program is stored in the ROM 202. can be done.

FIG. 3 is a functional block diagram showing an example of processing functions of the CPU 201 and contents stored in the ROM 202 according to the embodiment.

The ROM 202 stores automatic accompaniment data a1 to an and setting data b1 to bm in addition to the program 500 that implements the processing functions of the CPU 201 . The automatic accompaniment data a1-an is, for example, a set of MIDI data representing various automatic accompaniment patterns created in advance for each part. The automatic accompaniment data corresponding to the accompaniment pattern shown in FIG. 4A has the contents shown in FIG. 4B, for example.

<About automatic accompaniment data>
FIG. 4A shows an automatic accompaniment pattern in which a half note C major chord is sounded twice in one bar. This automatic accompaniment pattern can be represented by numerical values indicating notated timing, symbols indicating note information (pitch name and pitch), and numerical values indicating velocity and duration, as shown in FIG. 4B. The unit of sound length is tick, for example. The number of ticks per beat is often set to 96. In this case, the tone length of an eighth note is counted by 48 ticks, and the tone of a half note is counted by 192 ticks. Since it is 160 ticks in FIG. 4B, it can be seen that the tone length is slightly shorter than the maximum tone length of the half note.

FIG. 5A is an example of an obligate part to a C major chord, which is an automatic accompaniment pattern showing a round trip of eighth notes by chord tones. For this automatic accompaniment pattern, the timing, note information, velocity, and length of each note are set as shown in FIG. 5B, for example. It can be seen that the tone length is 40 ticks, which is set slightly shorter than the maximum tone length of an eighth note.

<Functions of CPU 201>
The CPU 201 has a chord detection section 201a, an accompaniment control section 201b, and a setting reflection section 201c as processing functions related to the embodiment. These functions are realized by the program 500. FIG.

The chord detection unit 201a determines an automatic accompaniment pattern to be sounded from among a plurality of automatic accompaniment patterns based on a first user operation. Here, the first user operation is, for example, an operation (performance) on the chord input keyboard 101a. Output data of the chord input keyboard 101a is passed to the chord detection section 201a. Note that the operation (performance) on the melody input keyboard 101b is an example of the second user operation. The output data of the melody playing keyboard 101b is passed to the setting reflecting section 201c.

The accompaniment control section 201b instructs the sound source 204 or the sound source system 300 to produce accompaniment sounds corresponding to the automatic accompaniment pattern determined by the chord detection section 201a. That is, when any key of the chord input keyboard 101a is pressed, the accompaniment control unit 201b sets the root value and the chord type value based on the note name (note number) associated with the key. decide. Here, the root value is a tone name value in 12 steps from C=Do to B=B, and the chord type value is numerical data associated with the chord type. By the way, the types of chords include, for example, M (Major), m (minor), dim, aug, sus4, sus2, 7th, m7, M7, m7♭5, 7♭5, 7sus4, add9, madd9, mM7, dim7, 69, 6th, m6, etc.

The accompaniment control section 201b then identifies the chord name based on the determined root value and chord type value. Further, the accompaniment control section 201b determines an automatic accompaniment pattern to be pronounced from among a plurality of automatic accompaniment patterns based on the specified chord name, and reads the corresponding automatic accompaniment data from the ROM202.

The accompaniment control section 201b also generates an accompaniment according to the read automatic accompaniment data and the chord type value passed from the chord detection section 201a, and passes the generated accompaniment to the tone generator system 300. FIG. The tone generator system 300 converts the accompaniment generated by the accompaniment control section 201 b into audio data for each part, and outputs the audio data to the sound system 400 .

The setting reflection unit 201c reflects the setting based on the setting data corresponding to the automatic accompaniment pattern determined by the chord detection unit 201a to the musical tone of the pitch specified by pressing the key on the melody input keyboard 101b. In other words, the setting reflection unit 201c creates, for example, a MIDI message for reflecting the selected setting data in the phrase played on the melody input keyboard 101b. The setting reflection unit 201c gives this MIDI message to the tone generator system 300 to add effects to the performance with the right hand. Alternatively, various settings corresponding to the selected setting data may be reflected in, for example, a MIDI message created in response to key depression on the melody input keyboard 101b. Alternatively, for example, a MIDI message may be created according to setting data selected at preset timing regardless of whether or not a key is pressed on the melody input keyboard 101b.

Incidentally, the accompaniment control section 201b generates an appropriate accompaniment by changing the note information of the automatic accompaniment pattern based on the chords detected by the chord detection section 201a.

<Generation of accompaniment>
FIG. 6 is a flow chart showing an example of a processing procedure by the accompaniment control section 201b. The accompaniment control unit 201b changes the note information (pitch) of the automatic accompaniment data for parts other than the drum part according to the chords of the backing. As for the drum part, it is considered that there is no need to change it due to the nature of the sounds that are produced.

When the accompaniment is started in FIG. 6, if the automatic accompaniment data is not a drum part (No in step S1), the accompaniment control section 201b converts the note information of the automatic accompaniment data into the chord detected by the chord detection section 201a. It is changed in association with the data (codename) (step S2). As shown in FIG. 7, if the chord detected by the chord detection unit 201a is F major, the accompaniment control unit 201b sets the note information of the automatic accompaniment patterns (FIGS. 5A and 5B) for the C major chord. Change 4 degrees up. The melody automatically accompaniment is thereby changed as shown in FIG.

<About setting data>
FIG. 9 is a diagram showing an example of setting data stored in the ROM 202 (FIG. 3). An example of setting data is data called "emotional data" by those skilled in the art. As shown in FIG. 9, the setting data associates the [timing] with the [additional effect data], is created at least before the performance by the user, and is stored in the ROM 202 in advance. [Timing] is time data indicated by [bar:beat:tick], and is associated with at least one of the timings between the playback start timing and the playback end timing of the automatic accompaniment pattern. Note that FIG. 9 shows the data of the first bar and the second bar.
[Effect addition data] for adding acoustic effects to the sound to be played is set in association with, for example, timing. The setting data b1 related to brightness will be described as an example.

As shown in FIG. 10, brightness controls the gain of overtone components to produce effects such as "shimmer" and "brightness" in the sound. For example, if the gain of the overtone component is increased with the band around 1 kHz to 2 kHz as the boundary, the effect of brightening the sound can be obtained. It is said that lowering the gain makes the sound rounder.

Technically, it is sufficient to be able to control the gain in the range of -12 dB to +12 dB. For example, numerical values expressed in the range of -127 to +127 with 8 bits and 256 gradations are used as effect added data related to brightness. If the effect addition data is positive, the gain of harmonic overtones is increased according to the positive value to emphasize the high frequencies. If the effect added data is negative, the gain of harmonic overtones is lowered according to the negative value, and the high frequencies are suppressed.

According to FIG. 9, for example, data 0 is extracted at the first beat of the first bar, and data +100 is extracted at the fourth beat of the first bar. Also, when the key is pressed at the fourth beat of the first bar, the effect added data is -24, so the setting reflecting section 201c describes this in the MIDI message and instructs the tone generator 204 to do so. As a result, the high frequency components of the timbre of the sound produced at that timing are lowered, resulting in a sweeter sound. At the 4th beat of the 2nd bar, the effect added data is +100, so the setting reflecting unit 201c describes this in the MIDI message (control change) and instructs the tone generator 204 to do so. This raises the high-frequency components of the timbre of the pronunciation at that timing, making the sound sparkling.

FIG. 11 is a flow chart showing an example of the procedure of accompaniment sound production processing according to the embodiment. A program including instructions for executing this flow chart is called and executed by the CPU 201, for example, each time a predetermined interrupt timing arrives in a loop from the start to the end of automatic accompaniment reproduction.

In FIG. 11, the chord detection unit 201a waits for key depression of the chord input keyboard 101a (step S11), and the setting reflection unit 201c waits for key depression of the melody performance keyboard 101b (step S15).
When the chord input keyboard 101a is pressed (Yes in step S11), the chord detection unit 201a acquires pitch information (note information) and velocity information of the pressed key (step S12). If a chord corresponding to the pitch information and velocity information is detected (step S13), the chord detection section 201a passes the chord root value and chord type value to the accompaniment control section 201b (step S14), and returns to the caller. (RETURN).

On the other hand, when the depression of the melody performance keyboard 101b is detected (Yes in step S15), the setting reflection unit 201c acquires pitch information and velocity information (step S16). Then, if the effect added data is defined at the timing at that time and the effect added data can be acquired from the accompaniment control unit 201b (Yes in step S17), the setting reflection unit 201c receives the pitch information, velocity information, and so on. , and to instruct the sound source 204 to produce a sound based on the effect addition data (step S18).

As a result, the sound played with the right hand is automatically given an effect that reflects the playing state at that point in time. For example, if you want to liven up the scene at the end of an auto-accompaniment loop, you can expect the effect of increasing the brightness value to produce a sound that emphasizes the high frequencies, thereby raising the mood of the audience.

Note that if no additional effect data is defined at the timing of step S17 (No in step S17), the setting reflecting unit 201c instructs the sound source 204 to produce sound based on pitch information and velocity information (step S19). ). As a result, the raw sound is output.

As described above, in the embodiment, setting data for imparting effects to sounds is stored in the ROM 202 in advance. Then, in the playback loop of the automatic accompaniment operated by the chord input keyboard 101a, setting data corresponding to the playback state of the automatic accompaniment is acquired, and the sound generated by the performance of the melody performance keyboard 101b by the user is acquired. setting data is reflected. This makes it possible to automatically change the timbre and performance state of the right-hand performance according to the state of the automatic accompaniment.

In the existing electronic keyboard instruments, the pronunciation by playing with the right hand did not change regardless of the playback state of the automatic accompaniment. It is undeniable that keyboard instruments have less expressive performance than acoustic instruments such as saxophones and guitars, and playing a saxophone on a sampling keyboard or the like produces a monotonous sound.

Due to the structure of keyboard instruments such as pianos and organs, it is difficult to modulate the sound. For this reason, the performer is required to devise a method. On the other hand, it is known that in a stringed instrument such as a guitar, as the player strikes, the fingers holding the fingerboard become more forceful, resulting in a sweeter pitch. Furthermore, brass section instruments also have their own unique sounding mechanisms. In order to simulate such an effect with an electronic keyboard instrument, the performer was forced to perform extremely troublesome operations, such as operating the volume pedal in detail or operating the modulation wheel frequently at just the right time.

On the other hand, according to the embodiment, an effect corresponding to the automatic accompaniment is automatically added to the performance sound. In other words, effects that match the accompaniment can be easily added to the melody played by the user. In this way, by changing the timbre and performance state of the right-hand performance according to the state of the automatic accompaniment, for example, when the automatic accompaniment is playing intensely, the timbre of the right-hand performance also changes, realizing a rich performance expression. can do. For these reasons, according to the embodiments, it is possible to provide an electronic musical instrument, a control method, and a program capable of realizing rich performance expression.

[First modification]
In the above embodiment, brightness is described as an example of utilization of setting data (emotional data). In the first modified example, controlling portamento with setting data will be described.
FIG. 12 is a diagram for explaining portamento. Portamento is an index representing the speed at which the pitch of a sound changes, and will be described below separately from the so-called glissando rendition. Portamento can be adjusted by specifying the portamento time as a parameter. The portamento time is an index that indicates the speed at which the pitch of a sounded note changes continuously from the first pitch to the second pitch. In other words, the portamento time is the time required for the pitch of the previous sound to change from when the key is pressed until the sound of the pitch corresponding to that key is produced.

In the setting of FIG. 12(a), when the portamento time is short (portamento time=5), for example, when the C key is pressed (the timing at which the C key is pressed is indicated by the one-dot chain line), the previous G changes rapidly to C. leading to the pronunciation of sounds. Such settings are suitable for expressing the sound of plucked string instruments such as harpsichords and kotos.

In the setting of FIG. 12(b), the portamento time is relatively long (portamento time=95), and the change from G note to C note is gradual. Such a setting is suitable, for example, for expressing a choking style of playing a guitar or changing the pitch of a sound. In particular, with acoustic instruments, the pitch of the sound may become sweet (violent) when the performance becomes lively. According to the first modification, such a performance state can be automatically simulated by changing the portamento time.

FIG. 13 is a diagram showing another example of setting data stored in the ROM 202. As shown in FIG. Portamento time, which can be set in the range of 0 to 127, for example, is set in association with the timing as effect addition data in the same manner as the brightness in FIG. In the second half of the first bar, the portamento time is extended to make it lively, and in the second half of the second bar, the portamento time is further extended to make it louder.

As described above, in the first modification, the portamento can be automatically changed along with the state of the automatic accompaniment, so that, for example, the rhythm of the performer can be easily expressed.

[Second modification]
In the above explanation, the effect adding data for adding acoustic effects to musical tones has been taken as an example of the setting data. In the second modification, timbre change data for changing the set first timbre to the second timbre will be described as an example of setting data. The timbre change data is, for example, a program number (timbre number) included in a MIDI message. In order to instruct the change of timbre, a program change for changing the timbre should be given to the tone generator 204 . Here, a saxophone is assumed as the timbre.

FIG. 14 is a diagram showing another example of setting data stored in the ROM 202. As shown in FIG. Three types of timbre changes, legato, normal, and blow, are set as effect addition data for each timing. The first half of each bar is played legato calmly, the second half gradually raises the tension, and the latter half of the second bar is played with a blow technique, which shows the composer's intention.

[Third Modification]
In the third modification, volume change data for changing the first volume specified by playing the melody input keyboard 101b to the second volume will be described as an example of setting data.

FIG. 15 is a diagram showing another example of setting data stored in the ROM 202. As shown in FIG. Here, a numerical value for finely adjusting the detected velocity is set as effect addition data for each timing. In the latter half of the first bar, the sound is louder than the player's key presses, then it is suppressed, and in the latter half of the second bar, the louder sound is intended to excite the music.

[Fourth Modification]
In the fourth modification, pitch change data for changing the first pitch specified by playing the melody input keyboard 101b to the second pitch will be described as an example of setting data. To change the pitch, a program change should be sent to the tone generator 204 .

FIG. 16 is a diagram showing another example of setting data stored in the ROM 202. As shown in FIG. For example, a numerical value for adding a perfect fifth above the consonant interval is set as effect addition data for each timing. It is known that pipe organ stops (sound plugs) aim for this kind of effect, and by mixing the played sound with the fifth higher sound, a unique effect can be produced. Of course, it is also possible to produce sounds such as thirds above, fourths above, and sixths below.

[Fifth Modification]
In the fifth modification, control change data for changing effect data (parameters) will be described as an example of setting data.

FIG. 17 is a diagram showing another example of setting data stored in the ROM 202. As shown in FIG. Delay time is one of the parameters of the digital delay included in effector 212 (FIG. 2). Here, a numerical value for designating the delay time is set as effect addition data for each timing. You can see the composer's intention to apply a short delay in the latter half of each bar, and to liven up the second bar with a longer delay than the first bar. Another parameter of the delay is feedback. This can also be specified numerically as effect addition data.

[Sixth Modification]
A sixth modification describes changing the setting data according to the detected code. That is, the effect addition data is set for the code type, not for the timing as described above. Here, an example of manipulating the brightness according to the code type will be described.

FIG. 18 is a diagram showing another example of setting data stored in the ROM 202. As shown in FIG. Here, numerical values specifying brightness are set as effect addition data for eight chord types of M, m, 7th, m7, m7♭5, 7sus4, dim7, and aug. Based on the major chords, the brightness of the minor chords is softened and the tension chords are raised to stimulate the listener's ears.

In the sixth modification, the chord type values determined by the accompaniment control section 201b (FIG. 3) are transferred to the setting reflecting section 201c, and the setting reflecting section 201c sets the effect addition data corresponding to the chord type values as shown in FIG. Get from data. Then, the setting reflecting unit 201 c creates a MIDI message for reflecting the setting data and transfers it to the tone generator 204 .

It is also possible to select the effect addition data according to the role of the chord (I, IV, V or their substitute chords, etc.) in the key of the song, instead of the chord name itself. In many cases, as the chord progresses from I→IV→V, the effect addition data is set to become more emotional.

[Seventh Modification]
In the above explanation, it is assumed that the setting data is fixedly set in advance integrally with the automatic accompaniment data. In the seventh modification, the setting data is dynamically changed as the automatic accompaniment progresses.

In the seventh modified example, changing the setting data according to variations of accompaniment will be described. That is, the effect addition data is set for variations of accompaniment. That is, the effect addition data is set so as to change the emotional degree according to the contents of the accompaniment. For example, effect addition data can be set so that the degree of emotionality is high at the beginning of the beat and low in the second half. Here, an example of operating the brightness according to the contents of the accompaniment will be described.

FIG. 19 is a diagram showing another example of setting data stored in the ROM 202. As shown in FIG. Numerical values specifying brightness are set as effect addition data for each accompaniment content of intro, normal, variations 1 to 5, and outro. You can see the composer's intention that the intro is slightly lively, and in normal mode, the more the number of variations increases, the more the song gradually builds up.

In addition, the effect addition data may be suppressed (lower emotional data) during normal accompaniment playback, and set higher (higher emotional data) when entering a fill-in. High Emotional Data results in a brighter timbre, while low Emotional Data results in a darker timbre.

Alternatively, the setting data may be incremented so as to increase the degree of emotion as the number of times the loop is played increases. In addition, it is of course possible to change the effect addition data according to the genre of music, the genre of accompaniment, and the type of rhythm (8/16 beat, shuffle, samba, etc.).

As described above, according to the embodiment and each modified example, it is possible to provide an electronic musical instrument, a control method, and a program capable of realizing richer performance expressions. In addition, it is possible to realize a performance that the player has never experienced before, in which key depression with the left hand affects performance with the right hand.

It should be noted that the present invention is not limited to the above embodiments and modifications.
For example, it is possible to implement the function of the sound source 204 as software that uses the computing resources of the CPU 201 . Moreover, it is of course possible to control the sound source 204 not by MIDI messages but by control messages based on its own standard, and it is not essential that the sound source 204 comply with the MIDI standards.
Also, in the embodiment, a mode in which an instruction is given to the sound source 204 to change the musical sound has been described. Not limited to this, the musical tone can also be changed by controlling the effector 212 .
In addition to the indicators mentioned above, there are various indicators that affect the expression of sound, such as sustain, detune, attack, vibrato speed, width, and detail, and these can be controlled by setting data. Of course it is possible.

Ultimately, it is sufficient that the performance sounds produced in response to the user's performance operations on the performance operators are changed in accordance with at least the setting data associated with the reproduced automatic accompaniment data. That is, the present invention is not limited to the specific embodiments as described above, and the technical scope of the present invention includes various modifications and improvements within the scope of achieving the object of the present invention. This is obvious to those skilled in the art from the description of the claims.

The invention described in the scope of claims originally attached to the application form of this application is additionally described below. The claim numbers of the claims described in the supplementary notes are as in the claims originally attached to the request of this application.
<Claim 1>
sound source and
a processor;
wherein the processor comprises:
instructing the sound source to produce accompaniment sounds corresponding to the automatic accompaniment pattern;
instructing the sound source to produce musical tones of a pitch designated by a user's operation by reflecting settings based on setting data corresponding to the automatic accompaniment pattern;
electronic musical instrument.
<Claim 2>
further comprising a memory for storing the setting data in advance prior to performance,
2. The electronic musical instrument according to claim 1, wherein said processor reflects settings based on said setting data stored in said memory in said musical tones.
<Claim 3>
3. The electronic musical instrument according to claim 1, wherein said setting data is associated with at least one of timings between the determined playback start timing and playback end timing of said automatic accompaniment pattern.
<Claim 4>
The setting data includes effect addition data for adding a sound effect to the musical tone, tone color change data for changing the set first tone color to a second tone color, and a first sound volume specified by the user operation. at least one of volume change data for changing to a second volume and pitch change data for changing the first pitch specified by the user operation to a second pitch The electronic musical instrument according to any one of claims 1 to 3.
<Claim 5>
a keyboard including a chord input keyboard and a melody input keyboard provided on the higher tone side than the chord input keyboard;
The processor
determining an automatic accompaniment pattern from among a plurality of automatic accompaniment patterns based on a first user operation on the chord input keyboard;
5. The electronic musical instrument according to any one of claims 1 to 4, wherein the setting based on the setting data is reflected in the pitch of the designated musical tone based on the second user's operation on the melody input keyboard.
<Claim 6>
The processor
determining a root value and a chord type value based on the first user operation;
6. The electronic musical instrument according to claim 5, wherein the automatic accompaniment pattern to be sounded is determined from among the plurality of automatic accompaniment patterns based on the determined root value and chord type value.
<Claim 7>
to the computer of the electronic musical instrument,
instructing the sound source to produce accompaniment sounds corresponding to the automatic accompaniment pattern;
instructing the sound source to produce musical tones of a pitch specified by a user operation by reflecting settings based on setting data corresponding to the automatic accompaniment pattern;
control method.
<Claim 8>
to the computer of the electronic musical instrument,
instructing the sound source to produce accompaniment sounds corresponding to the automatic accompaniment pattern;
instructing the sound source to produce musical tones of a pitch specified by a user operation by reflecting settings based on setting data corresponding to the automatic accompaniment pattern;
program.

3 Storage device 4 MIDI device 100 Digital keyboard 101 Keyboard 101a Chord input keyboard 101b Melody input keyboard 102 Switch panel 103 Switch panel 200 Control system 201 CPU
201a... Chord detection section 201b... Accompaniment control section 201c... Setting reflecting section 202... ROM
203 RAM
204 Sound source 206 Key scanner 207 LED controller 208 LCD controller 209 System bus 210 Timer 211 Digital-to-analog converter 212 Effector 214 Amplifier 215 MIDI interface 300 Sound system 400 Sound system 500 Program a1~ an Automatic accompaniment data b1 to bm Setting data.

Claims (8)

sequentially generating accompaniment tones corresponding to an automatic accompaniment pattern based on a first user operation on the chord input keyboard and setting setting data different from the automatic accompaniment pattern ;
A second user on a melody input keyboard, wherein said setting data is a first setting based on note information and velocity information of a key pressed by said first user operation and corresponds to a first timing of said automatic accompaniment pattern. When the first setting for changing the pronunciation state of the melody tones by the operation is included, the pronunciation state of the melody tones to be pronounced according to the second user operation is changed based on the first setting corresponding to the first timing. do,
An electronic instrument that performs processing. The setting data is
effect addition data for adding a sound effect to the melody sound by the second user's operation on the melody input keyboard;
timbre change data for changing the set first timbre of the melody sound to a second timbre;
volume change data for changing the first volume specified by the second user operation on the melody input keyboard to the second volume;
pitch change data for changing the first pitch specified by the second user operation on the melody input keyboard to a second pitch;
2. The electronic musical instrument according to claim 1, comprising at least one of: determining a root value and a chord type value based on the first user operation;
3. The electronic musical instrument according to claim 1, wherein a pronunciation mode of the automatic accompaniment pattern to be sounded is determined based on the determined root value and the chord type value. obtaining the root value and the chord type value according to the note information and the velocity information;
4. An electronic musical instrument according to claim 3, wherein said setting data is determined according to said root value and said chord type value. a processor that performs the processing;
a sound source for producing a melody sound instructed by the processor in response to the second user operation;
a memory storing the automatic accompaniment pattern data in advance before the user starts playing;
5. The electronic musical instrument according to any one of claims 1 to 4, comprising: a keyboard including the chord input keyboard and the melody input keyboard provided on the higher tone side than the chord input keyboard;
The processor
instructing the sound source to produce accompaniment sounds corresponding to the automatic accompaniment pattern based on the first user's operation on the chord input keyboard;
6. The sound source according to claim 5, wherein said sound source is instructed to produce a melody sound corresponding to a pitch designated based on said second user's operation on said melody input keyboard based on settings based on said setting data. electronic musical instrument. electronic musical instruments
sequentially generating accompaniment tones corresponding to an automatic accompaniment pattern based on a first user operation on the chord input keyboard and setting setting data different from the automatic accompaniment pattern;
A second user on a melody input keyboard, wherein said setting data is a first setting based on note information and velocity information of a key pressed by said first user operation and corresponds to a first timing of said automatic accompaniment pattern. A control method for executing a process of changing, based on the first setting, the pronunciation state of melody tones to be pronounced in response to the second user operation, when a first setting for changing the pronunciation state of melody tones by an operation is included. . to the computer of the electronic musical instrument,
sequentially generating accompaniment tones corresponding to an automatic accompaniment pattern based on a first user operation on the chord input keyboard and setting setting data different from the automatic accompaniment pattern;
A second user on a melody input keyboard, wherein said setting data is a first setting based on note information and velocity information of a key pressed by said first user operation and corresponds to a first timing of said automatic accompaniment pattern. When the first setting for changing the pronunciation state of the melody tones by the operation is included, the pronunciation state of the melody tones to be pronounced according to the second user operation is changed based on the first setting corresponding to the first timing. do,
A program that causes an action to take place.

Images