JPH0348896A - Musical tone controller - Google Patents

Abstract

PURPOSE:To facilitate the musical scale adjustment and the free musical scale designation by providing a sound pitch designating means and a pitch adjusting means, in an electronic bowing musical instrument. CONSTITUTION:On the surface of the neck part 24 of a body of an electronic bowing musical instrument in which a bow body of a movable member is brought to relative movement with a string corresponding part 35 and outputs a relative motion state detecting signal for forming a musical tone, a finger plate 23 of a sound pitch designating means is provided, and also, a pseudo bobbin part 22 of the tip of the neck part 24 forms a pitch adjusting means. Accordingly, transposition, etc., and free musical scale designation for varying the musical scale are easily executed by the finger plate 23, and a volume resistance, etc., interlocked with turning of the bobbin part 22, respectively.

Description

[Detailed Description of the Invention] [Industrial Application Field] The present invention relates to electronic musical instruments, and in particular to a musical tone control device for an electronic musical instrument suitable for simulating a bowed string instrument that is played using a movable performance member such as a bow. Regarding.

[Prior Art] Violins, violas, chieguchi, contrapasses, and the like are known as slow-field natural instruments that are played using a bow. There are also miniature sizes of each. The following explanation will be given mainly using the violin as an example.

Conventional electric violins omit the body of a natural violin, use a natural instrument bow, stretch the strings of a natural instrument, rub the strings with the bow, pick up the vibrations of the strings with a pickup, and process them as electrical signals. There was one that outputs a beeping sound.

This electric violin is played in the same way as a natural musical instrument, by actually rubbing the strings and first generating sound through the vibrations of the strings.

[Problems to be Solved by the Invention] Generally, a natural bowing instrument has a plurality of strings, and the scales of the strings are individually adjusted using pegs.

The present inventor proposes an electronic musical instrument that can generate the musical tones of a bowed instrument without actually needing to string the strings.

Electronic slow-field instruments have a plurality of string-equivalent parts in play, just like natural instruments, but the string-equivalent parts can generate a constant scale without adjusting them. However, in electronic musical instruments, there are cases where the scale of all the strings is changed for tuning purposes, or where only the scale of some strings is changed depending on the song.

An object of the present invention is to provide a musical tone control device that can easily change the pitch of a musical tone emitted by an electronic slow-field instrument that does not actually have strings.

The purpose of the pond of the present invention is to independently control the pitch of each string of a bowed instrument.
It is an object of the present invention to provide a musical tone control device that can be arbitrarily changed.

Another object of the present invention is to provide a musical tone control device that can simultaneously change the pitch of each string of a bowed musical instrument in a predetermined pattern.

[Means for Solving the Problems] According to the present invention, a musical tone control device capable of generating musical tones for a bowed musical instrument includes pitch adjusting means that can easily adjust the pitch specified by the pitch specifying means.

According to one embodiment of the present invention, for example, FIGS.
B), Figures 2 (A) to (C), Figures 6 (A) to (C),
Referring to Figure 18, the neck part (24) and the string equivalent part (31)
A movable performance member (40) that is held in the hand by a player and is moved opposite to the string-corresponding portion of the main body to play, and a movable performance member (40) that includes a Relative motion detection means (37, 65, 78, 80) for detecting relative motion and generating a relative motion mode detection signal, and a relative motion detection means (37, 65, 78, 80) provided on the surface side of the rod section for specifying the pitch of the generated musical tone. pitch specifying means (23,
148), and a thread winding part (2) provided at the tip of the shaft part.
2) Rotary volume (22-IV, 22-2V
,...), and outputs a pitch adjustment amount for adjusting the pitch of a musical tone generated in response to a resistance value that changes by rotating the volume (149, 150).
and a musical tone control means for controlling musical tone elements of a musical tone generated based on the relative movement mode detection signal, the detection result of the pitch specifying means, and the pitch adjustment amount of the pitch adjusting means (
2) A musical tone control device is provided.

It is necessary to change the scale of the cosine or change the scale of some strings depending on the song. These requirements can be solved by providing pitch adjusting means for adjusting the pitch of musical tones in the musical tone signal forming circuit together with pitch specifying means.

Originally, the pitch of electronic instruments does not go out of order, so there is no need for tuning to adjust the scale to the original pitch. However, it is desirable to be able to adjust the scale for transposition etc. If you take advantage of the characteristics of electronic instruments, , you can freely specify the scale with simple operations.

You can also perform predetermined tuning with just a touch.

You can also tune each string independently. At this time, a reset switch can be provided to return to a predetermined state with a single touch.

[Function] The pitch of the musical tone of a natural bowed instrument is adjusted by the tension of each string with a peg.In electronic instruments that do not use the 0 string, a peg is not originally necessary, but for tuning [Example] Fig. 1 (A) , (B) shows the basic configuration of an electronic slow field instrument, and FIG. 1 (A>) shows the overall schematic configuration.

In the input section 1, performance parameters can be entered by the performer through various operations.1 Typically, a movable performance member such as a bow is organically connected to the main body of the instrument, and performance is performed by moving it relative to the main body of the instrument. Typical examples of various performance parameters that perform this include the direction of movement of the bow, the sales area, the position where the bow touches the string such as the name of the era, the speed of the bow, the pressure of the bow on the string, and the pitch specified on the fingerboard. (pitch) and timbre are shown. In addition to these, the position of the string where the bow hits,
Parameters such as the angle of the bow may also be provided.

Based on these performance parameters, the musical tone signal forming circuit 2 forms musical tone signals. Although this musical tone signal is a digital signal, it is converted into an analog signal by a D/A converter 3, and is output as a musical tone from a speaker 5 via an amplifier 4.

FIG. 1(B) shows an example of the basic configuration of the main parts of the musical tone signal forming circuit 2 shown in FIG. 1(A).

This is a nonlinear musical tone synthesis circuit modeled on a slow bowed string instrument, and includes a nonlinear function section NLII that approximates the frictional characteristics between the strings and the bow, and a delay section Delay that approximates the string characteristics.
The delay section and the filter section, which approximate the characteristics of the 6th string, are composed of the string section 13.18 and the filter section 12.14.19, and are separated from the string point to the bridge and pincushion sides, so there are I have a part of it. In the example of FIG. 1(B), the nonlinear part includes the nonlinear function 11 and the low-pass filter 12.
It consists of The delay circuit 13 and low-pass filter 14 approximate the characteristics of the string between the pieces, and the delay circuit 18 and low-pass filter 19 approximate the characteristics of the string on the peg side.

Of course, by changing these characteristics, circuit 13
．． It is also possible to view circuit 14 as the pincushion side and view circuits 18 and 19 as the piece.

As described above, the nonlinear function 11 approximates the frictional characteristics between the string and the bow, and is, for example, a function as shown in FIG. 1(C). Friction characteristics are determined by bow pressure and other factors. Since the maximum static frictional force is large and determines its properties, this nonlinear function is also a function whose size, shape, etc. are controlled by the pressure of the bow.

In the actual operation of FIG. 1(B), the output of the nonlinear circuit 11 that approximates the string characteristics of a slow-field bowed string instrument corresponds to the pincushion side part of the string and the bridge part, and the output is to the left and right in the figure. Show 2
input into one circuit. The circuit corresponding to the pincushion side of the string shown on the left includes a delay circuit 18 and a low-pass filter 19, and corresponds to the operation in which vibrations transmitted through the string are reflected at the fingering position on the fingerboard and returned to the stringing part. The output of the nonlinear circuit 11
to return to. The section between the string bridges shown on the right side also includes a delay circuit 13 and a low-pass filter 14, and the output is fed back to the nonlinear circuit 11 in response to the action of the string vibration being reflected by the bridge and returning to the string rubbing section. do. Another low-pass filter 12 is connected between the input and output of the nonlinear circuit 11, and feedback is applied to control the gain.

The pitch of a musical tone is determined by adjusting the delay times of the delay circuits 13 and 8 in accordance with the fingering positions on the fingerboard. In addition, the speed and pressure of the bow are input to the musical tone signal forming circuit as parameters for musical tone formation.

In this way, the circuit of FIG. 1(B) simulates musical tones caused by the vibrations of the strings of a slow field instrument.

The output of the circuit in FIG.
(not shown) and is supplied to the D/A converter 3 of FIG. 1(A).

2(A) to 2(C) show the external appearance of an electronic musical instrument according to an embodiment of the present invention. FIG. 2(A) shows a side view of the instrument body, and FIG. 2(B) shows the front side of the instrument body. shows.

The main body of the musical instrument has a shape that is almost the same as a violin, which is a natural musical instrument, but since there is no need to actually vibrate or resonate the strings, various simplifications may be made. 22 and 0 continuous to the spiral part 21
A fingerboard 23 is provided on the front side of the neck portion 24. A pitch signal that determines the pitch of a note is generated by pressing the fingerboard with your fingers.

Similar to the violin, which is a natural musical instrument, an upper bridge 29 and a bridge 3o are formed at positions that support both ends of the strings, and a string rubbing section 31 to be played with a bow is formed near the bridge 30, below the bridge 30. is provided with a tail piece 32. In the case of a natural musical instrument, a body 25 serving as a resonator is formed of a front plate 26, side plates 27, and a back plate 28. The body 25 is further provided with a corner 39 and an F main hole 35, similar to a natural musical instrument. Further, a chin rest 34 is provided at a portion that should be placed against the chin.

Portions corresponding to the strings and the resonator may be arbitrarily changed or omitted.

In this way, the slow-field instrument body is constructed to have almost the same form as the slow-field instrument body of a natural musical instrument, but the strings are not actually stretched, and the string rubbing section 31 is provided with a friction member equivalent to the strings. It is being In the vicinity of this string equivalent part 31, an equivalent motion detecting means 3 consisting of a light receiving part, a light emitting part, a reflecting part, etc.
7 is provided to detect the relative movement of the bow.

Figure 2 (C) shows the horse body, the horse body 40 is the era name part 44
, an era name portion 46, a grip portion 42, and the like. In the case of natural musical instruments, the parts that should be covered with hair are not actually covered with hair, but are instead made of plastic or other material.

Figures 3 (A) and (B) show the structure of the rod.
> is a cross-sectional view, and FIG. 3(B) is a cross-sectional view.

In the violin, which is a natural musical instrument, four strings are strung on the fingerboard on the front side of the neck, but in the electronic musical instrument according to this embodiment, a pitch specifying means 50 corresponding to the strings is provided. That is, as shown in FIGS. 3A and 3B, four sets of resistance wires 51 buried therein and conductive wires 53 thereon are provided in the fingerboard 23. When the conductive wire 53 is pressed, the conductive wire 53 changes as shown in FIG.
It is deformed as shown in FIG. 2 and comes into contact with the resistance wire 51.

A fixed contact member 55 and a movable contact member 5 are provided on the back side of the rod portion 24.
A vibrato switch 59 consisting of 7 is provided.

FIG. 3(B) shows the structure of the rod portion 24 in cross section.

On the fingerboard 23 there are four pitch specifying means 50a, 50b.
, 50c, and 50d are provided in parallel, and each of the resistance wires 51a, 51b, 51c, and 51d and the conductive wire 5
3a, 53b, 53c, 53d, and an insulating material 5 covering the conductive wires 53a, 5''3b, 53C, 53d.
0 pole 2 where 4a, 54b, 54c, g4d are provided
The vibrato switch 59 provided on the lower side of 4 is configured as a wide switch and long in the longitudinal direction,
It is designed so that the vibrato switch 59 can be operated with the thumb no matter where on any string the finger is operated. In addition,
In the pitch specifying means 50 and the VIPR switch 59, the space between the resistance wire 51 and the conductive wire 53 and between the movable contact member 57 and the fixed contact member 55 is basically hollow. An insulating spacer member is sandwiched in one portion for support when opened.

4(A>, (B), and (C) show the pitch specifying means 50 in more detail. In FIG. 4(A), the player operates his fingers on the fingerboard 23, and conducts electricity corresponding to the strings. When the wire 53 is pressed, the conductive wire 53 contacts the resistance member 51 below, and a potential signal etc. at the contact point are extracted.

The signal extraction circuit can be configured as shown in FIG. 4(B) or FIG. 4(C), for example. In Figure 4(B),
A resistance wire 51 is connected between a predetermined potential and a ground potential, forming a position-dependent potential distribution. When the conductive wire 53 contacts the resistance wire 51, the potential at the contact point is extracted via a buffer circuit 61 and an analog/digital (A/D) conversion circuit 62 to generate a pitch signal.

FIG. 4(C) shows another embodiment, in which a resistance wire 51 and a conductive wire 5-3 are connected in series and connected to a resistance value detection circuit 64. When the conductive wire 53 is pressed and the pressed portion contacts the resistance wire 51, the portion of the resistance wire 51 below the contact point is short-circuited, and the portion of the resistance wire 51 above the contact point is short-circuited.
The resistance value is determined by A reduced resistance value corresponding to the contact point is input to the resistance value detection circuit 64. At this time, if the wires 51 and 53 are short-circuited at multiple locations, the position closer to 64 is read. Furthermore, a pitch signal is generated based on this resistance value.

Although two circuit formats have been illustrated in which the pitch signal is generated from the position where the finger presses the string-corresponding portion on the fingerboard, other circuit formats are also possible.

5(A), (B), and (C) show configuration examples of the vibrato switch 59. In FIG. 5(A), the rod portion 24
When the lower surface of the switch is pressed with a finger, the movable contact member 57 constituting the movable contact of the switch comes into contact with the fixed contact member 55 constituting the fixed contact. By detecting this contact and generating a vibrato signal, vibrato is added to the generated musical tone.

FIGS. 5(B) and 5(C) show the fixed contact member 55. As shown in FIG. 5(B), which shows two circuit forms for detecting contact of the movable contact member 57, the fixed contact member 55. The movable contact member 57 may be formed of a conductor. When the movable contact member 57 is pressed and brought into contact with the fixed contact member 55, the movable contact of the on/off switch contacts the fixed contact and the circuit is closed. The on/off detection circuit 66 detects whether the switch 59 is on or off.
Detect off. Generates a vibrato signal based on detection of on.

FIG. 5(C) shows a circuit that generates a signal indicating the position of the rod pressed by a finger in addition to the on/off signal. The fixed contact member is formed of a resistive member 55a, and a predetermined voltage is applied between both ends thereof. The movable contact member is composed of a conductive member 57a, and when pressed by the resistance member 55a, the potential of the contact point is extracted.The extracted potential of the contact point is transferred to the buffer circuit 67.
, through an A/D converter 68 to generate an output signal. The output signals include a signal regarding on/off of the vibrato and a signal indicating which part of the vibrato switch is pressed by the thumb.

Since the vibrato switch may actually be a hindrance to those who have learned the vibrato playing technique, the vibrato switch is designed to be removable.

In this case, the player can apply vibrato by actually moving his fingers on the fingerboard.

Figure 6 (A> is piece 3, schematically showing the performance with the unbowed bow.
A performance is performed by placing a monthly bow 40 on the string rubbing section 31 near 0, and performing the bow.The string rubbing section 31 is provided with string-equivalent members 71, 72, 73, and 74 corresponding to the four strings. , the monthly salary 40 is applied to one of these string-equivalent members and moved to perform a performance.The parameters that determine the generated musical sound here include the moving speed of the monthly salary 40, the moving direction, the contact position, etc., and this information In order to obtain this, a signal generating means and a signal detecting means are provided near the monthly salary 40 or the string-equivalent members 71, 72, 73, 74 of the string rubbing section 31 to detect the movement of the monthly salary 40.

There are various methods for detecting the relative movement of the monthly salary 40 with respect to the main body of the musical instrument.

The first method is to provide a member that electrically connects the musical instrument body and the musical instrument body to form a resonant circuit or the like, and utilizes the mutual inductance and capacitance between the musical instrument body and the musical instrument body. Since a signal can be extracted depending on the degree of connection between the tree and the main body of the instrument, relative movement can be detected. However, in the case of a bond between a pair of members, the detectable range may be narrow or the detection accuracy may be insufficient.

The second detection method is to provide a plurality of elements on the monthly salary to be moved and selectively combine them with elements on the main body of the musical instrument.

Examples are shown in FIGS. 6(B), (C), and (D).

In FIG. 6(B), the monthly salary 40 includes a plurality of light emitting elements 8.
0-1, a light-receiving element 78 is provided on the main body of the musical instrument, it detects which light-emitting element the light-receiving element 78 is receiving light from, and it is determined which part of the monthly salary is being hit. Furthermore, by measuring how many light pulses are incident within a unit time, the moving speed of the monthly salary 40 can be determined.

In FIG. 6(C), on the contrary, the case where the monthly salary 40 is equipped with a plurality of light receiving elements 78-1 is shown. Therefore, it is omitted here.

Note that these signals can be exchanged not only by optical signals but also by ultrasonic waves or the like.

In FIG. 6(D), both the light emitting element 80 and the light receiving element 78 are provided on the main body of the musical instrument, and a plurality of reflection patterns 65-
1 reflection pattern 65-1 is formed at a constant period, and the ratio of black and white patterns changes with position. 6 reflection patterns 65-1 are shown protruding from the surface. However, in practice, a black and white pattern may be formed on a flat surface by printing or the like.The light receiving element 78 and the light emitting element 80
are arranged in a line perpendicular to the page.

Light is emitted from the light emitting element 80 on the instrument body onto the reflection pattern 65-1 on the horse body 40, and the reflected light is detected by the light receiving element 78. The bow speed can be measured by detecting the number of pulses of the light reception signal within a unit time, and the contact position of the monthly salary 40 can be measured by detecting the ratio between the high level period and the low level period of the light reception signal. Of course, the barcode may be formed of a black and white pattern to represent positional information, or conversely, the bow may be provided with emitting/light receiving elements and the main body may be provided with a reflective pattern.

FIGS. 7(A) to (D) show examples of monthly salary structures in the cases of FIGS. 6(B) and (C).

FIG. 7(A) shows the appearance of the monthly salary 40 viewed from the stringing surface or sliding surface. A sliding plate 76 is provided on the stringing surface corresponding to the lower surface of the monthly salary 40. The sliding plate 76 corresponds to the hair of a natural musical instrument, and is made of a material having a suitable sliding feel, such as plastic.

FIG. 7(B) is a perspective view of only the sliding plate 76 taken out. A plurality of windows 69-1 are formed to expose the plurality of photoelectric elements 78-1 to 80-i. It is desirable that the thickness of this sliding plate is appropriate so that a plurality of photoelectric elements 80 do not correspond to a single photoelectric element 78, that is, only the opposing photoelectric elements 78 and 80 correspond to each other.

FIG. 7(C) shows a longitudinal cross-sectional view of the monthly salary 40.

A printed circuit board 70 is provided on the support member 75, and a plurality of light emitting diodes 80-1 are arranged on the glint board 70. Lens portions of the light guide member 79 face the plurality of light emitting diodes 80-1. A plurality of depressions 77-1 are provided on the upper surface of the light guide member 79,
This serves as a position guide groove for the sliding plate 76. That is, the light emitted from each light emitting diode 5o-i passes through the lens portion of the light guiding member 79, and is emitted from the window 69-1 of the sliding plate 76 as separate luminous fluxes.

The sliding plate 76 may have a 76° shape with both sides bulged as shown in FIG. 7(D).The reduced contact area reduces the frictional force and improves sliding.

Although we have described an example in which a plurality of light emitting diodes are spread out on a monthly basis of 49, instead of a plurality of light emitting diodes, as shown in FIG. 0. t
Incidentally, it is also possible to provide a plurality of pairs of light emitting elements and light receiving elements corresponding to the multi-window 69-1, and to reflect the light at the string parts.

It is also possible to use a magnetic field instead of light by using a magnet and a coil. Instead of transmitting and receiving signals by light, as mentioned above, it is also possible to use a proximity switch that utilizes changes in capacitance or inductance, or to use ultrasonic waves as a medium.

Additionally, any other method capable of detecting movement of the monthly salary 40 may be used.

Figures 8 (A) and (B) show the string rubbing section 3 near the bridge of the instrument body.
8(A) shows an example of the structure of No. 1.
In the perspective view, members 7172, 73, and 74 corresponding to the 0 string are provided directly above the bridge 30, and a light receiving member 78-1 is formed between the string corresponding members 72 and 73.

FIG. 8(B) is a cross-sectional view showing the structure of the light receiving section, which has a structure in which a light receiving element 78 is embedded between members 72 and 73 corresponding to the 0th string. An infrared filter 47 is placed above the light receiving element 78.
is provided, allowing only infrared rays of a certain wavelength to pass through. A light guiding member 48 made of acrylic resin or the like transmits the infrared rays of a certain wavelength that have passed through the infrared filter 47 further downward. A light receiving element 78 is arranged at a position to receive infrared rays emitted from the light emitting surface of the light guide member 48 . A plurality of such light receiving structures are arranged along the string-equivalent members 72 and 73 as shown in FIG. 8(A). Although one set of light receiving elements is provided for each of the four strings, for example, even if the monthly salary 40 rubs against the strings 71 or 74 at both ends, the light from the monthly salary 40 can be detected by the central light receiving element. Of course, four sets of light receiving elements may be provided corresponding to each string.

In order to detect the horse chain signal and the bow position signal, only one light receiving element is sufficient. In that case, in order to reliably detect the light, it is preferable to make it elongated along the string equivalent member, as shown in Fig. 8 ( A
), by arranging multiple devices, it is possible to detect which part of the string the bow is touching. It is possible to control the timbre, etc. by changing the string position in response to the performance of a highly skilled player.1.It is also possible to control the timbre, etc. by changing the string position in response to the performance of a highly skilled player. Alternatively, the light emitted from the square 40 can be detected by any of the light-receiving elements, and a musical tone can be generated. Furthermore, by detecting the direction of the cube 40, it is also possible to give an evaluation of the performance to the performer.

FIGS. 9(A), (B), and (C) show the horse series detection circuit,
In FIG. 9(A), the horse series detection circuit 85 is configured as shown in FIG. 6(A).
It is formed by receiving the light from the rectangular body 40 having a plurality of light emitting elements 80-1 as shown in FIG. The received light signal 81 is received at the input terminal. On the other hand, the high-speed oscillator 82
A counter 83 counts the high-speed pulses generated from the counter 83 and sends the count to a latch 84. The light reception signal 81 is sent to flip-flops 86 and 87. The output of the flip-flop 87 is ANDed with the output of the flip-flop 86 via a differentiating circuit 88, and is supplied to the R input of the counter 83. Therefore, with each light reception signal pulse, the counter 83 is reset and starts a new count. The output of flip-flop 87 is also supplied to latch 84 . Then, the latch 84 outputs the count pulse number between the light reception signal pulses. The number of count pulses increases as the bow moves more slowly. The output of the latch 84 is sent to an inverse conversion circuit 89, from which a 0 speed signal is output.

FIG. 9(B) is a waveform diagram for explaining the operation of the circuit shown in FIG. 9(A). Consider the case where the cube is moving at a constant speed. A pulsed light receiving signal 81 is supplied from the light receiving element at regular intervals.

The counter 83 counts high-speed pulses from the high-speed oscillator 82 between adjacent pulses of the light-receiving signal 81, and when the 9th-order light-receiving signal pulse that increases the count value is input, the counter 83 is reset and the counter output reaches its maximum value. The value is stored in latch 84.

If the moving speed of the square 40 is faster, the interval between the light reception signal pulses becomes shorter, and the latched counter output becomes smaller.

As the moving speed of the cube becomes slower, the interval between the received light signal pulses becomes longer, and the latched counter output becomes larger.

In this way, the moving speed of the square 40 and the latched counter output are inversely proportional.

FIG. 9C shows the input/output characteristics of the inverse conversion circuit that performs such conversion.The moving speed of the cube is obtained from the counter output latched by the inverse conversion circuit 89, and is supplied as a 0-speed signal.

FIG. 10 shows another example of a horse race detection circuit, in which a light reception signal 81 detected by a light receiving element on the main body of light from a square having a plurality of light emitting elements is supplied to an integrating circuit 91. Integrating circuit 9
1 integrates the input signal and forms an output according to the number of pulses. That is, the faster the cube 40 moves, the more pulses are input, and the output of the integrating circuit 91 increases faster.

The output of the integrating circuit 91 is supplied to a differentiating circuit 92.

The differentiator circuit 92 differentiates the output of the integrator circuit 91 to provide a zero stray signal corresponding to the rate of increase in the number of input pulses. That is, as the cube moves faster, the number of input pulses per unit time increases, the output of the integrating circuit increases faster, and the output from the differentiating circuit 92 increases. Conversely, if the cube moves slowly, the increase in the integral circuit 91 will be gradual and the output of the differentiator circuit 92 will be small.

FIGS. 11(A), (B), and (C) show an example of a horse series detection circuit using time division.

FIG. 11(A) conceptually shows the light emitted from the square 40. For example, there are 64 L
EI) are arranged in a one-dimensional embedded array. These multiple LEDs are excited in a time-sharing manner, e.g. 3.2MHz.
64 LEDs are made to emit light one after another using a pulse signal of 65
Next, the process returns to the first LED and causes the 64 LEDs to emit light one after another.

In the figure, the light emission from the LED is indicated by a rectangular pulse, and the light emission LED sequentially moves to the right at time 0. In this way, the continuous pulse is divided into 64 parts, each of the 64 LEDs is caused to emit light one by one, and the LEDs are operated in a time-division manner. Therefore, only one LED emits light at a time, and if you know which part of the bow the light is coming from, you can detect the position of the nine emitter pulse trains and the receiver. By synchronizing with this, it is possible to determine which part of the bow the light was detected.

An example of a circuit for measuring such optical pulses is shown in Figure 11 (
In FIG. 11(B) shown in FIG. 11(B), for example, a tally clock signal CKI having a frequency higher than, for example, 640H2, for example, IHI3 or 3.2 MHz, is supplied to a counter 95 to count the number of pulses. The pulse count is decoded by a decoder 96 to create a signal for the modular 64, which sequentially causes 64 LEDs 80-0 to 80-63 to emit light.

The light reception signals from the plurality of light receiving elements 78-1, 78-2, . . . that timely receive the light emitted from these LEDs are added by an OR circuit 93. The reason for providing a plurality of the light receiving elements is to enable detection of approaching movement of the horse body 40 with a certain degree of width. The light reception signal from the OR circuit 93 and the pulse signal output from the decoder are multiplied by an AND circuit 97-1 corresponding to each light emitting element. That is, when the first LED is made to emit light, if a light reception signal is obtained from any of the light receiving elements, the AND circuit 97-1 supplies the output to the first flip-flop in the flip-flop 71 column 98, and the first LED Detection of light emission is registered. Similarly, when light emission from the n-th LED is detected by the light receiving element, the n-th flip-flop in the flip-flop array 98 is set.

When any of the light receivers 78-1 receives light at the timing when the LED 80-i is emitting light, the FF 98-1 is set.At the 0th order timing, the LED 80-(i-1-1) emits light and when the light is received, the FF98-1 is set. The next FF98-(i+i) is set. Then, the outputs of the two FFs each become “1”.
It becomes “1”. A detection circuit for two or more bits detects this and resets each FF. Therefore, FF98-1 and F
F98-(i+1) is reset, but LED80-
If the light emission of (i+1) is still being received, FF98-
(i+1) is set again.

Furthermore, as a countermeasure for resetting when no sound is produced, 0.02 to 0.
If the next position signal does not arrive for 3 seconds or more, each FF is reset. That is, the OR of the outputs of all FFs is differentiated by a differentiating circuit, and each FF is
The output is supplied to the reset input of F. FF Q output cuff 1 RM A reset is applied when the set time of M has elapsed.

In addition, the Q output of the FF is all “0” and some is “1”.
At this timing, the right latch circuit of the 64→6 converter 99 is latched. This is to avoid the influence of a temporary non-detection state which occurs between the time the reset signal is input and the time the reset signal is set even though the bow is being bowed.

In this way, it is possible to measure which part of the horse's body 40 is in contact with the string rubbing part 31 (see FIG. 2(A)) at the same time as the light pulse is detected. As shown in Figure 11 (A), 64 L
When the EDs are arranged, there are 6 in the flip-flow 71 row 98.
Four flip-flops will be lined up. Depending on which part of the horse's body 40 is in contact with the string rubbing section 31, an output signal is supplied from the corresponding knob of the flip 70. This 64-bit parallel signal is converted into a 6-bit signal by a conversion circuit 99 and is supplied to the subsequent stage as a parallel 6-bit signal 101. Further, the counter output 100 is similarly supplied to the subsequent stage.

FIG. 11(C) shows a circuit connected after FIG. 11(B). A 6-bit parallel signal 101 indicating a contact point of the horse body 40 is applied to a delay means 102, and a comparator 103. , also applied to latches 1061.106-2,
It is also output directly as position information. The delay means 102 receives the counter output 100 and applies a delay of one pulse. Delay output 101 of this delay means 102
a and the original position signal 101 are compared in a comparison circuit 103. If the signal 101a one pulse earlier corresponds to a smaller number that corresponds to the tip of the bow, the bow is moving upward. Conversely, if the signal 101a from one pulse before corresponds to a high-numbered LED close to the forebow, and the subsequent pulse corresponds to a low-numbered LED close to the last month, the bow is moving downward. In this way, the moving direction of the bow is identified and the upward direction signal UPi or downward direction signal DN is output. In response to these direction signals, the flip-frog 104 becomes "1" when moving upward and "0" when moving downward.
A direction signal 105 is output.

Note that if a key-on KON signal is required depending on the circuit used, the output UP and DN of the comparison circuit 103 may be ORed and this output may be used as the KON signal.

On the other hand, the high frequency signal CKI of, for example, 3.28) Iz is frequency-divided by the frequency divider 114 to produce a signal CK2 of a low frequency of, for example, lOH2. A signal CK2 is supplied to latch 106-1. A complementary signal CK2- to CK2 is also generated. A delay means 115 generates a signal with one pulse delay applied from these CK2 and CK2'' and supplies it to the latch 106-2. Therefore, the bow position signal 101 is not received via the latch 106-1 or 106-2. The identification circuit 107 inputs information at that time and information from a predetermined time ago.
By taking the difference between the two inputs A and B, it is possible to know how far the body 40 has moved during a predetermined period of time. This 0 body 40
If necessary, the amount of movement is identified in 16 steps, and an output is supplied to one of the 16 output lines. Furthermore, the amount of movement may be expressed in 64 stages and 11,116 bits.The conversion circuit Pt108 that receives these 16 output lines converts the 16-bit signal into a 4-bit parallel signal in binary format, and outputs it as a 0-speed signal 109. Output. The 0 speed signal 109 is also supplied to a conversion table 110, and by referring to the table, the timbre signal 11
Create 1. The conversion table 110 may have other inputs. In this way, signals such as the moving direction of the bow, the bow position, the zero speed, and the tone color can be obtained from the circuits shown in FIGS. 11(B) and (C). It will be done.

FIG. 12 shows another example of the timbre signal. In FIG. 11(C), the timbre signal was generated based on the 0 stray signal 109.
In the circuit shown in FIG. 12, position information is further taken into account to generate a tone signal. That is, upon receiving the bow position signal 101, for example, the conversion table 116 converts the position information so that the value is high for the middle bow and low for the last month and the front bow, and this signal and the position information are converted as shown in FIG. 11(C). A primary timbre signal 111 formed based on the 0 speed signal is input to an arithmetic circuit 117, and the arithmetic circuit 117 performs calculations such as addition and multiplication to form a secondary timbre signal 118.

The musical tone of slow-field instruments such as violins also changes depending on the pressure of the bow. In order to generate musical tones with rich musicality similar to those of natural musical instruments, it is preferable to use bendability information.In order to detect bow pressure, basically, Preferably, the stress applied by the bow is detected.

FIG. 13 (A>, (B) shows an example of a bendable detection device,
In FIG. 13(A), a string-equivalent member 71 of the string rubbing section 31
．． 72.73.74 has a semiconductor strain sensor 121.122.123.124 embedded near its root. 0
The sliding plate 76 which corresponds to the hair of the body 40 is the part 71 which corresponds to the string.
．． When any one of the strings 72, 73, and 74 is rubbed, the string-corresponding portion 71, 72, 73, and 74 is deformed, and the semiconductor strain sensors 121, 122, 123, and 124 detect this deformation.

In FIG. 13(B), semiconductor strain sensors 121 to 1
The output detected by 24 is converted into a digital signal by A/D converter 126 to form a zero pressure signal.

The semiconductor strain sensor described herein may be a semiconductor piezo element using piezo resistance, for example, and is disclosed in Japanese Patent Application Laid-Open No. 62-11
It is also possible to use conductive powder dispersed in an insulator such as silicone rubber as disclosed in Japanese Utility Model No. 6229, or a pressure-sensitive portion may be provided in the channel portion as disclosed in Japanese Utility Model Publication No. 57-47820. Alternatively, a FET type distortion detection integrated circuit or the like may be used.

Figures 14 (A), (B), and (C) show examples of mounting pressure sensors. A notch 130 is provided nearby, and a strain sensor 131 is provided in the narrowed portion.

In FIG. 14(B), notches 130a and 130b
are provided at both ends, and strain sensors 131a and 131b are provided in the narrowed portions in the vicinity of each, so that a signal obtained by adding the outputs from the two sensors is obtained.

In FIG. 14(C), the method of supporting the string has been changed, and the string is supported at both left and right ends in the figure. Therefore, when the string-equivalent member is rubbed with the monthly salary, the center portion of the string-equivalent member deforms so as to sway from side to side in the figure. The strain sensor 131 is located at a large part of this deformation.
This is provided.

Although some examples of mounting the strain sensor have been shown above, the present invention is not limited to these, and any detection method may be used as long as it can detect a working car by being hit by a bow.

Further, instead of detecting pressure, it may be possible to detect displacement in the pressure direction.

As described above, by obtaining pitch information from the pressed position on the fingerboard, and obtaining the horse chain signal, bow position signal, and bow pressure from the movement of the bow, the basic parameters of musical tone formation as a bowing instrument can be obtained. .

Furthermore, by providing a viprato switch on the neck, even beginners can easily create musical tones unique to bowed instruments such as violins.

Since this vibrato switch is different from the method of playing a natural musical instrument, it is preferable to make it releasable for experienced players.

In addition, for beginners in violin playing, it is essential to precisely control the pressure exerted on the strings.

In the case of 90, the distance between the string and the grip that holds the bow also increases. If the musical tones generated in response to bow pressure are controlled, a musical performance that is rich in musicality will become dull. Here, electronic musical instruments can be electrically equipped with various functions that natural musical instruments do not have.
A zero pressure signal can also be generated by squeezing the zero pressure input means of the grip.

FIG. 15 shows an example in which a grip pressure sensor 135 is provided on the grip part of the monthly salary 40. When the player grips the grip pressure sensor 135, the sensor detects the pressure, which is used as bow pressure to form musical sounds.

Although an example has been described in which the bow pressure is input from the grip pressure sensor of the grip part, other information may also be input from this grip pressure sensor, for example, it can be used to add a vibrato effect. This sensor is not limited to vibrato, but can also be used to perform a variety of functions such as tenuto, staccato, and pizzicato.

There may be times when it is difficult to input pressure information from the bow's grip pressure sensor. In such cases, the grip pressure sensor may also be deactivated and set a constant bow pressure to generate musical sounds. For example, it can be used to add a bending effect or a vibrato effect. This sensor is not limited to guibrato, but can also be used to perform a variety of functions such as tenuto, staccato, and pizzicato.

In FIG. 16, a pressure sensor and a plurality of switches are provided in the grip of the monthly salary 40, and are used as zero pressure input means and a rendition style changeover switch. Several types of flexible changeover switches may be provided so that the bow pressure to be set can be selected, and any number of switches may be provided. When bow pressure is input using the pressure sensor of the string rubbing section or the grip pressure sensor of the grip section, these zero pressure selection sensors are canceled. At this time, you can use these as other switches.Of course, you can increase the number of switches and each switch can have a separate function.The playing style selection switch can be used for various functions such as vibrato, tremolo, tenuto, staccato, etc. Provide performance assistance.

FIG. 17 shows an example of a bow pressure and 0 speed conversion circuit using a rendition style changeover switch. One of the plurality of conversion modes prepared in the converter 140 is selected based on the rendition style information input from the rendition style changeover switch. Flexible information, 0-speed information, etc. are applied to the converter 140, and based on these information, flexible information, 0-speed information, etc. that have been subjected to predetermined conversion according to one selected conversion mode are supplied.

By the way, equal temperament is widely used in electronic keyboard instruments so that they can be easily modulated. However, for example, you may choose between just intonation and equal temperament, or depending on the piece, you may need to transpose the key, or
There are cases where you want the first or second string to have a different tonality.

There are various factors to achieve this with a child keyboard instrument, but in this case, this kind of thing can be done.

For example, each adjuvant is provided with a tuning volume in the spool section that does not require physical stringing.

If this tuning is always applied, tuning becomes troublesome. Therefore, the tuning function can be canceled. For example, a reset switch may be provided to return to the original 5th interval tuning. However, since the basic pitch has a range of several cents, it is recommended to have a selection switch from 435H2 to 445Hz.For tuning with other instruments, it is recommended to have a function that moves all four strings in parallel at the same time. Furthermore, in order to accommodate the above-mentioned playing style, a transposition switch may be provided, for example, in the portion of the pincushion 22 shown in FIGS.

FIG. 18 shows a transposing circuit provided with a transposing switch.The feature of this circuit is that it allows any tonality or temperament to be selected.

The two-man power selector 146-1 for the first string receives multiple bits of input S depending on whether the signal at the select signal terminal is "O" or "1".
Either A or the multi-bit input SB is selected and supplied to the output. Input SA receives the output from the first string fingerboard section 148-1.

Input SB receives the output of multiplier 150-1.
50-1 is a preset RAM 14 that is an output from the fingerboard section 148-1 for the first string and a transposition or pitch adjuster.
It receives the output of 9-1 and outputs the product.

The circuits for the 2nd string, 3rd string, and 4th string include a preset RAM 149-2.149-3.149-4 and a multiplier 1.
Another two-man power selector 152-1.152-2.152-3 is provided between the selector 50-2.150-3.15o-4. This two-man power selector 152-1.15
2-2.152-3 is the output of preset RAM149-1 is preset RAM149-2.149-3.149
-4 output, and multiplier 150-2.
, 150±3.150-4.

Selection of these selectors is performed by mode selection switch 145. The mode selection switch 145 includes three national contacts A, B, and C.

Among these, contact A shown at the top is in a floating state.

First, when the mode selection switch 145 is set to contact A, the select signal terminals of each selector 146-1, 146-2, etc. receive "0", and the pitch shown in FIGS. The first string fingerboard section 148-1, the second string fingerboard section 148-2, . . . corresponding to the specifying means 148-n select the multi-bit output SA. That is, the resistance value or voltage determined by the position of the resistance member 51 pressed by the finger as shown in FIG. 4(A) is output. This resistance value or voltage output pattern is tuned to equal temperament, for example.

Next, when the mode selection switch 145 is set to contact B shown in the middle row, each selector 146-1, 146-2,...
A signal "1" is input to the select signal terminal of . . . , and multiple bits SB are selected. Input SB of selector 146-1
To do this, coarsely adjust the pitch with the transpose or pitch adjuster 149-1, and use the digital switch type volume control 22-1.
Pitch correction data and fingerboard section 1 with fine-tuned pitch using IV
A signal obtained by multiplying the output of 48-1 by multiplier 150-1 is applied.

The selector 152-1.152-2.152-3 receives "0" at the select signal terminal and selects the input SC (ie, the output of the preset RAM 149-1). Therefore,
Multipliers 150-2, 150-3, 150-4 are connected to the fingerboard section 1.
Selector 146-2 selects the product of the output of 48-2.148-3.148-4 and the output of preset RAM 149-1.
．． 146-3.Supplies input SB of 146-4.

When the mode selection switch 145 is set to contact C, a prohibition gate signal is first sent to the bidirectional prohibition gates 147-1, 147-2, . . . to prohibit signal transport. Also,
"1" is supplied to the select signal terminal of the two-manpower selector 152-1.152-2.152-3, and the input SD is selected. That is, each adjuvant preset RAM 149-
Multiplier 1 to which the outputs of 2.149-3.149-4 correspond
50-2.150-3.150-4.

When one or more of the switches 5W21.5W22, . . . are turned on, the corresponding selector 146-1.14
"1" is input to the select signal terminals of 6-2, . . . , and input SB is selected. That is, 5, fingerboard portion 148-
The product of the output of 1.148-2, . . . and the preset RA, M149-1.14-2, . . . for that string, is selected. In this way, the pitch can be set independently for each string.

In this way, the contact point A can be set to, for example, equal temperament, the contact point B can be set to, for example, a so-called transposition of cosine shift, and the contact point C can be set to any tuning independent of each string.

In addition, just intonation, Vitagoras intonation, Neidhardt intonation, 4.3.2. The pitch of the open string of the 1st string (G, D, A, E
), (A, D, A, E), and other tunings can also be set.

In this way, for example, the transposition switch provided in the peg,
By adjusting the transposition volume, you can change the pitch similar to a natural instrument and transpose with a single touch.

In addition to what is described above, the couplet information may also include information such as the distance from the bow piece and the bounce of the bow.

For example, couplet information based on an optical signal and bow movement information based on a proximity switch may be used together.

Above, we have explained the case of performing according to the external shape of a couplet instrument, but in addition to the musical tones of the instrument played using a bow, it is also possible to generate the musical tones of other instruments. It is also possible to generate musical sounds as a rhythm instrument by hitting the strings with the bow or moving the bow relative to the bridge.For example, bongos, tom-tams, gongs, gongs, timpani. For example, drums, gongs, etc. have a relatively long sustain from the time the sound is generated until it disappears, so using couplet information as an input signal allows for a variety of expressions.1 For example, 0 speed information may be taken in as touch information and timbre information, or touch information may be left to a pressure sensor in a bow gripping section or a member corresponding to a string, and 0 speed information may be input as timbre information.

As shown in FIG.
The position information may be made to correspond to the striking position of the sounding body such as the drum skin, for example, the radial distance from the center of the drum to the edge, etc., to control the timbre parameters.

In the case of a waveform memory type percussion tone generation circuit as shown in FIG. 20, the waveform of only the attack portion may be selectively switched.

In addition, when there is a moving direction such as a by-butt cymbal, the moving direction information of the bow can be made to correspond to the selection of the waveform memory, for example. , the address HHC that falls below the bibutt cymbal with the downward movement DN of the bow.
It is also possible to switch memory areas and read out data. In this case, the upper bits of the memory may be selected using the U P/D N bits.

The pitch information may be fixed for each string, or in the case of a rhythm instrument such as a tom-tom that has several pitches, the pitch may be selected using fingers on the fingerboard.

In applications such as this to rhythm instruments, it is not necessarily necessary to move the bow while keeping it in contact with the string-corresponding part; rather, it is not necessary to move the bow while keeping it in contact with the string-corresponding part. All you have to do is get the input signal.

Although the present invention has been described above with reference to the embodiments, it will be obvious to those skilled in the art that the present invention is not limited thereto, and that, for example, various changes, modifications, combinations, etc. can be made.

[Effects of the Invention] As described above, according to the present invention, the scale of some or all of the strings can be easily changed by the pitch adjustment means.

Furthermore, after performing arbitrary tuning, it is also possible to return to a predetermined tuning state with a single touch.

[Brief explanation of drawings]

1(A), 1(B), and 1(C) show the configuration of an electronic musical instrument according to an embodiment of the present invention, FIG. 1(A) is a block diagram showing the overall schematic configuration, and FIG. 1(B) 1 is a block diagram showing the basic configuration of a musical tone signal forming circuit, FIG. 1 (C) is a graph showing an example of a nonlinear function, and FIG. 2 (A>, (B), (C) is a
1 is a diagram showing the appearance of an electronic musical instrument according to an embodiment of the present invention,
Figure 2 (A) is a side view of the instrument body, Figure 2 (B) is a front view of the instrument body, Figure 2 (C) is a side view of the bow body, Figure 3 (A),
(B) is a diagram showing the rod, FIG. 3 (A) is a vertical cross-sectional view of the rod, FIG. 3 (B) is a cross-sectional view of the rod, and FIGS. 4 (A), (B), 4(C) is a diagram showing the pitch specifying means of the fingerboard section, FIG. 4(A) is a partial sectional view of the fingerboard, FIG. 4(B) is a circuit diagram of circuit configuration No. 1, and FIG. ) is the circuit diagram of circuit configuration part 2, Figure 5 (A), (B), (C
) shows a vibrato switch, Fig. 5 (A> is a cross-sectional diagram of the rod part, Fig. 5 (B) is a circuit diagram of circuit configuration 1, and Fig. 5 (C) is a circuit diagram of circuit configuration 2). Figure 6 (A
), (B), (C), and (D) are diagrams explaining the performance using couplets, and polo diagram (A) is a schematic explanatory diagram of the horse body and pieces;
FIGS. 6(B), (C), (D> are schematic diagrams showing three examples of relative motion detection of the horse's body with respect to the instrument body; FIGS. 7(A), (B), (C), 7(D) is a diagram for explaining the horse's body; FIG. figure(
C) is a longitudinal sectional view of the horse's body, FIG. 7(D) is a cross sectional view of a modified example of the sliding plate, and FIGS. Figure (A> is an external view of the string rubbing part, Figure 8 (B)
is a cross-sectional view of the light receiving section, FIGS. 9(A), (B), and (C) are diagrams showing an example of a horse racing detection circuit, FIG. 9(A) is a block circuit diagram, and FIG.
B) is a waveform diagram for explaining the operation, FIG. 9(C) is a characteristic diagram showing the characteristics between the input and output of the conversion circuit, FIG. 10 is a block circuit diagram showing another example of the horse racing detection circuit, 11(A), (B), and (C) are diagrams showing other examples of the horse chain detection circuit, and FIG. 11(A) is a schematic diagram of a horse body for explaining time-division light emission; Figure (B) is a block circuit diagram showing the first stage of the optical pulse measurement and measurement circuit, and Figure 11 (
C) is a block circuit diagram showing the latter part of the optical pulse measurement circuit, FIG. 12 is a circuit diagram showing another example of the tone signal circuit, and FIG.
Figures (A) and (B) are diagrams for explaining the zero pressure detection device, Figure 13 (A) is a sectional view of a string-equivalent member, and Figure 13 (B) is a block circuit of a flexible signal circuit. Figures 14(A), 14(B), and 14(C) are diagrams for explaining the mounting of the pressure sensor, and are perspective views showing three different mounting methods. Figure 15 is a diagram for explaining the grip pressure sensor. Figure 16 is a schematic diagram of a horse body for explaining the rendition style selection switch, Figure 17 is a circuit diagram showing the flexible and 0 speed signal conversion circuit by the rendition style selection switch, and Figure 18 is a block circuit diagram showing an example of a transposing circuit, No. 19
The figure is a schematic diagram for explaining the percussion instrument mode, and FIG. 20 is a conceptual diagram for explaining the waveform memory type percussion instrument. In the figure, 1 2 3 Input section musical tone signal forming circuit D/A converter amplifier speaker nonlinear circuit low pass filter delay circuit 4 18 9 0 1 2 3 4 5 6 7 8 9 0 1 2 4 5 7 0-Bass filter delay circuit Low-pass filter Instrument body Spiral section Fingerboard ridge section Print section Top board Side board Back board Top piece String section Tailpiece Chin rest f Main hole Light receiving section (light emitting section or reflecting section) 9 0 2 4 6 7 8 0 1 3 4 5 5a 7 7a 9 1 2 4 5 Corner bow tree grip part Main bow part 90 Infrared filter light guiding member and y-ch designation means Resistance wire material 51a to 51d Conductive wire material 53a to 53d Insulator fixed contact Members Resistance member Movable contact member Conductive member Viprate switch Buffer circuit A/D conversion circuit Resistance value detection circuit Reflection pattern 67 9-1 0 71 , 72, 73. 74 5 6 7 8 7 0 1 2 3 4 5 86, 87 8 9 On/off detection circuit Buffer circuit A/D converter Window Printed circuit board String equivalent part support member Sliding plate Recess Light receiving element Light guiding member Light emitting element Light receiving signal High-speed oscillator counter latch horse chain detection circuit flip-flop differential circuit inverse conversion circuit (ROM) 1 2 5 6 7 8 9 00 0 1 1 0 1 a 02 0 3 04 0 5 0 6 0 7 08 0 9 1 0 1 1 Integrating circuit Differentiation circuit counter decoder AND circuit frig flop column conversion circuit counter output 6-bit signal (position signal) delay output delay means comparator RS frig flop. Direction signal latch identification circuit conversion circuit 0 Stray signal conversion table Tone signal 114 115 16 17 18 121.122, 123.124 26 30 131.131a, 131b 35 36 40 45 46 47-i 48 49 50 51 Frequency divider delay means Conversion table calculation circuit Secondary timbre signal Distortion sensor A/D converter Cutting distortion sensor Grip pressure sensor Playing style changeover switch Converter selection switch Transposition circuit prohibition Gate pitch = tS information Offset data table for transposition Multiplier Pitch specification means 52 Converter

Claims (1)

[Claims] (1) a main body including a rod portion and a string-equivalent portion; a movable performance member that is held in the hand by a player and is moved in opposition to the string-equivalent portion of the main body; and the string-equivalent portion and the movable playing member; a relative movement detecting means for detecting relative movement with the performance member and generating a relative movement mode detection signal; and a performer's operation provided on the surface side of the rod section for specifying the pitch of the generated musical tone. a pitch specifying means for detecting a pitch, and a pitch for adjusting the pitch of a musical tone generated by providing a rotary volume in a pseudo pincushion provided at the tip of the rod, and rotating the volume to correspond to a changing resistance value. pitch adjustment means that outputs an adjustment amount; musical tone control that controls musical tone elements of a musical tone generated based on the relative movement mode detection signal, the detection result of the pitch designation means, and the pitch adjustment amount of the pitch adjustment means; A musical tone control device comprising: means.