JPH04156592A - Tempo controller - Google Patents

Abstract

PURPOSE:To enable a tap to wait for a music performance and to simply cope with a fell mark or the like by providing a tapping means, a tempo clock data outputting means, a means for estimating music times for weak or strong rhythms and a progress control means, and by providing means for inhibiting calculation for a new tempo exceeding a predetermined value. CONSTITUTION:When a tap switch is turned on, a strong rhythm which the player aims at is estimated, and at step n3, an anticipated next rhythm is calculated, and at step n4, the rhythm is set as a music performance stopping point. At step n5, whether a register MOD is 1 or 0 is determined, and the process is advanced to step n6 at which the expression 1 is calculated with the value of time T being constant. At step n7, a new tempo is calculated with the use of the expression 11. At step n8, the musing time is corrected, and at step n9, the data are updated. Meanwhile, when the tap switch is turned off, at step n10, Up Beat is compared with Cur Pos, and through the path from steps n12 to n14, the performance stopping point is released, and through the path from n11 to n13, the performance stopping point is set as it is. Through steps n20 to n26, the music performance is stopped for waiting, and MIDI data F8 are delivered for counting up performance data memory.

Description

DETAILED DESCRIPTION OF THE INVENTION (a) Industrial Application Field The present invention relates to a tempo controller that can provide a tempo clock controlled in real time to a sequencer, rhythm machine, or the like.

(b) Conventional technology One of the most important basic elements of music is the tempo of performance. The tempo changes in various ways even within the performance flow of a single song, and plays a major role in creating the expression of the song. These tempo changes include a variety of things, such as global na tempo changes such as in hari tardando and anti ni rerando, and small tempo fluctuations within a measure. If electronic musical instruments can be used to make subtle changes in tempo, especially when playing automatically, more musical expressions will be possible.

When performing automatic performance that includes tempo changes using a sequencer, etc., the easiest way is to input the tempo changes as data in advance, but with a sequencer etc., it is not possible to change the tempo flexibly in real time. can't do it.

This means that sequencers are nearly incompetent when it comes to synchronizing performances with humans, and the human performer has to adapt to the machine. In order to solve this problem, a method has been proposed in which tempo clock information generated within the sequencer is supplied externally and the tempo clock information is controlled in real time. Tamping is the most basic means of expressing tempo. That is, by tapping the player, a tempo clock is generated based on the tapping. When the sequencer side receives this tempo clock information, it calculates a new tempo by 81 from the musical score time and physical time at the previous tapping time and the musical score time and physical time at the current tapping time.

Here, the definitions of physical time and musical score time are as follows.

Physical time: normal time. Generated by a computer timer. For example, it means time in units of milliseconds.

Score time: represents the position in the score.

Normal - A fraction of a beat is used as the basic unit. For example, in the embodiment described later, musical score time is expressed in units of 1/384 of one beat, and according to the MIDI standard, F8 (MIDI clock) is interpreted as a unit representing musical score time of 1/24 of one beat.

Conventional tempo controllers using the above method include the following.

■Assuming that taps are made on every beat, advance the musical score time by one beat each time a tap occurs.

■Assuming that taps are made at arbitrary beats, calculate the beat position and change the tempo each time a tap occurs.

(C) Problems to be Solved by the Invention However, with the tempo controller of the type ① above, the performer is tired because he or she has to tap for every beat.

(b) Even if the tempo is good, you have to tap, and as a result, the tempo changes unexpectedly.

(c) The computer always waits for the performer, and the computer never goes even a little bit ahead of the performer, resulting in an unnatural performance output (accompaniment, etc.).

In addition, the tempo controller of the type (■) above allows you to tap only at any point, which means that the computer will continue playing even if no taps come. Unable to stop at the desired point (b) Unable to align the performer and computer at the beginning.

(c) It is not possible to easily process a performance such as a fermata in which the sound is stretched beyond its written value. That is, when attempting to perform a fermata, the tap interval must be reduced, but the tempo at the beginning of the next measure also becomes slower.

The purpose of this invention is to combine the advantages of type (■) and type (■) above, to make it possible to meet up for a performance while assuming taps at any location, and to easily accommodate fermata and the like. With the goal.

(d) Means for Solving the Problems This invention provides a tamping means that forms tap-on data and tap-off data each time a switch is turned on and off, and a new tempo that is calculated based on the tap-on data and its value. tempo clock information output means for outputting tempo clock information according to the tap-on data; means for estimating the musical score time of the next weak beat point and the next strong beat point based on the tap-on data; and the musical score of the estimated next weak beat point. Compare the time before and after the next tap-off time, and depending on the result, control either to advance or stop the musical score time between the estimated next strong beat point and the next tap-on time. When the next tap-on occurs in a state where the progress of the music score time is stopped, it is determined whether the time from the previous tap-on exceeds a certain value, and if the time exceeds the specified value, The present invention is characterized by comprising a means for prohibiting calculation of a new tempo, and the following.

(e) Effect In the present invention, when the switch is turned on, that is, when the tap-on data is ordered, the musical score time of the next weak beat point and strong beat point is estimated. Then, the next time the tap-off occurs, the timing of the tap-off is compared with the music score time of the estimated weak beat point, and depending on the result, the time between the estimated next strong beat point and the next tap-on time is compared. Controls whether the musical score time advances or stops. That is, depending on whether the estimated weak beat point is before or after the actual tap-off time, it is determined whether the musical score time should advance or be stopped between the estimated strong beat point and the tap-on time. For example, the progress of the score time is stopped when the estimated weak beat point is before the tap-off time, and the progress of the score time is not stopped when the estimated weak beat point is after the tap-off time. Figure 1 shows this situation. FIG. 4(A) shows a case where the progression of musical score time is stopped, that is, a case where a waiting time for the next tap-on is performed.

FIG. 2B shows a case where the musical score time does not stop, that is, a meeting is not performed at the next tap-on. With this kind of control, you can stop the progression of the song at a desired point by changing the tap-off (switch-off) timing, and you can synchronize the time between the computer and the performer at an arbitrary position (the beginning of an appropriate phrase). I can do it. Also, if you tap off (turn off the switch) - times so that the musical score time does not stop progressing,
From then on, the song progresses at a constant tempo without any tamping.

Furthermore, in this invention, as shown in FIG. 1(A), when waiting for the score time, the time T from the previous tap-on to the current tap-on is a constant value (in the figure, one beat length * fermata rate ) is exceeded, and if it is, no new tempo calculation is performed at the current tap-on. Therefore, the tempo calculated at the previous tap-on (the tempo calculated just before the fermata) will be used as is, and the beginning of the next measure will be the same as the a tempo.

Cr) Embodiment FIG. 2 shows a block diagram of an embodiment of the present invention. In the figure, 1 is a tempo controller, 2 is a sequencer,
3 indicates a sound source, and 4 indicates a sound system. Performance data is stored in the performance data memory in the sequencer 2 in advance. A tempo controller 1 provides tempo clock information to a sequencer 2 via an MIDI cable.

Actually, there is no clock on the MIDI cable, but an F
8 data flows. In addition to the F8 data, FA data is output at the start, and FC data is output at the time of stone 7'. When the sequencer 2 receives the F8 data, it advances the pointer in the performance data memory by one. In other words, the sequencer 2 reads performance data from the internal performance data memory based on this tempo clock, and reads the performance data from the sound source 3.
send to The sound source 3 reads waveform data corresponding to the performance data from the sound source memory and outputs it to the sound system 4.

The tempo controller 1 is a microcomputer 10
, operation panel 11, timer 2, tap switch 13,
and a MIDI interface 14. The operation panel 11 includes a start/stop switch. Timer 12 is used as an external interrupt timer. Tap switch 13 is a conventional on/off switch. In order to make it easier for the operator to tap the switch, it is desirable that the switch be turned on/off by the up and down movement of the top of the foot, or the switch can be turned on and off by the up and down movement of the hand. MI
DI interface 14 is microcomputer 1
Based on the tempo clock information output from 0, F8 data for performance data memory count up is placed on the MIDI cable 15.

Note that when the tempo clock information is O, F8 data is not formed. The MIDI cable 15 is connected to the MIDI OUT terminal of the MIDI interface 140.

The sequencer 2 includes a sequencer main body 20 and a MIDI interface 21. MIDI cable 15 is MID
It is connected to the MID11N terminal of the I interface 21. The sequencer main body 20 has previously stored performance data as shown in the performance data memory provided therein. The number of F8s between event data in the figure is equal to the number corresponding to the event interval on the musical score. Event data includes, for example, KON (note on), KCD (pitch), VEL (
It consists of the key volume (volume), and the pointer is KO.
When pointing to N, these performance data are sequentially output to the sound source 3.

With the above configuration, if the period of the F8 data outputted from the tempo controller 1 becomes shorter, the performance data is outputted from the sequencer 2 so that the musical score time becomes shorter. Also,
On the other hand, if the period becomes longer, the performance data is outputted so that the musical score time becomes longer.

Next, the operation of the tempo controller 1 will be explained with reference to FIGS. 3(A) and 3(B).

FIG. 3(A) shows the operation when the evening switch 13 is turned on or turned off.

First, when the tap switch 13 is turned on or off, it is determined whether it is on or off in step nl, and if it is on, the process proceeds to n2, and if it is off, the process proceeds to nlO.

When the tap switch is on, the strong beat point intended by the performer, the next weak beat point, and the next strong beat point are estimated. The current emphasis point intended by the performer is estimated at n2. The position of this tonic point is represented by GuessPos. Figure 4 (
In A) or the same figure (B), if the current tap-on time is t2(P,), this GuessPOS is at position 768 in musical score time. C1uessPos is determined by: GuessPos=(Curios/Beat)*Beat. Here, Beat is the musical score time of one beat, that is, 3
84, and CurPos represents the current music score time position. For example, in FIG. 4(A), the current physical time is t2, so CurP.

S is 704. Also, (Curios/Beat)
returns a rounded value. Therefore, if CurPos is between 576 and 768 at physical time t2 at tap-on, GuessP.

S is 768, and if CurPos is between 384 and 575, GuessPos is 384.

Subsequently, in n3, the next predicted weak beat point is calculated. This weak beat point is represented by UpBeat.

The next weak beat point UpBeat is determined by UpBeat=GuessPos+0.5*Beat +offset. Here, we will select the position of the next weak beat point.
The value is obtained by adding 1/2 of the musical score time of one beat to sPos and further adding offset to that value. Furthermore, although Fig. 5 shows the locus of the movable contact of the tap switch,
As shown in the figure, the actual tap-off timing Pw may differ from the OFF point intended by the performer depending on the contact structure of the switch and the tapping contents of the performer.

Therefore, by providing the interval between the actual tamp-off timing Pw and the OFF point intended by the performer as an offset, it is possible to obtain a more accurate pBeat. Subsequently, in n4, the position of the next strong beat point is estimated, and that strong beat point is set as the performance stop point. The performance stop point is represented by 5topPos.

The performance stop point 5topPos is StopPos- GuessPos-i-Beat is required.

As shown in FIGS. 4(A) and (B), CuessPos
is 768, and if offset is O, the above n3. By calculating n4, UpBeat=960,5
LopPos=1152. This UpBeat and 5topPos are used to control the progress of the song.

In the next step 05, it is checked whether the register MOD is set to 1 or 0. This register MOD
When is O, the mode shown in FIG. 1(B) is shown. Also, 1
1 indicates the mode shown in FIG. 1(A). When MOD=O, proceed to nl and calculate a new tempo. MOD=
If it is 1, the process proceeds to n6, where it is determined whether the time T shown in FIG. 1(A) exceeds a certain value. That is,
(CurTime-PrevTime)>(Beat*
fermata rate). Here, the fermata rate is a value for determining how many times longer than a normal beat the time from tap-on to tap-on is considered to be a fermata, and is input in advance from the operation panel 11.

If this condition is not met, proceed to nl and calculate a new tempo. If this condition is not met, nl is skipped and new tempo calculation is prohibited.

If calculation of a new tempo is prohibited, the tempo calculated at the previous tap-on is used this time.

In nl, a new tempo is calculated. Calculation of tempo is 1ewTempo= (GuessPos-PrevPos)/(CurTi
me-PrevTime). Here, ne
wTempo is the performance tempo to be performed next, and Pr
evPos indicates the musical score time position of the previous strong beat point, and Cu
rTime indicates the current physical time, PrevTime
indicates the physical time position of the previous tonic point.

In other words, n e W T e m p O is shown in Figure 4 (A
) and (B), it is nothing but an expression of the slope of a straight line.

Subsequently, the musical score time is corrected in n8. The musical score time is corrected by CurPos=GuessPos.

Next, data is updated in n9. In other words, Gues
Update sPos as PrevPos and CurTim
Update e as PrevTime.

On the other hand, at tap-off, the process proceeds from n1 to nlo. Next, we will compare UpBeat and CurPos. UpBeat is CurP.

If it is larger than S, proceed to n12, otherwise proceed to nil. Then, in nl 2, set MOD-○ (Fig. 1 (B)), and in continuation <n14, set 5topPos to infinity to cancel the performance stop point, and nl
Set MOD=1 for il (Fig. 1 (A)), and set ri13 to
Leave the playing stop point as is. That is, as will be described later, the control shown in FIG. 1(B) is performed by step n14, and the control shown in FIG.
) is performed.

FIG. 3(B) is a flowchart executed by a timer interrupt every Nm5ec. In this flow, the performance is stopped to wait for the music score time, and MIDI data F8 for counting up the performance data memory is output to the MIDI cable.

n20. n21 maintains physical time and score time, respectively. Maintaining physical time is done using CurTime.
This is done by adding m S e C. Furthermore, the score time is maintained by adding the value of N'knewTempo to CurPos. Subsequently, CurPos at n22
and 5topPos. If CurPos is greater than or equal to 5topPos, CurPos=StopPos, and the performance is stopped and waits until the next tap-on. In other words, the control shown in FIG. 1(A) is performed. Fourth
Figure (A) shows a graph when a performance is scheduled. The period indicated by T in the figure is the performance waiting time. In n22, if rs 1 in Figure 3 (A)
In 2 St.

If pPos is set to infinity, CurPO5 will always be less than 5topPos. Therefore, in this case, the process proceeds from n22 to n24. In other words, the control shown in FIG. 1(B) is performed. FIG. 4(B) shows a graph in this case.

At n24, the number of MIDI clocks up to the present time is determined.

Here, the current MIDI clock number CurF8Count, which is the count number at the resolution defined by the MIDI standard (the number of counts per beat is 24), is determined by the following equation.

CurF8Count=CurPos/F8TimeHere, FBTime represents the musical score time per MIDI clock.

Next, use the n25 to output MIDI to the MIDI cable.
DI C] Find the number of ockOs, that is, the number of F8 data. This is determined by (CurF8CountL - PrevF8Count). Here, PrevF8count represents the number of MIDI clocks up to the previous time.

Note that if this interrupt operation is performed every 5 rnsec, for example, the MIDI C1oc output at n25
The number of k (FB data) is either O or 1, and it is thought that the number of O's is quite large in normal performance of musical scores, and it occasionally becomes 1. Next, in n26, execute PrevF8C, ount = CurF8Count to set Y for the next process.
Prepare $ and return.

With the above operation, the performer can wait for the performance output to be output from the sequencer at the next tap-on by tapping off slightly later than the UpBeat that is expected to come next after the tap-on. Furthermore, by setting the tap-off timing to be slightly earlier than the UpBeat, the music score time progresses without waiting. From then on, the musical score time progresses at a constant tempo without any tapping.

Furthermore, in the waiting mode (Fig. 1 (A)), if the time of T is longer than a certain length, a new tempo calculation is not performed and the previous tempo is used, so the next measure after the fermata is At the beginning, it is a tempo.

Note that in the above embodiment, the tap-off point is UpBea.
Although the meeting is performed after t, conversely, the meeting may be performed before UpBeat.

(6) Effects of the Invention According to this invention, the performance can proceed at a constant tempo when no tapping is performed, and if you want to stop the song in the middle and wait at the strong beat point, you can press the tap switch. It is better to turn off the beat a little later or a little earlier than the estimated weak beat point. On the other hand, if you want to cancel the meeting, you can turn off the tap switch in the opposite direction to the estimated weak beat point, that is, a little earlier or a little later. In other words, the progress of the song can be controlled by appropriately changing the off timing of the tap switch.Furthermore, in this invention, when the above-mentioned meeting is performed, the time from the previous tap on to the current tap on is longer than a certain length. If so, new tempo calculations are prohibited and tempo clock information is output based on the previous tempo, so immediately after a fermata or the like ends, it automatically enters the a tempo state, which has the advantage of improving operability.

[Brief explanation of the drawing]

FIGS. 1A and 1B are diagrams explaining the invention in detail. Figure 2 is a configuration diagram when a sequencer, sound source, and sound system are connected to the tempo controller of the embodiment of the present invention, Figures 3 (A) and (B) are flow charts showing the operation of the tempo controller, and Figure 4 ( A),
(B) is a diagram for explaining the operation of the tempo controller, and FIG. 5 is a diagram showing the locus of the tempo switch. 1-tempo controller, 2-sequencer, 3-sound source, 4-sound system.

Claims (1)

[Claims] (1) Tapping means that forms tap-on data and tap-off data each time a switch is turned on or off, and a tempo clock information output that calculates a new tempo based on the tap-on data and outputs tempo clock information according to the calculated value. means for estimating the musical score time of the next weak beat point and the next strong beat point based on the tap-on data; means for performing a control to either advance or stop the musical score time between the estimated next strong beat point and the next tap-on time based on the comparison result; means for determining whether or not the time since the previous tap-on exceeds a certain value when the next tap-on occurs in a state where the tap-on is performed, and prohibiting calculation of the new tempo if the time exceeds a certain value; A tempo controller.