JPH0519765A - Electronic musical instrument - Google Patents

Abstract

PURPOSE:To provide the electronic musical instrument which varies the tuning of a musical instrument in real time in accordance with the progress of a musical sound. CONSTITUTION:In response to chord progress inputted on a keyboard 3, a CPU 1 analyzes a tonality of the chord progress and extracts a key and the progress of a chord function. Further, the CPU 1 generates and plays an accompaniment based upon the tonability analytic result and varies the tuning of the musical instrument at proper time according to the progress of the key. The pitch of the played accompaniment is adjusted by tuning at each point of time.

Description

Detailed Description of the Invention

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to an electronic musical instrument, and more particularly to an electronic musical instrument whose tuning can be changed during performance.

[0002]

2. Description of the Prior Art Most electronic musical instruments today have a tuning of 12.
Equal temperament (twelve equal temperer
A fixed temperament called "ament". This is unfortunate and makes the player lose the opportunity to enjoy the goodness of music that it is preferable to play in temperaments other than equal temperament.

The temperament is a division method of an octave, and the octave is divided into 12 parts from C to B.
Scale tones (or more or less tones)
Is to determine the height of.

When reading the history of music, various temperaments were created and used in the past. For example, in a temperament (tuning system) called the Pythagorean scale, the frequency ratios (frequency ratios) of sounds that are in a perfect 5 degree relationship are all 2: 3. Therefore, if the sound of C is used as the reference and its vibration ratio is 1: 1, G is 5 degrees higher.
The vibration ratio of the sound is 3/2 that of the C sound, and is 5 from G.
The vibration ratio of the sound of D above is 3/2 × 3/2 = 9/4, and in the same manner, A is 27/8, E is 81/16, and so on.
B is 243/32, F # is 729/64, C # is 218
It becomes 7/128. On the contrary, the vibration ratio of F sound 5 degrees below C is 2/3, and the vibration ratio of B ♭ further 5 degrees is 4/9,
Similarly, E ♭ will be 8/27 and A ♭ will be 16/81. Using the relationship of 1 octave vibration ratio of 1: 2, if the above sounds are put into an octave, C is 1/1 and C # is 2
187/2048, D is 9/8, E ♭ is 32/27, E
81/64, F 4/3, F # 729/512, G
Is 3/2, G # is 6561/4096, A ♭ is 128 /
81, A is 27/16, B ♭ is 16/9, B is 243 /
128, the octave C is 2/1.

[0005] In the Pythagoras scale, sounds that are in a perfect 5th-degree relationship can be heard clearly even if they are played at the same time, but the 3rd-degree (long 3rd or 6th degree) characteristic of modern harmony is not good. The temperament called just intonation is devised so that when a triple chord such as C, E, and G is played, an acoustically pure sound is produced. In the case of the just intonation vibration ratio, C is 1: 1, D ♭ is 16/15, D is 9/8, E ♭ is 6/5, E is 5/4,
F is 4/3, F # is 45/32, G is 3/2, A ♭ is 8
/ 5, A is 5/3, B ♭ is 9/5, B is 15/8, and C on it is 2/1.

Pure temperament is an excellent temperament if there is no transposition. Because it gives an extremely beautiful sound. However, when modulation is performed, the vibration ratio of the sound above the minor 3rd degree and the vibration ratio of the sound above the perfect 5th degree relative to the main tone is 5 / 4, vibration ratio 6 on minor 3 degrees
The vibration ratio 3/2 above / 5 and perfect 5 degrees can no longer be maintained, and the sound greatly changes. In the early stages of Western tonal and harmony music history, transposition was mostly limited to relatives. In order to eliminate the drawbacks of transposing in pure tone within the range of intimate tone, for example, unequal equal temperament
A temperament called "tone temperament" was devised. According to the mid-tonal temperament, the sharp (#) is 3
Up to two modulations and up to two flats (♭) can maintain a relatively good sound.

[0007] However, after that, the music including the modulation to the remote tone, and the music including all kinds of modulation are composed,
It will be played and will be liked by people. The 12-equal equal temperament has come into widespread use here (from around 1850). In the 12-tone equal temperament, the pitch of 12 notes in an octave is divided into 12 equal parts. That is,

[Equation 1] Is defined as a semitone. This is about 1.05
It has a value of 946. According to the 12 equal temperament, the chord does not change in any tone. Both sounds are equal. This is because the vibration ratio of a simple integer ratio for giving a pure sound does not have a 12-equal equal temperament. In the 12 equal temperament, the vibration ratio of all sounds except C is an irrational number. In other words, the 12 equal temperament is a compromise between a musical factor that demands a beautiful sound on the one hand and a musical factor that requires change (modulation) on the other hand. today,
The equal temperament of 12 equals the prime.

It is interesting to compare the above various temperaments with the music generation mechanism or tuning of acoustic musical instruments which have been historically used. In the case of a piano, tuning is performed for all keys on the keyboard, to be precise, for each string (piano wire) hit by the hammer of each key. In order to prevent beats and resonance between strings, tuning work is performed while using damper felt, rubber, etc. to prohibit the vibration of the other strings and creating a situation in which only one string vibrates. Since this kind of tuning work requires skill, it is generally carried out by a professional tuner. When performing with another instrument, the other instrument will match the tuning of the piano.

In the case of a wind instrument, the basic tuning is done at the manufacturing stage. For example, the tuning of a flute (temperament) is basically determined by the position where a hole is made. Before performing, the performer operates a portion for adjusting the pipe length of the musical instrument (for example, a tuning slide in a trumpet) to perform final tuning. It is theoretically possible to play with various temperaments with a wind instrument, such as a slide trombone, whose playing pipe length can be changed most continuously. However, an ordinary trombone player can only perform a vibrato or portamento technique well, but in the end, can only perform based on one type of temperament (equal to 12 equal temperament). However, it is difficult to operate).

[0010] In the bio-inline type string instrument, the performer tunes between the strings before performing the performance. The control of the temperament (the structure of the pitch between the scales) is left to the performer. However,
It is not easy to play just one scale correctly. This is because it is necessary to correctly remember the position to hold the string and operate it correctly while checking it with your ears. Occasionally, a professional orchestra will perform in a temperament other than equal temperament, such as pure tone. This is difficult for ordinary players. With a stringed instrument that has frets, such as a guitar, the temperament can basically be made in the manufacturing stage. That is, the spacing of the fixed frets determines the temperament of each string. The performer tunes each string before playing.

As described above, in the acoustic musical instrument,
The temperament is either (a) determined at the manufacturing stage, (b) determined by a long-term tuning work, or (c) left to the control of the performer. Naturally, the musical instruments belonging to (a) and (b) cannot readjust the temperament before playing. In case of (c),
After many years of practice, the performers are eager to learn how to play with one temperament (today's equal temperament). Therefore, pre-performance tuning for acoustic instruments does not include tuning or readjustment. always,
The reference point of the temperament peculiar to an instrument is simply moved so as to match with the reference pitch of another instrument such as a piano or the reference pitch of a reference string on an absolute pitch axis.

Most of the electronic musical instruments adopt the 12th equal temperament, reflecting the rise of the modern 12th equal temperament.
However, as mentioned at the beginning, this limits the music that can be expressed. Although it is a very limited electronic musical instrument, it is known that some temperaments are prepared so that the performer can select a preferable temperament in advance as the temperament of the music to be played. This gave the player the opportunity to enjoy playing music in various temperaments. However, no electronic musical instrument has the ability to automatically change or readjust the tuning during the performance. Furthermore, the idea of giving the electronic musical instrument the ability to automatically change the tuning state of the musical instrument in accordance with the progress of music as in the present invention is not found in the conventional art.

Throughout the long history of music, the relationship between music and the acoustic instruments that have supported it has been inextricably linked. I had to say that music that cannot be expressed by acoustic instruments is meaningless. Regarding the temperament, the difficulty of changing the temperament in an acoustic musical instrument imposes a constraint on the music that the temperament or tuning is not changed during the musical composition.

Taking just intonation as an example, there are 12 types of just intonation (more than that if C # and D ♭ are distinguished). That is, the just intonation (C-tone just intonation) with the tonic (tone having a vibration ratio of 1: 1) as C is the just intonation of C #. An instrument tuned to the C key just intonation cannot be changed to another key to just intonation during the performance. Therefore,
Music is also subject to this limitation. If the instrument can be played in C-tone just intonation, and if the tone changes to D, it can be played in D-tone just intonation, the music can keep its beautiful sound, and the dream of the world of music for many years Will be achieved. The present invention is intended to realize such a long-standing problem on an electronic musical instrument.

[0015]

SUMMARY OF THE INVENTION Therefore, an object of the present invention is to provide an electronic musical instrument which can automatically switch the tuning state of the musical instrument in accordance with the progress of the music being played.

[0016]

According to one aspect of the present invention, performance operating means operated by a player for playing music, and progress of the music during the music playing by the performance operating means. The electronic musical instrument according to the invention, the electronic musical instrument comprising: a tuning changing means for automatically changing the tuning state of the musical instrument in accordance with the above; and a pitch adjusting means for adjusting the pitch of the music being played according to the tuning state given by the tuning changing means. Musical instruments provided. By adopting such a configuration, it is possible to expand the possibilities of expressible music.

In one configuration example, the performance operation means is a performance operator (for example, an accompaniment keyboard, which inputs chord progressions).
Strings, frets). Further, there is provided a tonality progress extraction means for analyzing the input chord progression and extracting the tonality progress. The tuning changing means sets the extracted tonality progression as the progression of music and resets the tuning state matching the progression to the musical instrument in a timely manner. According to another aspect of the present invention, an automatic performance means for automatically performing a music piece, a tuning definition means for defining a tuning condition in each section of the music piece, and a tuning definition means for automatically tuning the music piece during the automatic performance of the music piece. And a pitch adjusting means for adjusting the pitch of a music piece that is automatically played according to the tuning condition of 1.

This structure functions as an automatic musical instrument of an electronic musical instrument. This structure also spreads the possibility of expressing music and gives the user the opportunity to enjoy various musical performances. By combining such an automatic performance function with the performance by the performer himself, the performance by the performer himself (for example, a melody performance added to an automatically performed song) is expressed by changing the tuning like the automatically performed song. can do.

In one configuration example, the automatic performance means is composed of performance data storage means for storing performance data of a musical composition and performance reproducing means for reading the stored performance data and reproducing the performance of the musical composition. The tuning regulation means is composed of tuning progress storage means for storing tuning data representing keys of each section of the music, and tuning progress determining means for reading the stored tuning data and determining tuning conditions of each section of the song. Can be configured.

The performance data storage means and the tuning storage means can be realized on an external storage device (for example, an external ROM pack) of the electronic musical instrument. Instead of the tuning progress storage means, tuning progress storage means for storing tuning data representing the tuning of each section of the music can be used. The condition for changing the tuning is not necessarily the key. For example, the tuning may be determined by a passage or a movement.

[0021]

Embodiments of the present invention will be described below with reference to the drawings. 1 to 10 show a first embodiment applied to the electronic keyboard instrument of the present invention. This electronic keyboard instrument has a plurality of temperament systems, and a performer can set a tuning of the electronic keyboard instrument by selecting a desired temperament from the plurality of temperament systems prior to playing. Furthermore, this electronic keyboard instrument has an automatic accompaniment function based on chord progression input. When a chord progression is input from the accompaniment keyboard in the automatic accompaniment mode, the electronic keyboard musical instrument analyzes the input chord progression to extract the progression of the key and chord function. The electronic keyboard instrument forms and plays an accompaniment according to the analysis result of the tonality. Furthermore, the electronic keyboard instrument changes and updates the tuning state of the instrument in accordance with the progress of the extracted key. Then, the pitch of each automatically accompaniment note is adjusted according to the tuning state at each time point. Similar pitch adjustment is performed for the pitch of the melody input from the melody keyboard. In this way, you can change the tuning of the instrument as the music progresses,
Music can be played with a pitch that is finely adjusted by changing the tuning.

As shown in FIG. 1, this electronic keyboard instrument has, as basic components, a CPU 1 as a control device, a ROM 2 for storing various programs and fixed data, a keyboard / SW 3 arranged on a musical instrument panel, and a working memory. RAM 4, a sound source 5 for electronically generating musical tones under the control of the CPU 1, and a sound system 6 (amplifier, speaker, etc.) for reproducing a sound signal from the sound source output. Also, FIG.
As shown in, the instrument panel includes a keyboard 31, a plurality of temperament selection switches 32, an automatic accompaniment mode switch 33, an accompaniment style selection switch 34, an automatic accompaniment start / stop switch 35, and other switches necessary for controlling the musical instrument,
Volumes are provided.

The temperament selection switch 32 has a plurality of temperaments, for example (equal to 12), equal temperament, and the first three of Bergmeister.
A technique called well tempered s
This is a switch for selecting just intonation. In connection with this, the temperament table 21 as shown in FIG. 4 is placed in the ROM 2. Temperament table 21
Stores the data of each temperament. The temperament table shows the cent expression for each note name (actually, 12 note names are used, but in FIG. 4, only C, D, E, F, G, and A note names are shown for simplification). It is composed of pitch data. Of the three temperaments shown, only the equal temperament is a temperament system that does not depend on the key, and the Bergmeister 1st three techniques and the pure temperament are temperament systems that depend on the key. Therefore, in the temperament table 21, the data is written in the C tone in these temperaments. That is, the C-tone pure temperament and the C-tone Bergmeister 1st 3 technique (Berg) temperament are set in Table 21.
It is written in.

According to this embodiment, the pure temperament and the Berg temperament of other tones can be derived from the temperament data of the specific tone (C tone) stored in the table 21. This saves the storage capacity of the temperament table 21. When the temperament is specified by any of the temperament selection switches 32, the electronic keyboard instrument operates as shown in FIG. 5, and if the designated temperament does not depend on the key, the tuning state of the musical instrument is set by the designated temperament ( 5-1 and 5-2), if the designated temperament depends on the key, the tuning state of the musical instrument is set by the designated temperament of the C key (5-1, 5-3). In practice, this tuning setting process is performed by the CPU 1 in the temperament table 2 corresponding to the temperament designation input.
This is performed by copying a copy of the temperament data on 1 into the tuning memory of the RAM 4 (since the temperament depending on the key is written in the C key in the table 21).

When the keyboard 31 is played after setting the tuning, music is played with the set tuning. Keyboard 3 in automatic accompaniment mode
In the case of 1, the right keyboard area is used as a melody keyboard for playing a melody, and the left keyboard area is used as an accompaniment keyboard for inputting chord progressions.

As described above, this electronic keyboard instrument has a key / function discriminating function (tonality analysis function) for discriminating between the chord and the chord function of each chord by analyzing the chord progression of the input chord. With this tonality analysis function, when a chord progression of CM → IM → C7 → FM is input by pressing a chord as shown in FIG.
The following two chords are determined to be F-keys, and as a chord function, the first CM is IM, the second FM is IVM, the third C7 is V7, and the fourth FM is IM. In this electronic keyboard musical instrument, such a tonality analysis function is placed in the ROM 2, a key / function determination program, a chord progression music knowledge database (in the ROM 2) referred to by the program,
And the CPU 1 which is the execution subject of the program.

As will be described below, the tonality analysis result of the input chord progression is used for forming an accompaniment to be automatically played and controlling the tuning state of the musical instrument in real time. In the automatic accompaniment mode, when a key-depressing operation for designating a chord is performed from the accompaniment keyboard, the CPU 1 responds to this and performs the processing shown in FIG. First, the route and type of a newly designated chord (new chord) is discriminated from the key depression information in a known manner (6-
1) Next, the input chord progression up to the new chord is analyzed to determine the key of the new chord and the chord function (6-2). Then, an accompaniment pattern that matches the determined chord function is selected (6-3). Here, according to the accompaniment style in ROM2,
There is an accompaniment memory for storing accompaniment patterns for each chord function. Therefore, the CPU 1 performs the accompaniment pattern selection processing 6-3 by locating the accompaniment pattern specified by the combination of the selected accompaniment style and the discrimination code function of this time from the accompaniment memory. The accompaniment pattern selected in this way is transposed into a discriminative pattern in accompaniment processing (FIG. 9) including decoding of the accompaniment pattern described later. As a result, an accompaniment suitable for the key and chord function is played in each chord section.

Following the selection of the accompaniment pattern, the CPU 1 checks whether the specified temperament is a temperament-dependent temperament (6-
4). If the temperament does not depend on the key, it is not necessary to change the tuning state of the musical instrument, and the chord input process ends. However, if the designated temperament is a temperament that depends on the key (for example, just temperament), the tuning state of the musical instrument is changed according to the present invention to match the temperament of the judgment key (6-5). By doing so, the electronic musical instrument has a function of automatically changing and updating the tuning state in accordance with the progress of the music (in this case, the progress of the key extracted from the chord progression).

The contents of the tuning update process 6-5 will be described with reference to the table 11 shown in FIG. C of this table 11
The temperament data shown in the column of tonal temperament is stored in the ROM 2 (the above-mentioned temperament table 21). However, data 70.7 for C # (increment of 1 to C) and unit 7 for data of G # (increase of 5 to C)
The 72.6 is not used for the keyboard performance by C-style pure Tsu. This is because it is impossible to distinguish between C # and D ♭ (2nd minor to the tonic) and G # and A ♭ (6th minor to the tonic) due to the structure of the keyboard, where one octave is number 12. . This one
D-tone just intonation data can be obtained from C-tone just intonation data consisting of two tones. The D-tone just intonation data is shown in the D-tone just intonation column of Table 11. When the pitch data of each pitch name forming the D-tone just intonation is represented by the pitch from the tonic D, the pitch data shown in the pitch column from the tonic D of the table 11 is obtained. These pitch data correspond to the C-tone just intonation data developed for the note name D. Therefore, the D-tone just intonation data can be obtained from the C-tone just intonation data as follows. (A) C as the pitch data of the tonic D in D-tone just intonation
The pitch data of pitch name D in tonal temperament is used. (B) The pitch data of the pitch names (E ♭ to B) above the tonic D has a scale frequency corresponding to that of the tonic D of these pitch names with respect to the tonic C. The pitch data of the pitch name is taken out, and the pitch data is added to the pitch data of the pitch name D (tone D) of D-tone just intonation. (C) The pitch data of the pitch name below the tonic D is calculated by subtracting one octave of 1200 cents from the pitch data obtained by the method of (B). Just intonation data of other tones can be similarly generated from the built-in C tone just intonation data. In a similar manner, temperament data of a desired key in another temperament system that depends on a key (for example, a Berg temperament system) can be generated from stored temperament data of a specific key.

In step 6-5, the temperament data of the judgment tone is generated by the above method, and the result is set in the tuning memory of the RAM 4 to update the tuning state of the musical instrument. An outline of the key / function determination program executed in step 6-2 is shown in the flowchart of FIG. As can be seen from FIG. 6, this program is executed when a new chord is input from the accompaniment keyboard. The key / function determination program first checks whether or not the preceding key (key before inputting a new code) is fixed (7-1). If confirmed, it is checked whether or not the new code keeps the tuning (7-2), and if it is held (7-3), the leading tone is set in the register KEY and the register F is led as the judgment result. The function of the code evaluated by the key is set and the process returns (7-4). If the synchronization maintenance test is unsuccessful (7-3), the possibility of modulation is checked (7-5). When the transposition is detected (7-6), the function of the new code evaluated in the key after the transposition and in the key after the transposition is set in KEY and the process returns (7-7). When the key change cannot be detected, or when the preceding key is not known (7-1), it is checked whether the input code patterns up to the new code suggest the establishment of the key (7-8). When the establishment of the key is detected (7-9), the function of the new chord evaluated by the established key in KEY and the established key in F is set and the process returns (7-10). When the establishment of the key cannot be detected, the key is indeterminate, the root of the new chord is set in KEY, the type of the new chord is set in F, and the process is returned (7-11).

FIG. 9 is a flowchart showing an outline of an accompaniment processing routine which is periodically executed under the automatic accompaniment mode. Pitch data (for example, an octave and a pitch name like C2) is read from the selected accompaniment pattern (accompaniment pattern suitable for the function of the current chord selected in step 6-3 of FIG. 6) (9-1). ) If it is the sounding timing of the pitch data (9-2), the pitch data is transposed in the judgment key (9-3), whereby accompaniment pitch data suitable for the current chord function and key can be obtained. . The remaining problem is to decode this accompaniment pitch data according to the tuning condition of the musical instrument to obtain data representing the actual accompaniment pitch. Therefore, according to the present invention, the accompaniment processing routine executes step 9-4 and adjusts the pitch data according to the current tuning (that is, the tuning data generated and updated in step 6-5). This is achieved by converting the note name data (pitch class data) contained in the pitch data from the accompaniment pattern memory in the current tuning memory in the RAM 4. For example, if the pitch name is A and the current tuning is D pitch, the pitch data of the pitch name A is 905.9 (cent). By adding 1200 times the octave value to this, it becomes data representing the actual accompaniment pitch. If the data is represented by 16 bits, the accuracy up to cents can be sufficiently obtained in the musical range of several octaves. Finally, the accompaniment processing routine sends the accompaniment pitch data adjusted by the current tuning to the sound source to perform sound generation processing of the sound source (9-5). The pitch adjustment according to the current tuning is performed not only on the accompaniment automatically played but also on the melody input by the performer.

That is, as shown in FIG. 10, when there is a key depression from the melody keyboard, the pitch data of the key depression (information generated by the key depression and included in the key depression electric signal read by the CPU 1) is currently tuned. According to the above, adjustment (decoding) is performed to obtain data representing the actual pitch of the melody.
Is processed (10-1, 10-2). In this way, the electronic keyboard musical instrument of the first embodiment changes the tuning state of the musical instrument in accordance with the progress of the accompaniment (progression of the accompaniment key) to be automatically performed, and sets the accompaniment pitch and the melody pitch at the respective playing points. Can be adjusted according to the tuning state in. The automatic performance of the accompaniment may be performed after inputting the chord progression from the accompaniment keyboard.

Next, a second embodiment of the present invention will be described. The second embodiment is shown in FIGS. As shown in FIG. 11, in the second embodiment, an external ROM pack 7 is used which stores performance data of music and temperament progression data and scale progression data of music. The external ROM pack 7 is mounted on the external ROM pack reading device 8 of the electronic keyboard musical instrument at the time of use, the information is read and passed to the CPU 10. In operation, the electronic keyboard instrument is the external ROM pack 7
The performance data of is played back and played as a musical tone to automatically play the music. At that time, the electronic keyboard instrument sets and updates the tuning state of the musical instrument in each performance section of the music piece in accordance with the temperament progress data in a timely manner, thereby adjusting the performance pitch of the music piece. At the same time, the electronic keyboard instrument selects a scale at each playing time from the scale progress data and displays it on a scale display device such as the LED navigator 40 (FIG. 15) to inform the performer of the scale used at each playing time. Based on this, the performer can timely input the melody suitable for the music automatically played from the melody keyboard. The pitch of the melody played by the performer is also adjusted according to the tuning based on the temperament progress data.

The memory format of the external ROM pack 7 is shown in FIG. As shown in the figure, the external ROM pack 7 comprises a header H, performance data memories S1, S2 ... For each song, a scale name / constant tone conversion table SCT, and a temperament name / temperament data conversion table INT. The header H stores index information such as the number of songs recorded in the pack, the start address of the performance data memory of each song, the scale name / constant sound conversion table SCT and the start address of the temperament name / temperament data conversion table INT. . In the performance data memory S of each music, scale performance (progress of scale name) and temperament progress (progress of temperament name) that match the progress of the music are stored together with the performance data of the music. The scale name / constituent sound conversion table SCT is for converting the scale name written in the scale progression into scale constituent sounds. The temperament name / temperament data conversion table INT is the temperament data that is written in the temperament progression (for each note name, a set of pitch data that follows that temperament).
It is for converting to.

The format of the performance data memory S for each song is illustrated in FIG. As shown in the figure, the performance data memory S for one music includes a music header SH and a plurality of performance tracks Tr.
1, Tr2 ..., Scale progression track S-Tr, and temperament progression track INT-Tr. Song header SH
Stores the tempo (performance speed) of the song, the number of tracks, and the start address of each track. Performance data of individual musical instruments (timbres) is stored in the individual performance tracks Tr1, Tr2, .... The format of performance data is, for example, event-to-event (event-to-eve).
nt) expression. For example, note A is the sounding event data, note C is the next sounding note, and note B and note C are both muted simultaneously. For example, note A sounding event data (note number, initial velocity, etc.), the next event ( That is, the time data up to the pronunciation of note C), note C
Pronunciation event data, time data until the next event (that is, the mute event of note C and note A), note C
It is represented by storing the mute event data of A and A (each note number, each release velocity, etc.) in consecutive memory locations. The scale progression track S-Tr stores the progression of the scale name of the song. The format is an event-to-event system at the same time as the performance track. The progression of the temperament name is stored in the temperament progression track INT-Tr. The format is also event-to-event.

FIG. 14 shows an example of data of the temperament progression track INT-Tr. In this case, the temperament of the first 16 measures of the song is the C-tone just intonation, the next 8 measures are the D-tone just intonation, then the G-tone just intonation, and so on. Continue. One of the powerful methods is to determine the temperament progression of a musical piece from the viewpoint of the tonality progression of the musical piece. However,
It is not limited to this. For example, in order to maximize the advantage of a temperament that has a beautiful sound like just intonation, determine the temperament according to the constituent notes of each chord in the music chord progression and assign such a temperament to each chord section. be able to. This makes it possible to provide music that preserves the beauty of the harmony as much as possible.
Alternatively, instead of (or with) the tonality perspective, other cohesive contexts of music (eg passages,
You may decide the temperament progression of the song from the viewpoint of (movement). In a place where the context of music changes greatly, it is possible to change the type of temperament system, for example, from equal temperament to pure tone. Furthermore, it is possible to use temperaments that have not been known so far in order to explore the expressibility of various music. Temperament progression track INT-Tr
In the case of using the key progression track instead of No., the temperament name / temperament data conversion table INT is omitted, and instead, the temperament table for converting the key name in each song into a temperament is provided in the external ROM pack 7. Further, as in the first embodiment, the internal ROM 2
No. 0 has a temperament table, and if it can be used, it is unnecessary for the external ROM pack 7.

External ROM of the above format
The electronic keyboard instrument using the pack 7 includes a song select function for selecting a song in the pack 10, an automatic performance function for automatically playing (playing) the selected song, and a scale display function for reading and displaying the scale progress of the song. It includes a real-time tuning function that reads the temperament progression of the song and updates the tuning status of the instrument in a timely manner, thereby adjusting the pitch of each performance. The selection of the musical composition is performed via the musical composition selecting switch 37 provided on the musical instrument panel (see FIG. 15). In response to the input of the music selection switch, the CPU 10 loads the performance data of the music from the external ROM pack 7 into the RAM 4 (note that the data of the header, scale name / constituent sound table, and temperament name / temperament data conversion table are stored in the external ROM pack 7). When you attach C
It is adapted to be automatically taken into the RAM 4 by the PU 10). Then, when the reproduction switch 38 is pressed, the CPU 10 decodes and reproduces the performance data of the music piece. In parallel with the reproduction, the CPU 10 decodes the scale progress data and issues a new scale display command to the LED scale navigator 40 each time the scale name is changed. Further, in parallel with the reproduction, the CPU 10 decodes the temperament progress data, updates the tuning state of the musical instrument every time the temperament name is changed, and thereby adjusts the pitch of each performance. By operating the stop switch 39, the automatic performance of the music is stopped. When the reproduction switch 38 is pressed during the automatic performance, the music is returned to the beginning and the reproduction is repeated. The panel display 41 displays the number and temperament name of the selected song. It should be noted that an individual performance track on / off function may be provided so that the automatic performance by only the favorite performance track can be enjoyed.

FIG. 16 shows a temperament progressing track reproduction routine. This routine is periodically executed in the automatic music playing mode. The time becomes the event time (16-
1) If it is the timing of tuning change (16-
2) Convert the temperament name related to the change into the temperament data via the conversion table, and set the result in the tuning memory (16-
3). Then, the time data up to the next event time is read from the temperament progressing track (16-4), it is normalized with the tempo (16-5), and the process returns. If the event time has not been reached (16-1), the time data (normalized) is decremented to obtain the remaining time until the next event. When the time data = 0, the next event time arrives (16-1). Therefore, the routine reads the event data from the temperament progress table, and if it is the temperament name, executes 16-3 and below again, and if not (if the temperament progress track end event), ends the reproduction.

FIG. 17 shows an outline of the reproduction routine of each performance track. This routine is also periodically executed in the automatic performance mode (the above-described temperament-progressing track reproduction routine may be executed at a slower cycle, for example, a bar cycle). Since the performance track reproduction processing is apparent from the description of FIG. 17 and most of it is a well-known technique, only the essential points will be described here. When the time of a sounding event arrives during the reproduction of the performance track, the performance track reproduction routine executes the tuning process shown in 17-1 to adjust the pitch data contained in the sounding event data, and the sound source with the adjusted pitch. Is generated (17-2). As shown in FIG.
In the temperament processing 17-1, the note number (octave and note name) included in the sounding event data is decoded by the data in the current tuning memory to generate actual pitch data that matches the current tuning.

Other event processing 17-3 includes pitch modulation processing (vibrato processing, pitch bend processing, portamento processing, etc.), volume modulation processing (tremolo processing, amplitude envelope modulation processing), tone color modulation processing (by a filter, etc.). Spectrum modulation processing) or the like. The pitch modulation like vibrato is performed centering on the pitch of the pitch of the scale note (usually, the pitch at the start of sounding is the scale pitch). In relation to this, the pitch data of the performance track may be expressed separately as a scale tone component and a component indicating a deviation (pitch bend amount) from the scale tone. In this way, the musical composition is automatically played, and the respective notes are adjusted according to the tuning condition of the musical instrument at each time point. Similar pitch adjustment is performed for each sound of the additional part input by the player. This is achieved by the flow shown in FIG. 10 which has already been described in the first embodiment.

Other advantages and modifications of the second embodiment will be additionally described below. (A) In an application that is used only for automatic performance of music, the temperament name progression track and the temperament name / temperament data conversion table are deleted from the external ROM pack, and the tuning at each point of the performance is recorded in the performance data track. The data may represent the pitch name or the actual pitch of the scale note. However, this method is not desirable because it increases the storage capacity. For example, 12 note names (scale note names) in one octave can be distinguished by 4 bits, but if the pitch of each note name is represented with an accuracy of up to cents, it will be 1
1 bit is required. Therefore, 7 bits are additionally required for each scale note. (B) It can be modified so that apparently 12 or more note names can be input from a keyboard having only 12 keys in one octave.
As a result, for example, when there is a black key of G #, it functions as a key for designating a note name of 5th degree from the tonic, and when it is another, it functions as a key for designating a note name of 6th degree from the tonic. this is,
This can be realized by adding information indicating the meaning of each key name from the keyboard in each section of the song, that is, the note name designated by each key name, to the performance data memory of the song in the external ROM pack.
In one preferred implementation, the scale progression track S
-Scale name / constituent sound conversion table SCT for Tr
Can include such information. That is SC
As the conversion information for the scale name, the note name of the constituent note of the scale and the key name of the keyboard that can specify each note name are written in T. In operation, the CPU 10 converts the input key name from the keyboard into a note name using the current scale name from the scale progression track and the note name / key name correspondence table in the current scale name marked as SCT. Then, the actual pitch is obtained by decoding the pitch name according to the tuning condition at that time.
In such a configuration example, note names selected from a set of 12 or more note names per octave are written in the performance data tracks Tr1, Tr2, ... This technique can be applied to all electronic musical instruments having only 12 note name specifying operators in one octave. Apparently, the most preferable musical expression by each temperament can be realized by increasing the types of note names that can be specified. This will break the limit of music that can be expressed with a 12-key / octave keyboard instrument.

[0042]

[Other Modifications] The above is a description of some embodiments and modifications of the present invention, but other various modifications are easy. For example, (A) the present invention can be applied to electronic musical instruments other than the electronic keyboard musical instrument. For example, it can be applied to an electronic guitar and an electronic wind instrument. (B) It can be applied to a string / fret operation position detection type electronic guitar with almost no deformation. (C) In the case of an electronic guitar that detects the string frequency (string pitch), it is desirable to check the physical tuning state before playing. That is, the normal string operation (string operation without pitch bend) is performed to check the state of the strings, and the string pitch by the normal operation at each fret position of each string is measured. From the result, the string pitch / note name is calculated. Create a translation table.
When a string pitch is detected during playing, the electronic guitar refers to the string pitch / note name table and divides the detected string pitch into a note name (note scale) and a pitch bend component. The pitch name is subjected to tuning processing according to the present invention, and the pitch bend value is added to the result to obtain actual pitch data. (D) In the case of an electronic lead musical instrument, a combination of pressed operation holes (operation switches) is converted by a fingering table to obtain a note name.
The pitch bend value is determined by the signal from the mouthpiece (mouthpiece). The following is the same as in the case of (C).

[0043]

As described in detail above, according to the present invention, the tuning state of the musical instrument can be timely adjusted according to the progress of the music.
It is possible to provide an electronic musical instrument having the ability to change automatically. Therefore, the world of music that can be expressed by electronic musical instruments can be expanded. By composers of electronic and computer music, such electronic musical instruments exist as a breakthrough in the fixed idea of tuning that has constrained music to this day, and open the new musical horizon. Moreover, the user of the electronic musical instrument can enjoy playing desired music by the real-time tuning control function. For example, it is possible to provide the user with a music performance in which the harmony of beautiful harmony, which is the quality of just-tuned music, is pursued to the limit. Further, according to another feature of the present invention, the limit of musical expression that has limited the keyboard musical instrument having the structure of 12 keys / octave to date (based on the structure, distinguishing between increased 5th and minor 6th) It is also possible to break the limit that cannot be done. That is, for example, 24 keys / octave is functionally (virtua).
It is possible to provide an electronic keyboard musical instrument having (1). This also applies to other electronic musical instruments with similar restrictions.

[Brief description of drawings]

FIG. 1 is a block diagram of an electronic keyboard instrument according to a first embodiment of the present invention.

FIG. 2 is a layout view of a panel of the musical instrument shown in FIG.

FIG. 3 is a diagram showing an analysis example by a tonality analysis function of an electronic keyboard instrument.

FIG. 4 is a diagram showing a temperament table built in an electronic keyboard instrument.

FIG. 5 is a flowchart showing a response of the electronic keyboard instrument to a temperament designation input.

FIG. 6 is a flowchart of a code input processing routine.

FIG. 7 is a flowchart showing an outline of a key / function determination program.

FIG. 8 is a diagram illustrating a method of obtaining a D-tone just intonation from a C-tone just intonation.

FIG. 9 is a flowchart showing an outline of an accompaniment processing routine.

FIG. 10 is a flowchart showing an outline of a melody processing routine.

FIG. 11 is a block diagram of an electronic keyboard instrument according to a second embodiment of the present invention.

FIG. 12 is a diagram showing a memory format of an external ROM pack used in the second embodiment.

FIG. 13 is a diagram showing a format of a musical performance data memory.

FIG. 14 is a diagram showing a format of a temperament proceeding track.

FIG. 15 is a panel layout view of the musical instrument of the second embodiment.

FIG. 16 is a flowchart of a tempered tone track reproduction routine.

FIG. 17 is a flowchart of a performance track reproduction routine.

FIG. 18 is a flowchart showing the content of tuning processing.

[Explanation of symbols]

1 CPU 2 ROM 3 keyboard / switch 10 CPU 20 ROM 30 keys / switch / display 7 External ROM pack 21 temperament table INT temperament name / temperament data conversion table INT-Tr temperament progression track

Claims (5)

[Claims] 1. Performance operating means operated by a player for playing music, and tuning changing means for automatically changing the tuning state of the musical instrument according to the progress of the music while the music is being played by the playing operating means. An electronic musical instrument, comprising: pitch adjusting means for adjusting the pitch of the music being played in accordance with the tuning state given by the tuning changing means. 2. A musical performance operating means that is operated by a player for playing music and generates an operating electric signal including pitch information, and pitch information included in the operating electric signal from the musical performance operating means of the musical instrument. An electronic musical instrument having real pitch signal generation means for decoding according to a tuning state and generating a real pitch signal representing the pitch of the music to be actually played, the progress of the music during the music performance by the performance operation means. The electronic musical instrument is characterized in that a tuning change means for changing the tuning state is provided in accordance with the above, and the actual pitch signal generating means adjusts the actual pitch signal according to the tuning status changed by the tuning change means. 3. A performance operating means operated by a performer to input a chord progression, and a tonality progression extracting means for analyzing the chord progression input from the performance operating means to extract a tonality progression. , An accompaniment forming / playing means for forming and playing an accompaniment according to the extracted tonality progression, a tuning change means for automatically changing the tuning state of the musical instrument according to the extracted tonality progression, and an accompaniment played An electronic musical instrument having a pitch adjusting means for adjusting the pitch of the musical instrument according to the tuning state of the musical instrument by the tuning changing means. 4. An automatic performance means for automatically playing a musical composition, a tuning regulation means for regulating a tuning condition in each section of the musical composition, and an automatic performance according to a tuning condition from the tuning regulation means during the automatic performance of the musical composition. An electronic musical instrument, comprising: a pitch adjusting means for adjusting the pitch of a musical composition to be played. 5. A performance data storage means for storing performance data of a musical piece, a key progress storage means for storing key data representing a key of each section of the music, and key data read from the key progress storage means. Tuning progress determination means for determining tuning conditions for each section of the music, performance playback means for playing the music performance by reading the performance data of the music from the performance data storage means, and performance played by the performance playback means An electronic musical instrument comprising: a pitch adjusting means for adjusting the pitch of the pitch according to the tuning condition from the tuning progress determining means.