JPH05297864A - Automatic playing device - Google Patents

Abstract

PURPOSE:To easily synchronize an automatic performance with an external performance irrespectively of the technique of a player. CONSTITUTION:With a pattern specification key 2 (P1-P7 or K1-K3) depressed, performance information corresponding to a current pattern painter is read out of a pattern memory at a speed corresponding to the generation intervals of tempo pulses and a specified rhythm pattern is generated to play music. At this time, the tempo and timing (absolute beat position) of the automatic performance can easily be varied in sequence by depressing tapping keys (3) K1 and K2 for inputting the tempo and timing. A beat position specifying function like this is displayed to easily match the timing of the automatic performance with the external performance and a dynamic adjusting function for the tempo is displayed to match the tempo of the automatic performance or a rhythm pattern performance.

Description

Detailed Description of the Invention

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to an automatic performance apparatus having an improved tempo pulse adjusting function so that a pattern such as a rhythm can be changed or synchronized in accordance with an external performance.

[0002]

2. Description of the Related Art In recent years, the widespread use of automatic performance devices has made it possible to enjoy the performance regardless of the performance skill of the performer. With this automatic performance device, it is conceivable to synchronize the automatic performance with an external performance (for example, a performance of a CD or a person) to enjoy an ensemble effect.

[0003]

By the way, in the conventional automatic performance apparatus, since the structure is such that only the tempo of the automatic performance or the rhythm pattern performance can be changed, an external performance (for example, a CD or a human being) can be performed. It was impossible to perform an automatic performance or a rhythm pattern in synchronization with the performance.

This is because the conventional automatic performance device does not have a beat position designating function for adjusting beat positions. Therefore, in the conventional device, no matter how much the tempo variable key and the stop key are used, it is not possible to match the rhythm pattern to the external performance and perform the ensemble.

On the other hand, some electronic rhythm musical instruments, for example, can easily perform rhythm performance by hitting a pad or the like, but since they depend on the skill of the performer after all, The pattern level of was low.

Therefore, an object of the present invention is to provide an automatic performance device which can easily synchronize an automatic performance with an external performance regardless of the skill of the performer.

[0007]

In order to achieve the above object, an automatic performance device according to the present invention comprises a performance information storage means for storing a plurality of performance information consisting of at least one measure, and the performance information storage means. Performance information designating means for designating any one of the stored performance information, tempo pulse generating means for generating a tempo pulse for determining a performance tempo, and tempo pulse generating interval of the tempo pulse generating means variable The tempo pulse changing means, and the performance information designated by the performance information designating means at a speed corresponding to the tempo pulse generation interval generated by the tempo pulse generating means, and the read performance information is read. A musical sound generation instruction means for instructing the generation of a musical sound based on the first external operating member, and in response to the operation of the first external operating member. Characterized in that and a read control means for resuming the read from the head beats that measure the performance information read by said musical tone generation instruction means.

In a preferred mode, the tempo pulse changing means synchronizes a second external operating member with a tempo pulse generation interval varied by the tempo pulse changing means with an operating interval of the second external operating member. And a tempo pulse variable control means.

[0009]

According to the present invention, when any one of the performance information is designated, the performance information is read at a speed corresponding to the tempo pulse generation interval, and a musical tone is generated based on the read performance information. .. At this time, when the first external operation member (for example, the tapping key) is operated, in response to this, the beat position specifying function is exerted and the reading is restarted from the first beat of the bar of the performance information.

Therefore, the beat position designating function allows the tempo of the automatic performance or the rhythm pattern performance to be easily matched with the external performance regardless of the skill of the performer.

[0011]

DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS An embodiment of the present invention will be described below with reference to the drawings. FIG. 1 is an external view of an embodiment of a guitar type electronic musical instrument to which the automatic musical instrument according to the present invention is applied. Figure 1
In the above, 1 is an electronic musical instrument of a type held and held in an electric guitar type. The electronic musical instrument 1 is used to perform a rhythm pattern that is synchronized with the outside, for example, by basically specifying a pattern for each key described later with the left hand and inputting tempo information with the right hand. Is. Note that each key may be assigned to the keyboard of a general keyboard instrument or the like.

The electronic musical instrument 1 has a basic rhythm main pattern designating switch 2, a sub pattern designating switch 3, a break key 4, a tempo indicator 5 and a speaker 6. The basic rhythm main pattern designating switch 2 has P1 to P
It is composed of seven keys 7 and specifies the main pattern of the basic rhythm when performing an automatic performance. The basic rhythm main pattern designating switch 2 has eight designated states including a state in which nothing is pressed.

The sub-pattern designating switch 3 includes K1 to K3.
The sub-pattern of the basic rhythm is designated within three ranges when the automatic performance is performed. Therefore, by combining the designations of the respective pattern designation switches 2 and 3, 3 × 8 =
24 rhythm patterns can be set. It should be noted that each pattern corresponds to a set for one bar of 4/4.

Further, the sub-pattern designating switch 3 comprising three keys K1 to K3 has not only the function of designating the sub-pattern of the basic rhythm as described above, but also the function of a tapping key. For example, when the sub-pattern designation switch 3 is tapped with a combination of quarter notes or eighth notes, tempo information and beat position information are extracted therefrom, and the timing of rhythm pattern reproduction is sequentially controlled.

However, the sub-pattern designating switch 3 does not have to keep inputting when tapping input,
At the time of interruption, the rhythm pattern reproduction can be continued without interruption with the setting data up to that point.

The rhythm pattern assigned to each of the above keys (hereinafter referred to as a pattern set) is arbitrary, but FIG. 2 shows an example of the rhythm data. In this example, the main pattern of the basic rhythm can be designated by the seven keys P1 to P7, and the sub pattern can be designated by the three keys K1 to K3.

"Open" is a standard state in which the main pattern is not designated by a key. In order to improve playability, the higher position (P7 side) is assigned with a more complicated rhythm. This makes it easy to intentionally combine rhythm patterns.

Here, the setting of the rhythm pattern becomes effective only when any tapping key is input.
The rhythm pattern can be dynamically changed even during pattern reproduction. Therefore, it is possible to dynamically change the first two beats to the first pattern and the second two beats to the second pattern.

Further, the tapping key can give only information about the beat position. For example, when the tapping key (K1) and the tapping key (K2) are simultaneously pressed, the head of the pattern (measure) is designated. When starting the simultaneous performance, make this input at the first stage.

Note that once the beginning of the pattern is aligned, if the user performs tapping input before the subsequent input is accurate to some extent and the deviation from the music to be synchronized is not too large, periodical input is performed. Does not necessarily have to be done.

In the sub-pattern designating switch 3, the tapping key (K3) is a fill-in key, which can designate a fill-in pattern. In this case, when playing the fill-in pattern specified by the fill-in key, one or more measures are not played so that the feel of the actual fill-in is approximated, and when the measures have been completed, the general pattern is resumed. There is.

Further, even if a general pattern is input during reproduction of the fill-in pattern, the fill-in pattern cannot be removed. Therefore, no matter which tapping key is input, only timing information can be obtained.
However, it is possible to switch between fill-in patterns, and the fill-in key can be designated.

Here, the fill-in refers to an improvised bag ground for decorating a blank portion of a melody line or the like. Specifically, it is divided into single-tone melodic ones, harmonic chords, and percussion rhythmic ones, similar to the usual bag grounds, and is commonly called "okazu".

The break key 4 is for turning on / off the output of the rhythm pattern. However, the pattern is changed and the timing information is fetched even while the output is off. Therefore, if the tapping key is input even when the musical sound is stopped, the synchronization is guaranteed when the pattern output is restarted. The pattern output is also restarted by the fill-in key.

The tempo indicator 5 is composed of four indicators (for example, LEDs), and each displays the beat position in the bar of the reproduction pattern. The speaker 6 reports a musical sound or the like.

Next, FIG. 3 is a block diagram of a portion for performing signal processing of a guitar type electronic musical instrument to which an automatic performance device is applied. In this figure, 11 is a program-contained CP
U, the CPU 11 performs control necessary for generation of musical tones and automatic performance according to a program stored in the program ROM 12.

The RAM 13 functions as a work area for the CPU 11 and stores the contents of each register in the CPU 11. FIG. 4 shows an example of a work area. The tempo counter is a tempo count register, the interval counter is an interval count register, the current pattern pointer is an area for storing the address of the current rhythm pattern, and the FIF is a fill-in flag ( An area for storing whether the current rhythm pattern is fill-in or not, and the operation mode is the break state, INTE
RVAL is an area for storing the value of the interval counter, and the pointer table is an address table of pointers for designating rhythm patterns.

The reference clock generator 14 generates a clock which is a source of timing information for causing the CPU 11 to sound the sound system, and outputs this clock to the tempo clock circuit 15. The tempo clock circuit 15 is C
This reference clock is divided by the value set in PU11 and a tempo clock according to the resolution is output.

For example, if the resolution of one beat is 12 and the frequency of the reference clock is 12 KHz, the tempo [12
0], there is one tempo clock every 500 clocks (20.8 ms). The tempo [121] is (60/121/24) × 243000 = 495.87, which corresponds to one tempo clock every 496 clocks.

As described above, the tempo value and the frequency division value of the reference clock do not necessarily correspond to each other by an integer ratio, but there is no problem because the tempo value is not directly handled as described later. In other words, 1 tempo clock length (1/2 beat) is 12
It means that it can be changed with the accuracy of KHz.

Further, the tempo clock circuit 15 counts up the reference clock, and when it matches the frequency division value, generates a tempo clock pulse and clears the clock pulse count. Therefore, even if the clock pulse is cleared and the counting of the clock pulse has already started again, there is no problem for the CPU 11 to change the setting of the frequency division value.

Further, when the beginning of a bar is input by the tapping key, the clock count value of the tempo clock is cleared and the time axis is adjusted.

The pattern memory 16 stores a plurality of performance information, and the performance information data designated by the key operation unit 17 is controlled by the CPU 11 to produce the sound system 1.
Output to 8.

Although the storage format of the data in the pattern memory 16 is arbitrary, FIG. 5 shows the storage format as an example. In this example, pattern data is designated by a pointer, and an array example thereof is shown. In this pointer array, pattern data is designated by using the main pattern designating switch 2 composed of seven keys P1 to P7 and the sub pattern designating switch 3 composed of three keys K1 to K3 as pointers.

Further, since each pattern data has a different amount of rhythm pattern data as shown in FIG.
Each pattern data has a variable length, and has a pointer array that can correspond to each data.

For example, the pattern pointer [2,0] is designated by using the key (P2) and the key (K1) as pointers, and the content of the pattern data indicated by the pattern pointer [2,0] is shown in FIG. It is stored in a format like. This is because the absolute time, that is, the tempo clock value, may change discontinuously depending on the input, so it is not the relative position from the previous note, but the absolute clock count value in the bar (= 4 beats). This is so that pronunciation data can be searched for.

Normally, the tempo clock count value is [0]
To [47], the timbre NO. 1 tones NO. Three tone colors of 3 are associated as one sound generation data. Tone No. 1 tones NO. 3 is represented by a numerical value corresponding to the timbre shown in FIG. FIG. 7 shows the correspondence with the timbre by the numerical values from [0] to [13]. Further, the number of timbres of one tone generation data is not limited to three timbres.

The key operation unit 17 is provided with the basic rhythm main pattern designating switch 2, the sub pattern designating switch 3, the break key 4 and the like described above, and decodes information such as the operation for musical tone generation and the designated pattern to decode the CPU 11 Output to. In particular, the tapping key (sub-pattern designation switch 3) uses the CPU 11 for timing information in addition to pattern designation.
It outputs a signal for direct transmission to.

The sound system 18 generates a sound specified by the CPU 11 and outputs it to the speaker 6, and is composed of, for example, a polyphonic PCM sound source, a DAC and an amplifier. In the present embodiment, a maximum of four tones can be simultaneously generated (3 tones of the pattern + 1 tone of PAD), the tone is activated by a note-on trigger, and the sustain and release information is controlled by the tone generator itself by the tones. LED display unit 19
Controls the tempo indicator 5.

The pattern memory 16 serves as performance information storage means, the key operation portion 17 serves as performance information designating means, the tempo clock circuit 15 serves as tempo pulse generation means, and the CPU 11
Is a tone generation instruction means and read control means, and the sub-pattern designation switch 3 is a first external operation member.

The sub-pattern designating switch 3 and the CPU 11 of the key operation unit 17 constitute the tempo pulse changing means 20 as a whole. Further, the sub-pattern designation switch 3 corresponds to a second external operation member, and the CPU 11
Corresponds to the tempo pulse variable control means.

Next, the control operation of the automatic performance will be described. 8 to 10 are operation flowcharts. In this embodiment, the CPU 11 executes one main routine and two interrupt routines, and shares data such as pattern data and tempo counter among the routines as needed.

Main Flowchart FIG. 8 is a main flowchart. When the power is turned on, initialization is performed in step S1 to clear each value in the RAM 13, and at the same time, the tempo clock circuit 1
The division of 5 is started. An interrupt is applied each time a signal from the tempo clock circuit 15 is input to the CPU 11, and a tempo clock interrupt process shown in FIG. 9 described later is executed.

In step S2, it is determined whether or not a key has been operated, and each time the break key 4 is pressed, step S2 is executed.
The operation mode is switched with 3. That is, when the rhythm pattern is being output, the break state (the output of the rhythm pattern is turned off) is set, and in the break state, the break is canceled.

On the other hand, if the pattern designation key is pressed in step S2, it is determined in step S4 whether or not the designated pattern is fill-in. If not, the process proceeds to step S8 and the designated pattern is used as a key. The pattern pointer table is searched, and the current pattern pointer is set in step S9. As a result, the performance information corresponding to the current pattern pointer is read from the pattern memory 16, the specified rhythm pattern is generated, and the performance is performed.

If the designated pattern is fill-in, the flow advances to step S5 to determine whether the fill-in flag FIF is "0". Fill-in flag FI
If F is not "0", the current pattern is fill-in, so the process jumps to step S8 to search the pattern pointer table and set it to the current pattern pointer in step S9. As a result, a rhythm pattern corresponding to the fill-in designated pattern is generated and the performance is performed.

When the fill-in flag FIF is "0", the current pattern is a normal pattern. Therefore, in order to recover after the fill-in, the process proceeds to step S6, the current pattern pointer is saved, and the fill-in flag FIF is set to "7" in step S7. Set to 1 "and proceed to step S8.

Then, the pattern pointer table is searched in step S8, and the current pattern pointer is set in step S9. As a result, a fill-in operation is performed in the next routine, a rhythm pattern corresponding to the fill-in designated pattern is generated, and the performance is performed.

On the other hand, if it is determined in step S2 that there is no key operation, it is determined in step S10 whether or not the tempo counter is [47], that is, at the next timing. When the tempo counter = [47], it is determined in step S11 whether or not the fill-in flag FIF is "1" (that is, the current pattern is fill-in), and the FIF
If = "1", the pattern pointer of the normal pattern saved in step S12 is set to the current pattern pointer, and the fill-in flag F is set in step S13.
Set IF to "0" and return.

If the tempo counter is not equal to [47] in step S10 and the fill-in flag FIF is "0" in step S11, step S2 is executed.
Return to.

As described above, when the rhythm pattern is changed during fill-in, another fill-in data can be changed, but in the case of a general pattern (when not in fill-in), the return pattern from fill-in changes.

If the fill-in is not output for one bar or more, and if the fill-in is played even at a part of the bar (tempo counter value is 0), the normal pattern is restored.

Under this condition, if it is not monitored whether or not it is played, if the fill-in is specified immediately before returning to the beginning of the bar (for example, when the tempo clock counter is [46]), the tempo clock counter becomes [0]. When I return
This is to prevent the normal pattern from being restored without being played even though the fill-in is designated.

Tempo Clock Interrupt Process FIG. 9 is a flowchart showing the tempo clock interrupt process. This flow is activated by an interrupt every time a signal from the tempo clock circuit 15 is input to the terminal INT1 (see FIG. 3) of the CPU 11.

First, in step S21, the tempo counter (pointing to the tempo clock counter) and the interval counter are counted up, and in step S22, it is determined whether or not the tempo counter is [48] or more (that is, it is at the beginning of a bar). .. When the tempo counter is equal to or more than [48], it means that it is the beginning of a measure, so the process proceeds to step S23, where the tempo counter is cleared to [0] and step S
Proceed to 24. If the tempo counter is less than [48], it is not the beginning of the bar, and therefore the process jumps to step S23 and proceeds to step S24.

In step S24, it is determined whether or not there is sound generation data (that is, whether there is pattern data). If there is sound generation data, the operation mode is "1" in step S25.
Whether (that is, whether it is not broken) is determined.
When the operation mode is "1", the note No. of the current pattern is determined in step S26. To the sound system 18,
Generates a musical sound.

Next, in step S27, it is determined whether or not it is the beginning of the beat. If it is the beginning of the beat, in step S28 the LED one timing before (that is, the LED forming the tempo indicator 5) is turned off, and the next Timing of L
Turn on the ED. Then, the process returns to the main process.

On the other hand, if there is no sound data in step S24, or if the operation mode is not "1" in step S25, step S26 is skipped to step S2.
Proceed to 7.

In this way, the tempo counter is counted up and reset every eight beats (one bar) 8, and if there is sound generation data, a musical tone is generated when the break has not occurred. A rhythm pattern is played on this musical sound by the flow processing shown in FIG.

Tapping Input Interrupt Processing FIG. 10 is a flowchart showing the tapping input interrupt processing. In this flow, input from the tapping key which is timing information is input to the terminal INT2 of the CPU 11 (see FIG. 3).
Each time it is input, it is activated by an interrupt, and changes the tempo data, that is, determines the reference clock frequency division value of the tempo clock.

First, in step S31, it is determined whether the tapping keys (K1) and (K2) are simultaneously pressed. Here, tapping keys (K1) and (K2) are K
Two of the sub-pattern designating switches 3 consisting of three keys 1 to K3, which have not only the function of designating the sub-pattern of the basic rhythm but also the function of a tapping key. Two tapping keys (K
It is for determining whether 1) or (K2) is pressed.

When the tapping keys (K1) and (K2) are tapped with a combination of quarter notes or eighth notes, tempo information and beat position information are extracted from this and the timing of rhythm pattern reproduction is sequentially controlled.

In step S31, the tapping key (K
If both 1) and (K2) are simultaneously pressed, the process proceeds to step S32 to reset the tempo counter to "0" and the interval counter to "0". Then, the process returns to the main process. This allows
The processing to make the bar start, which is absolute position information, is performed,
By setting the tempo counter and the interval counter to "0", all the processes are reset from this point. That is, it is forcibly returned to the head beat position.

At the next interruption, if it is determined in step S1 that the tapping keys (K1) and (K2) are not simultaneously pressed, the process proceeds to step S33 and the value of the interval counter is stored in the register INTERVAL. Further, in each of steps S34 to S36, the value of the register INTERVAL is [3] or less, is in the range of [3] <INTERVAL ≦ [8], or is in the range of [8] <INTERVAL ≦ [15]. Determine whether.

When INTERVAL≤ [3], tapping information is input because the interval is too short.
The interval data and the tempo value (tempo clock frequency division value) are treated as if they had not been changed, and the process returns to the main process. Therefore, even if the tapping key is appropriately pressed quickly, only the first input timing is valid. The threshold level is 33% from the standard because the eighth note clock count is [6].
The faster ones are rejected (bounced).

Therefore, in order to obtain the difference data of the interval determined as the eighth note as a ratio, first, the determination in step S35 is performed. In this case, since the clock count number for the eighth note is [6], it is assumed that a variation of ± 33% from the standard is allowed, and [4], [5],
In the case of the interval data of [6], [7], and [8],
Considered as eighth notes.

If YES in step S35 (that is, 8
If it is the interval of a quarter note), the process proceeds to step S37, and the clock count number [6] for the eighth note (hereinafter referred to as the 8 minute reference time length [6]) and the register INTE.
Find the difference between the value and RVAL. For example, INTERV
When AL is [5], the difference data of ([5] − [6]) / 6 = −16.6% ... When INTERVAL is [8], difference data of ([8]-[6]) / 6 = 33.3% ...

On the other hand, in step S36, [3] <INTE
When it is determined that RVAL ≦ [8], step S
Proceed to 38, and clock counts for quarter notes [1
2] (hereinafter, referred to as 4-minute reference time length [12]) and the value of the register INTERVAL. In this case, only the reference value of the calculation formula (similar to, and) changes from [6] to [12] described above, and at what ratio both are faster (-: negative) or slower than the reference. (+: Is it correct) is obtained. The calculation results of steps S35 and S36 are used to change the frequency division value in subsequent step S39.

In step S39, the tempo value is changed / set according to the difference obtained as described above. For example,
One tempo clock is once every 500 reference clocks (corresponding to tempo [120]), and the difference data is -16.6.
%, The new frequency division value obtained from this input interval may be obtained by reducing 500 by 16.6%, so that a value of 500 × 83.4% = 417 ... However, the number after the decimal point is truncated.

However, if the tempo division value is changed 1: 1 with respect to the tapping input in this way, it becomes too sensitive to a human input error, and the tempo value changes abruptly for each input. Since it is clear that the operation feeling is bad, in the present embodiment, good following sensitivity is secured while avoiding a rapid tempo change by the following weighting.

This is equivalent to applying a kind of low pass filter to the input interval. Specifically, new division value = {(previous division value × 3) + obtained division value} /
Set the tempo counter by the formula this is,
3: 1 weighting calculation is performed. For example, using the above calculation result, the new frequency division value is {(500 × 3) +417} / 4 = 479 ... It should be noted that this weighting calculation may be made variable under various conditions used.

Then, in step S40, the tempo count value (TC) is taken out, and the tempo counter is set according to the equation: TC = 6 × {(TC + 3) / 6} .... This step is processing for absolute time adjustment in order to obtain a good operational feeling in addition to changing the tempo, and adjusts the beat position to the input timing. The meaning of the formula is that if there is an input, the internal count is discontinuously skipped to an absolute time position of every 0.5 beat (8th note) and set.

For example, if there is an input when the counter value is 20, the tempo clock 20 is 12 + 6 + 2.
This means that the input is about a 1.5-beat position (as described above, the input is a combination of 8th notes), so 2 is truncated and the tempo clock is set to 18 as intended.

Similarly, when the counter value is 34, 12
Since it is + 12 + 12-1, which is the position of the third beat, the tempo clock is set to 36. The above formula is a summary of such calculations.

After step S40, the interval counter is cleared in step S41, and the process returns to the main process. This is a process for resetting in order to measure the interval until the next input, because the interval information was used as a valid input.

On the other hand, if NO in step S36 (that is, [15] <INTERVAL and tapping input longer than quarter note interval),
The tempo information is not changed and the timing information is set without changing the tempo information, considering that the correction is merely for the position information.

In this case, if the tempo is set according to the ratio, the error may increase.
For example, if the tempo value is changed only by a fixed value (for example, ± 1%) by determining whether it is fast or slow with respect to the absolute beat position, even if tapping is input only occasionally, It becomes possible to follow the rhythm pattern with higher accuracy.

The intended beat at such an input position can be judged when the performance tempo and beat position and the tapping input by the operator are within the error of the eighth note length. If the error exceeds that, the measure head must be specified.

As described above, in this embodiment, by pressing the pattern designation key (P1 to P7 or K1 to K3), the performance information corresponding to the current pattern pointer is moved to the pattern memory at a speed corresponding to the tempo pulse generation interval. 16
And the specified rhythm pattern is generated and the performance is performed. That is, one of the plurality of rhythm patterns is automatically played. At this time, the tempo and timing (absolute beat position) of the automatic performance can be sequentially changed, and even if the pattern is being operated, the transition to another pattern can be easily performed.

Further, the tempo counter is counted up and reset every four beats (one bar), and if there is sound generation data, a musical sound is generated when the break has not occurred. At this time, the tempo indicator 5 lights at the beginning of the beat,
It is easy to get the timing.

Further, by pressing the tapping keys (K1) and (K2) for inputting the tempo and the timing, the tempo information and the beat position information are taken out from here, and the timing of the rhythm pattern reproduction is sequentially controlled. Further, at this time, by designating to the beginning of the measure, it is forcibly returned to the beginning beat position, the beat position designation function is exerted, and the reading of the performance information is restarted from the beginning beat of the measure. Then, the performance tempo can be sequentially changed depending on the tapping time interval.

Therefore, by exhibiting the beat position designating function, it is possible to easily adjust the timing of the automatic performance with respect to the external performance (for example, CD or human performance) by key operation. Further, by exerting a dynamic tempo adjustment function, the tempo of automatic performance or rhythm pattern performance can be matched.

That is, regardless of the skill of the performer, it is possible to easily perform an ensemble by synchronizing the automatic performance or the rhythm pattern performance with the external performance. Therefore, since it does not depend on the skill of the player after all, it is possible to maintain a high performance pattern level.

Specifically, since the rhythm patterns can be dynamically combined and synchronized with an external performance, if a small tapping or the like is input, a sense of participation can be increased with an extremely simple operation. You can get an instrument that feels like playing. Also, when used as an automatic performance device, external synchronization can be achieved with a minimum of operation input, so that it is possible to provide a highly functional musical instrument that has never existed before.

Although the above-mentioned embodiment is an example in which the present invention is applied to an electronic musical instrument of a type held and held in an electric guitar type, the present invention is not limited to this, and an electronic musical instrument other than an electric guitar type is applied. It can be widely applied to musical instruments or other audio devices (for example, karaoke devices).

[0086]

According to the present invention, the beat position designation function is exerted, so that the timing of automatic performance can be easily adjusted to the external performance by key operation. Further, by exerting a dynamic tempo adjustment function, the tempo of automatic performance or rhythm pattern performance can be matched.

Therefore, regardless of the skill of the performer, it is possible to easily perform an ensemble by synchronizing the automatic performance or the rhythm pattern performance with the external performance. As a result, it is possible to maintain a high performance pattern level without depending on the skill of the player after all as in the conventional case.

[Brief description of drawings]

FIG. 1 is an external view of an embodiment of a guitar-type electronic musical instrument to which an automatic performance device according to the present invention is applied.

FIG. 2 is a diagram showing an example of rhythm data of the same embodiment.

FIG. 3 is a block diagram of a portion that performs signal processing according to the same embodiment.

FIG. 4 is a diagram showing an example of a work area of a RAM of the same embodiment.

FIG. 5 is a diagram showing a storage format of data in a pattern memory of the embodiment.

FIG. 6 is a diagram showing an example of contents of pattern data of the same embodiment.

FIG. 7 is a diagram showing types of tone colors of the same embodiment.

FIG. 8 is a main flowchart of automatic performance control of the embodiment.

FIG. 9 is a flowchart showing a tempo clock interrupt process of the same embodiment.

FIG. 10 is a flowchart showing a tapping input interrupt process of the embodiment.

[Explanation of symbols]

1 electronic musical instrument 2 basic rhythm main pattern designation switch 3 sub-pattern designation switch (tapping key) (first
External operation member, second external operation member) 4 break key 5 tempo indicator 6 speaker 11 CPU (tone generation instruction means, read control means,
Tempo pulse variable control means) 12 program ROM 13 RAM 14 reference clock generator 15 tempo clock circuit (tempo pulse generating means) 16 pattern memory (performance information storage means) 17 key operation unit (performance information designating means) 18 sound system 19 LED Display 20 Tempo pulse changing means

Claims (2)

[Claims] 1. Performance information storage means for storing a plurality of performance information consisting of at least one measure, and performance information designation for specifying one of the performance information stored in the performance information storage means. Means, tempo pulse generating means for generating a tempo pulse for determining a performance tempo, tempo pulse varying means for varying a tempo pulse generation interval of the tempo pulse generating means, and the tempo generated by the tempo pulse generating means A musical tone generation instruction means for reading the musical performance information designated by the musical performance information designating means at a speed corresponding to a pulse generation interval and for instructing the generation of musical tones based on the read musical performance information; In response to the operation of the operation member and the first external operation member, the performance information read by the musical sound generation instruction means An automatic performance device comprising: a reading control means for restarting reading from the first beat of a bar. 2. The tempo pulse varying means, a second external operating member, and tempo pulse varying control for synchronizing a tempo pulse generation interval varied by the tempo pulse varying means with an operating interval of the second external operating member. 2. An automatic musical instrument according to claim 1, further comprising means.