JPH06130954A - Electronic musical instrument - Google Patents

Abstract

PURPOSE:To simulate a style of rendition like hammering-on, pulling-off, or bending of a rock quittar. CONSTITUTION:In a step S2, length of notes on a music notation to be played are classified dependently upon whether they are quarter notes or longer or not. Length of notes having preceding rests are classified dependently upon whether rests are eighth rests or longer or not, and it is checked whether length of notes which do not have preceding rests are equal to or longer than length of preceding notes or not. The pitch difference between adjacent notes is detected. In steps S4 to S20, the note as the bend-up or bend-down object is determined in accordance with the pitch difference and classification of notes, and the bend width, the velocity, and the gate time are adjusted.

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 capable of simulating a rock guitar playing method.

[0002]

2. Description of the Related Art Conventionally, the effects of various playing techniques of a guitar include, for example, hammer ring on, pull off, and bending (choking). Hammer ring-on is for ascending slurs by striking the strings with the fingers of the left hand, and pulling-off is for descending slurs without striking the strings with the right hands, by releasing the fingers of the left hand so that they scratch. Bending changes the pitch after pushing a string that is being pressed, or by pulling it downward. Each of these playing methods is a playing method in which two consecutive notes are smoothly connected and played. Hammer ring on,
In the case of pulling off, the pitch relationship between two consecutive notes is
Often two times or less, of the two continuous sounds, the previous sound extends until just before the latter sound is played, and the latter sound becomes slightly weaker and shorter. In this way, the volume and the generation time change according to the pitch difference between the adjacent notes. In addition to this, the pitch change amount (pitch bend width) also differs depending on the note length.

In order to obtain the effects of these various playing styles,
Although it is possible to manually edit the sequence data input to the sequencer, it requires a great deal of specialized knowledge and effort, and it is very difficult for a general performer to perform such work. Have difficulty.

In Japanese Laid-Open Patent Publication No. 61-140994, score information consisting of a plurality of pieces of information such as pitch and pitch is stored in a first memory, and for example, (1) strong beat increases volume. )
The rhythm when continuing the dotted eighth note and the 16th note is
Dotted 8th notes longer and 16th notes shorter played to emphasize the rhythm. A plurality of conversion rule groups corresponding to performance genres, musical instruments, performers, etc. Disclosed is an automatic performance device that stores in a memory, selects an arbitrary one of these conversion rule groups by a score information processing unit, applies the selected conversion rule group to score information, and converts it into sound source information. Has been done.

However, since the automatic playing device does not take into consideration the pitch difference between the adjacent notes as the conversion rule, and the change of the volume, the generation time, the pitch bend width, etc. according to the length of the note, the hammer is hammered. It was not possible to simulate ring-on, pull-off, bending, etc.

[0006]

In order to simulate various playing styles of the above rock guitar, in the present invention, storage means for storing performance information corresponding to a plurality of notes, and the length of the notes stored in this storage means. And a pitch difference between the pitch of the note and the pitch of a note adjacent to the note, and a pitch change imparting means for imparting a pitch change corresponding to the note length and the pitch difference to the note. And are provided.

[0007]

According to the present invention, the detecting means detects the pitch difference between the length of a note stored as performance information in the storage means, the pitch of this note, and the pitch of the note adjacent to the note. To do.
The pitch change imparting means imparts a pitch change to the note in accordance with the detected length and pitch difference of the note.

[0008]

DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS The electronic musical instrument of this embodiment has a MIDI sound source 10 as shown in FIG. 2, and a tone signal from this sound source 10 is amplified by an amplifier 12 and then amplified by a speaker 14.

The MIDI sound source 10 is controlled based on a MIDI control signal supplied from a personal computer 18 via a MIDI interface 16. The personal computer 18 is a normal one including a CRT 20, a keyboard 22 and a mouse 24. By operating the keyboard 22 and the mouse 24, each data record (performance information) stored in a built-in memory is processed,
A control signal for generating a musical tone that simulates effects such as hammer ring on, pull off, and bending is generated.

A data record, for example, when played based on a musical score as shown in FIG.
Each of them is stored in the memory as shown in FIG. 4, for example. In each data record, Clock represents the number of clocks from the beginning of the first measure, which corresponds to Line
Indicates which of a plurality of sound sources provided in the MIDI sound source 10 produces the note.

Note, Note represents the pitch (note number) of the note, and in this embodiment, 28 (E1).
Any of the pitches from 1 to 80 (A5 #) is designated. OnVel represents the velocity (volume) of the note, and Dur ID represents the length of the note. Dur AC
Represents the gate time of the note (the time from the beginning to the end of the note), and Dur PH represents the interval between that note and the next note.

Further, Dev represents the sounding timing of the note (deviation from the normal sounding position). Note that Cl
Each of ock, Dur ID, Dur AC, and Dev is represented by the number of reference clocks, and the number 120 of reference clocks corresponds to a quarter note.

For example, note 26 is in the first measure,
Since there is an eighth rest (60 clocks) before the note 26, it corresponds to the 60th clock from the beginning of the first measure, and its pitch is 69 (A4) and the volume is 80. In addition, note length, gate time, and note interval are all 120
It is a clock (this note 26 is a 120-clock equivalent to a quarter note because two saturation notes are added to the slur and sound is continuously generated).

In addition, the data record includes a register DR used for obtaining the pitch difference between two adjacent notes.
It includes eg A and a register DReg B used for calculating the time required for pitch bend. Further, it has flags 1 to 8 which are set according to the length of the note and whether or not pitch bend is applied. Note that flag 0 is set to 1 when the data record relates to a note.

In this electronic musical instrument, when it is automatically played, the keyboard 22 or the mouse 24 is operated.
Pitch bend time rate Rbnd as performance parameter
(%), Vibrato depth Rvib (%), legato rate Rlgt
(%) And staccato rate Rstc (%) are given. For example,
Rbnd is set to 40, Rvib is set to 60, Rlgt is set to 60, and Rstc is set to 50.

The processing performed by the personal computer 18 when simulating the effects of hammer ring on, pull off, bending, etc. in this automatic performance will be described with reference to FIGS. 1 and 5 to 14.

First, as shown in FIG. 1, notes are classified (step S2). That is, first, as shown in FIG. 5, the flag 1 is set corresponding to each note. For chords, flag 1 is set only for the highest note.

Then, a flag is set according to the length of each note. For example, flag 2 is set for quarter notes or more, and flag 3 is set for less than quarter notes. Note 26
In this case, since it is a quarter note, flag 2 is set as shown in FIG. 5, and notes 28 and 30 are 16th notes, so it is less than a quarter note, flag 3 is set, and note 30 is Since it is a half note, it is equal to or more than the quarter note, and the flag 2 is set.

Furthermore, the rest before the note is classified,
Set the flag. Rests are Dur PH to Dur ID of each note
The value after subtracting represents the rest length that follows the note. Then, a flag 4 of a note having a rest of 8 minutes rest or more is set before, and a flag 5 is set when there is no rest of 8 minutes rest or more before. If there is no rest before, the note flag 6 whose note length is equal to or longer than the previous note length is set.

In the case of the note 26, as is apparent from the musical notation in FIG. 3, there is an eighth rest in front, but since this note 26 is the first note of the first measure, this note precedes it. There are no notes. In such a case, it is determined from the Clock value whether there is a rest. Since the Clock of the note 26 is 60, it can be determined that there is an eighth-minute rest, so as shown in FIG. Is set. Also note 28, 30, 32
Has no rest before it, so flag 5 is set. Since the note 30 has the same note length as the note 28, the flag 6 is set, and the note 32 has the note length longer than the note 30, so the flag 6 is set.

Also, the pitch difference from the previous note is calculated and stored in the general-purpose register DReg A. For example, note 28 has a pitch of 6
7 and the pitch 26 of the note 26 is 69, the note 28
-2 is stored in DReg A of. Also note 30
Since the pitch of the note is 65 and the pitch of the note 28 is 67, -2 is stored in DReg A of the note 30. Furthermore, the pitch of the note 32 is 74, and the pitch of the note 30 is 6
Since it is 5, 9 is stored in DReg A of note 32.

Next, the velocity and gate time are adjusted (step S4). As described above, the hammer ring on and pull off performances are performances in which two consecutive notes are smoothly connected, and the pitch relationship (pitch difference) between two consecutive notes is within 2 degrees. Of the two continuous sounds, the previous sound extends until just before the latter sound is emitted, that is, the gate time increases, the latter sound is slightly weak, that is, the velocity (volume) is low, In addition, there is a property that it is short, that is, the gate time is short. Therefore, it is necessary to adjust the velocity (On Vel) and gate time (Dur AC).

Therefore, first of all, as an adjustment of velocity,
If the pitch difference stored in DReg A of each note is -2 or more,
When it is 1 or less, or +1 or more and +2 or less, that is, when the sound is after hammering on or pulling off, On Vel is set to 90 which is a reference value 100 minus 10, and DReg A is If it is outside the above range, it is not a sound after hammering-on or pulling-off. For example, as shown in FIG. 6, note 2
In the case of 6, since the DReg A is 0, the On Vel is 100, and the notes 28 and 30 have the DReg A of -2, so On V
Since el is 90 and DReg A is 9 in the case of note 32, it is outside the above range, but On Vel is 100.

For the gate time, first, the standard staccato rate StaccatoRate is calculated by the equation 1.

[0025]

[Equation 1] StaccatoRate = 100-Rstc * 40/100

By using this staccato rate StaccatoRate, when the eighth note or more
Calculate Dur AC.

[0027]

[Equation 2] Dur AC = Dur ID * StaccatoRate / 100

When the pitch difference is less than eighth note and the pitch difference stored in DReg A of the next note with flag 1 set is −2 or more and +2 or less, the gate time is Equal to the length of the note. That is, Dur AC = Dur ID
And If the pitch difference stored in the DReg A of the next note with the flag 1 set is less than −2 and not less than +2, the expression 3 gives
Calculate the gate time Dur AC.

[0029]

[Equation 3] Dur AC = Dur ID−10 + Rlgt * 10/100

For example, according to the above setting, the staccato rate StaccatoRate is 100-50 (= Rst
c) * 40/100 = 80. Since the note 26 is a quarter note, an eighth note or more, the gate time Dur AC is 120 * 80/100 = 96 by the equation 2. The note 28 is less than the 16th note and the 8th note, and the value of DReg A of the next note to which the flag 1 is set is -2 and -2 or more, so the gate time DurAC Is 30 which is the same as the note length Dur ID. In the note 30, the value of DReg A of the note after the one in which the flag 1 is set is 9 and is larger than 2, so the gate time Dur AC is 30-10 + 60 * 10/10
0 = 26. Also note 32 is more than half note and eighth note, so gate time Dur AC is 240 * 80/100
= 192.

Next, it is judged whether or not pitch bend is applied to long notes (step S6). In the case of a long note, that is, when flag 2 is set, any one of the following conditions indicates that flag 7 is set and bend up is performed. That is, (1) when there is a rest of 8 minutes or more before the note (this can be known by checking whether or not flag 4 is set), (2) the interval between the note and the previous note is 4 minutes More than this (this can be judged from Dur PH), (3) the previous note is less than or equal to itself (this is indicated by flag 6), and the pitch from the previous note is equal or rising What is present (this is indicated by the value of DReg A).

If any of the above conditions (1) to (3) is satisfied, even if the bending is performed, the performance is not unnatural, and the bent person has a different expression on the performance. I have to.

In the case of the musical notation of FIG. 3, it is the notes 26 and 32 that the flag 2 is set.
Since there is an eighth rest (because flag 4 is set) before that, flag 7 is set as shown in FIG. In the note 32, since the flag 6 is set, the previous note 30 has a length equal to or shorter than the own note, and the value of DReg A is 9, which is higher than the previous note 30,
Flag 7 is set.

Next, it is judged whether or not the pitch bend is applied to the short note (step S8). That is, if any of the following conditions among the notes whose flag 3 is set as the short note is satisfied, the flag 7
Set. (1) The pitch is the same as the next note, and the pitch difference from the previous note is descending from a minor 3 degrees to a minor 6 degrees or less, (2) a semitone is raised from the note of the previous note, and the next note It is a semitone down from a semitone, and the pitch difference from the next note to the next is between a perfect 5th descending and a short 7th ascending.

Since the above-mentioned (1) or (2) is a typical phrase using bend in a fast phrase extracted from the pitch relation, when the condition of (1) or (2) is satisfied, the flag is set. Set 7 and bend. The determination as to whether or not the condition (1) or (2) is satisfied can be performed by using the value of DReg A of each note.

In the example of FIG. 3, flag 3 is used as a short note.
Are set to notes 28 and 30,
Since neither of the conditions (1) and (2) is satisfied, the flag 7 is not set and the state remains as shown in FIG.

Next, it is determined whether or not the pitch bend is canceled (step S12). That is, with respect to the note having the flag 7 set, (1) the pitch is lower than B3, or (2) the pitch bend flag 7 before it.
If the distance from the note to which is set is less than the length of the quarter note, the flag 7 is reset. This is because in the case of the condition (1) or (2), pitch bend is not applied in the actual performance of the rock guitar.

In the example shown in FIG. 3, the flag 7 is a note 26,3.
Although it is set at 2, since the pitch of both notes is B3 or more, the condition of (1) is not satisfied. The note 32 has the note 26 to which the pitch bend flag 7 has been set, but the interval between the note 26 and the note 26 is a quarter note or more, and therefore the condition (2) is not satisfied. Therefore, in the musical score of FIG. 3, the flag 7 is not reset and the state shown in FIG. 7 is maintained.

Next, the pitch bend width is determined (step S12). That is, the pitch bend amount is determined for each note for which the pitch bend flag 7 is set as follows.

For a long note with flag 2 set,
(1) A pitch that is a semitone lower than the next note has a pitch bend width of a semitone, and (2) a pitch that is a full tone lower than the next note has a pitch bend width of a full tone. (3) In addition to the above, the pitch bend width is set to be a semitone for a sound that is moved up by a semitone from the previous sound, and (4) In other cases, the pitch bend width is set to be a whole sound.

In the case of the musical notation of FIG. 3, it is the notes 26 and 32 that the flag 2 is set. In the case of the note 26,
All notes descend to the next note (DReg of the next note 28)
You can tell from the value of A. ), The pitch bend width is a whole note. In the case of note 32, since it is the last note of the data, it does not satisfy the condition of (1) or (2).
Since the condition of ascending in semitones from the sound before (3) is also not satisfied, it finally corresponds to (4), and the pitch bend width becomes a whole sound.

In determining the pitch bend width, flag 3
In the case of a short note set to, (1) the pitch of the next note is the same pitch as the whole note, and (2) the pitch is the same as the next note, and the pitch is a semitone above the previous note. The pitch bend width is made semitone, and (3) pitch bend width is made full tone except the above.

In the example shown in FIG. 3, since the flag 3 is not set, the pitch bend width for short notes is not determined.

Next, it is judged whether or not the bend down is performed (step S14). That is, there is no rest in front, and the pitch bend (bend up) flag 7 is set in the previous note. (1) It is a semitone down from the previous note, or (2) the previous note. Bend-down flag 8 is set for those that descend in all tones (DReg A determines whether this is a whole tone or a semitone)
It can be done by determining the value of). However, if the bend-up flag 7 has already been set, the bend-down flag 8 is reset. this is,
This is because the bend up is prioritized.

Under the above condition (1) or (2), the reason for bending down is that if bending up, the string is pushed or pulled in the direction perpendicular to the string. It should have been returned, and if you play the same string as the one that bends up, and immediately below that, you should hear the bend back sound (bend down). From that, the note to be bent down is determined.

In the case of the above condition (1), the bend width is selected to be a semitone, and in the case of (2), the bend width is selected to be a whole tone.

In the case of the example of FIG. 3, it is the note 28 that the bend-up flag 7 is set to the previous note, and the note 26 before the note 28 to the note 28 descends as a whole note. Therefore, as shown in FIG.
And set the bend width to whole tone.

Next, the velocity of the bend sound and the gate time are corrected (step S16). That is, the velocity (On Vel) and the gate time (Dur AC) are corrected for the flag 7 or 8 with the bend-up or bend-down flag set. The following corrections are made in order to bring the sound closer to the sound generated when bend up or bend down is performed.

In the case of bend-up in which the flag 7 is set, On Vel is set to 100 which is the standard value. Also, the gate time (Dur AC) is Dur AC when the next note is bend down or there is a rest between the next note and the next note.
= Correct with Dur ID, and in cases other than the above, correct with Equation 4.

[0050]

[Equation 4] Dur AC = Dur ID−10 + Rlgt * 10/100

In the case of a benddown in which the flag 8 is set, the gate time Dur AC is equal to Dur AC =
Correct with DurID, and in cases other than the above, correct according to equation 5.

[0052]

[Equation 5] Dur AC = Dur ID-15 + Rlgt * 15/100

If the Dur AC is less than 5 for all sounds, the value is 5. This is because the effect of pitch bend cannot be obtained with a sound that is too short.

In the example shown in FIG. 3, the bend-up flag 7 is set.
Is set at notes 26 and 32, and the benddown flag 8 is set at note 28. Therefore, the On Vel of the notes 26 and 30 is set to 100 as shown in FIG. Further, in the case of the note 26, since the bend down is applied to the next note 28, Dur AC is 120, which is equal to Dur ID. In the case of note 32, the next note is not bend down, and there is no rest between it and the next note.
According to the equation 4, 240-10 + 60 (= Rlgt) * 10/100 = 236.

Similarly, in the example shown in FIG. 3, the bend-down flag 8 is set to the note 28, but since the second note descends in the second major, it descends within the third minor.
For DurAC, Dur AC = Dur ID = 30.

Next, pitch bend data is inserted (step S18). That is, pitch bend data is inserted at the same position as the clock position of the note for each note for which the bend up flag 7 or the bend down flag 8 is set. Four types of pitch bend data are predetermined, that is, +1, +2, -1, and -2 with a semitone as one unit according to the bend width. Which pitch bend data is to be used is determined in the previous step S12 for bend up and in step S14 for bend down.

FIG. 13 shows pitch bend data 34 for all tone bend up (+2) and pitch bend data 36 for all tone bend down (-2).
The pitch bend data 34 and 36 have the same data format, the clock is 0, and the sound generation timing Dev
Is a set of a plurality of records described as 0, 8, 16, 24, 32, 40, and when these are inserted at the pitch bend insertion positions described above, the pitch bend clocks are all set at the pitch bend insertion positions. It will be the same as the clock.

For example, in the case of the example shown in FIG.
Since the flag 7 is set to 2 and the bend width of the whole note is determined in step S12, the pitch bend data 34 shown in FIG.
It is inserted in the same clock positions 60 and 240 as 32, and the clock of the bend data 34 is 60 and 24, respectively.
It is 0. Similarly, since the flag 8 is set in the note 28 and it is determined in step S14 that the whole note is bent down, the pitch bend data 36 shown in FIG. 13 is inserted into the clock position 180 of the note 28 as shown in FIG. Has been done.

In the pitch bend data, Note = 240 represents MIDI information other than notes, and On Vel = 224 is M.
It represents the pitch bend information of the IDI information. Bend amount is 7 bits each of Dur ID and Dur AC, and Dur ID is M
IDI pitch bend change data LSB, Dur
AC corresponds to each MSB, and a total of 14 bits can be used to represent the numerical values from -8192 to +8191. The midpoints are Dur ID 00 and Dur AC 64 (1
It is a decimal number.

To what extent the pitch is changed by the pitch bend data is determined by the setting of the maximum value (bend range) of the bend amount of the MIDI sound source 10. In this embodiment, the bend range is set to 12 (up to 1 octave bend can be made), and the calculated value is set as each bend amount in each Dur ID and Dur AC.

Next, the time required for pitch bend is calculated and the time for bend data is adjusted (step S20). That is, the time (BendTime) required for the pitch bend is calculated for each note in which the bend-up or bend-down flag 7 or 8 is set and stored in the general-purpose register DReg B. If the note with the flag 7 or 8 set is equal to or shorter than the eighth note, the bend time is calculated according to the equation 6 if the note is longer than the eighth note.

[0062]

[Equation 6] BendTime = Dur ID * Rbnd / 100

[Equation 7] BendTime = Dur ID * Rbnd / 300 + 40 * Rbnd / 100

The BendTime thus obtained and the Dev of the pitch bend data are used to correct the Clock of each pitch bend data in accordance with Equation 8.

[0064]

[Equation 8] Clock = Clock + Dev * BendTime / 40

In the case of the example of FIG. 3, the note 26 having the bend-up flag 7 set is longer than the quarter note and the eighth note, so the BendTime is 120 * 40 (= Rb
nd) / 300 + 40 * 40 (= Rbnd) / 100 = 16 + 16 = 32, which is stored in DReg B of note 26 as shown in FIG. Then, according to the equation 8, the pitch bend data 44 for the note 26
Clock is 60 + 0 * 32/40 as shown in FIG.
= 60, 60 + 8 * 32/40 = 66.4≈66,60
+ 16 * 32/40 = 12.8≈72, 60 + 24 * 3
2/40 = 79.2≈79, 60 + 32 * 32/40 =
85.6≅85, 60 + 40 * 32/40 = 92. Similarly, BendTime for the note 32, Clock for the pitch bend data 44, BendTime for the note 28, and Clock for the pitch bend data 36 are as shown in FIG. 11, respectively.

Next, a vibrato is added (step S
22). That is, vibrato is applied to the longer than the quarter note by using the modulation. This is to enrich the expression by adding vibrato to the sound that extends for a long time. To apply vibrato, for example, modulation data 38 as shown in FIG. 14 is used. In this modulation data 38, Note = 240 represents MIDI information other than notes, and On Vel = 176 is MID.
The control change of the I information, Dur ID = 1, represents the control number of the control change, which is 1,
That is, it means applying vibrato by modulation. Dur AC = 127 represents control change data.

The vibrato start position is set at 50% of the note length and the end position is set at 95% of the note length at the Clock position. The modulation data 38 is inserted into each of these positions. After that, the vibrato depth Dept is set using the vibrato depth Rvib set as a parameter.
h is calculated by the equation 9 and set to Dur AC of the modulation data 38 inserted at the position of 50% of the note length.

[0068]

[Equation 9] Depth = Dur AC * Rvib / 100

In the example shown in FIG. 3, a note longer than a quarter note is a note 32 which is a half note. Therefore, the length of the note 32 is 240, which is 50% of that.
20 only, Clock position 360 added to Clock 240 of note 32, and 228 which is 95%, Cl of note 32
As shown in FIG. 12, the modulation data 38 is inserted into the clock position 468 added to oc240, respectively. Then, according to Equation 9, Depth is 127 * 60 (= Rvi
b) /100=76.2≈76 is calculated and set to Dur AC of the modulation data 38 at the clock position 360. Further, in order to indicate the end of vibrato, Dur AC of the modulation data 38 at the clock position 468 is set to 0.

After the data record is processed in this way, it is transmitted via the MIDI interface 16 to MI.
It is supplied to the DI sound source 10, and a performance of a rock guitar such as hammering on, pulling off, bending, and the like is simulated.

In the above-described embodiment, the notes are classified into the two or more quarter notes and the less than four quarter notes in the classification of the notes in step S2. However, the present invention is not limited to this. It can also be classified into three, such as 16th notes or less, which is larger than a quarter note and smaller than a quarter note.

Also in the classification by rests before a note, in the above embodiment, when there is a rest before a note and there is a rest of 8 minutes rest or more, the rest comes before the rest. There is 8
If it is less than a minute rest, if there is no rest before,
I've classified notes that are longer than the previous note,
Not limited to this, for example, if there is no rest before the note, there is a rest before the note, and if that rest is 8 minutes rest or more, there is a rest before the note. If the rest is less than the eighth rest, there is no rest before the note, and the length of the note is equal to or longer than the length of the previous note, it may be classified. .

Of course, if the classification is changed in this way, it is necessary to change the velocity, gate time adjustment, pitch bend determination, pitch bend width, bend down determination, etc., which are performed later.

[0074]

As described above, according to the present invention, the sound of the note length stored in the storage means for storing the performance information corresponding to a plurality of notes and the pitch of the note adjacent to the note. The pitch difference is detected, and the pitch change is given to the note according to the detected pitch difference and the length of the note. For example, hammer ring on, pull off, and bending The playing style can be easily simulated.

[Brief description of drawings]

FIG. 1 is a flowchart of one embodiment of an electronic musical instrument according to the present invention.

FIG. 2 is a block diagram of the embodiment.

FIG. 3 is a diagram showing an example of a musical score played in the embodiment.

FIG. 4 is a diagram showing a data record corresponding to the musical score of FIG. 3 stored in the personal computer of the embodiment.

FIG. 5 is a diagram showing a data record after a note classification process is performed in the example.

FIG. 6 is a diagram showing a data record after adjustment of velocity and gate time in the embodiment.

FIG. 7 is a diagram showing a data record after a pitch bend is determined for a long note in the same example.

FIG. 8 is a diagram showing a data record after a benddown determination is made in the example.

FIG. 9 is a view showing a data record after correction of velocity and gate time of a bend sound in the embodiment.

FIG. 10 is a diagram showing a data record after pitch bend data has been inserted in the embodiment.

FIG. 11 is a diagram showing a data record after the time required for the pitch bend and the time adjustment of the bend data have been performed in the embodiment.

FIG. 12 is a diagram showing a data record after modulation data is added in the example.

FIG. 13 is a diagram showing pitch bend data used in the example.

FIG. 14 is a diagram showing modulation data used in the example.

[Explanation of symbols]

 10 MIDI sound source 16 MIDI interface 18 Personal computer

Claims (1)

[Claims] 1. A storage means for storing performance information corresponding to a plurality of notes, a note length stored in the storage means, a pitch of the note, and a pitch of a note adjacent to the note. An electronic musical instrument comprising: a pitch change giving means for detecting a pitch difference and giving a pitch change corresponding to the length and pitch difference of the note to the note.