JPH08314453A - Electronic musical instrument - Google Patents

Abstract

PURPOSE: To provide an electronic musical instrument of a novel playing method which emphasizes human engineering and is capable of incorporating human will by using an electronic system with which free constitution is possible in order to overcome the defects associated with the conventional electronic musical instruments and acoustic instruments that these instruments have parts weak in musical expression and infeasible playing methods while having the respective individuality and characteristics. CONSTITUTION: The left hand mainly determines intervals in the same manner as with the playing methods for the conventional stringed instruments and the right hand has no tools at all. The electronic musical instrument of the novel playing method uses the detection signals obtd. by electrically detecting all the actions made by contact with the human bare hands as sound production information for sounds.

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 to be played by a new playing method, whose basic playing method is close to that of a stringed musical instrument, but allows all musical expression with bare hands without using bows, picks, drumsticks, and nails.

[0002]

2. Description of the Related Art Starting with evaluating the level of conventional technology, electronic musical instruments, unlike other fields, are musical instruments used in music, so they cannot be discussed because they are purely new to technology. . There are many places that appeal to the sense of music, and unless we get into the emotional part, we cannot evaluate or explain. Please forgive me that this application has an emotional explanation, including musical terms. Since the emergence of humankind, humans have been thinking and using all kinds of musical instruments. Of these, the only remaining instruments are natural selections and only a handful of instruments. It has been criticized and improved, has been improved at the request of the composer, has been renewed with improved performance, and has managed to survive. In this way, the common points of the currently remaining musical instruments are: 1. Each musical instrument has a very strong personality. ---- No instrument has the same personality as the two. 2. Every instrument has its drawbacks. --- There is no universal instrument. Because of his individuality, he has survived to the present, and because of his shortcomings, he tries to overcome them by creating new playing styles and making expressive efforts. There is a pleasant feeling there. Use, improve,
A virtuous cycle of progress was made. On the other hand, how about electronic musical instruments, especially electronic keyboard musical instruments? The beginning was to imitate the pipe organ with history and tradition, and then the wave of electronicization rushed to the prosperity of the theater pipe organ in the United States, downsizing, low cost,
It has spread to home use. During this period, technological advances in the electronic industry were introduced one after another, and competition between electronic musical instrument manufacturers continued to develop. The thing itself has enriched people's lives and contributed to the world. However, taking advantage of the good points of electronic,
He was not enthusiastic about pioneering playing methods, operating methods, and controlling methods as an electronic musical instrument. It seems that the effort to imitate, challenge new things and surpass the real thing is thin.

Listed below are the functional drawbacks of the current electronic keyboard musical instruments: (a) Shortcomings of the touch response function Since speed detection is performed by the time difference between keyboard contacts, it is possible in principle to play fast passages with pianissimo. Absent. (B) I can't play legato slur. The envelope generator works for each keypress on the keyboard,
Because it repeats re-pronunciation, legato slur of the true meaning like a string instrument and a wind instrument cannot be done. Not all keyboard instruments are possible. It is a fate. (C) Not able to play the détaté method In the sense that each note is cut and played, the playing speed is fast and the descent is fast, so an envelope generator for the détaté is required in the electronic keyboard package. . Therefore, the difference in basic playing style such as tenuto, marcato, détache cannot be obtained. (D) Inability to produce fast ornamental sounds and fast trills For keyboard musical instruments, it is necessary to reliably alternate between pressing and releasing half-tone or full-tone adjacent keys. It is ergonomically difficult to quickly play a 10 mm to 12 mm keyboard stroke. Strings and wind instruments produce two tones in a single motion, resulting in double speed. (E) Fast staccato cannot be done with pianissimo In addition to the drawbacks of the envelope generator and touch response mentioned above, if the key is pressed to the sounding position, no sound is produced and a fast staccato cannot be made. (F) It is very neglected in the electronic musical instrument industry where it is impossible to control when the key is off. From olden times, it has been said by everybody that the rise of sound is very important, and even the general public is aware of it. However, it is not known that how to cut the sound is very important. Since the sound is cut off, there is a rising of the sound, and if the cutting is neglected, it will affect the rising. A world-class flute landlord and a Japanese top flute player did a duet, something didn't work, why? While listening, I understood. The world-class owners perfectly matched the way the sound was cut. The top of Japan was careless about how to cut. Despite being a teacher and younger brother! In addition, there are many musically meaningful expressions and effects that come from how to play each instrument. "There is no musical instrument without defects" mentioned above
That said, the above (a) to (f) are expressions and performances that are indispensable for playing any music. Only when these are tightly controlled by the player's will will the breadth of music expand and the depth will be born. It becomes live music! !!

[0004]

The problem to be solved by the present invention is

Some are described in the prior art section. However, this is only part of the current state of the art for electronic musical instruments, and more broadly, acoustic instruments such as piano, violin, flute, trumpet-
Even if you look at ---- etc., there are always drawbacks. Even if the composer / performer thinks, "I want to produce the music that I say with this expression and the sound that I say with this way of playing." You can't do it, and you end up compromising. Originally it was impossible to make the piano play violin-like sustained notes, or the violin make piano-like chords, but isn't it necessary to make an effort to find something? The present invention proposes and provides means for expressing the depth of music by not only sticking to the conventional electronic musical instruments, but also broadly and deeply including the acoustic musical instruments and playing techniques. Therefore, unlike the form of conventional musical instruments, the configuration is also different, and the way of holding, playing, holding, playing style are all new.

Now, the problems will be described in order from the largest one. 1, Form 2, Acoustic method 3, Number of pronunciations 4, Playing style / Synthesis 1, Form Among the existing musical instruments, the largest is the church hall or the pipe organ in the concert hall, and the smallest is 4
A harmonica with a hole of one octave, and a reed whistle that goes into the room? However, there is a thing called an appropriate size. Necessary conditions for widespread use are the size required for musical expression, the size operable, the size portable, the size personally owned, and the like. On the other hand, musical instruments not only make people listen, but they also have a great element to show. I often feel the music visually even when I see the movements when playing. Further, if the size and weight are such that they can be held or held and become a part of the human body, the operation becomes more elaborate and the depth of expression increases. For the above reasons, it is the subject of the present invention. 2. Acoustic method In the case of acoustic instruments, the instrument itself vibrates and resonates into a sound. But in the case of electronic musical instruments, the pronunciation is electronic,
It is not necessary for the speaker and the instrument itself to produce the sound. The designer's way of thinking depends on the characteristics of the musical instrument to be manufactured. However, there are important things in music. It is necessary to be able to identify who played which instrument, which melody, and at what position when a large number of people played in real time. That is, it is the sense of localization of the musical instrument. The more there is a sense of localization, the wider the sound and the deeper the sound. Music comes alive. Furthermore, the way of harmony will change.
It is for this reason that the great conductors of the world have devised and practiced various arrangements of orchestral instruments. For the above reasons, it is the subject of the present invention. 3. Number of pronunciations For an instrument, whether the sounds that are pronounced at the same time are single notes or multiple notes are very important. This makes the instrument completely different in character. That is, the number of pronunciations changes the way humans concentrate, and the music changes. With a polyphonic instrument that produces multiple tones at the same time, of the three elements of music, it is possible to express the major element that gives a dramatic change called a chord. However, the concentration of human nerves is distributed over many sounds, and it is not possible to carefully control and deeply express each sound. The concentration of nerves per note becomes a fraction of the chord constituent notes. On the other hand, in the case of monophonic pronunciation, a large musical element called a chord does not appear, but it is possible to concentrate the nerve by giving life to one note. Therefore, it is possible to express widely, deeply, and with emotion. There is a big point here as an issue. 4. Rendition and manners Major issues mentioned above 1, Form 2, Acoustic method 3,
After the number of pronunciations is stated, the playing style and manners as an instrument are important, and there remains a big problem in how to play and what kind of interface between human and musical instrument. Many stringed instruments use bows, picks, drumsticks, koto nails, and human nails, and the pronunciation and shape of the envelope are determined by these actions. In the case of wind instruments, they are all mouths, and the tongue, lips, and other parts determine the pronunciation and envelope shape by these actions. And for wind and string instruments, determining this pronunciation is
70% to 90% of the music is decided. Is said. Therefore, the performer learns how to pronounce this,
Spend a lifetime studying and training. In the case of electronic musical instruments, by pressing the key, all important elements of pronunciation, pitch, timbre and music,
It is decided at the moment when the sound begins. This is true of all keyboard Japanese music instruments. Humans instruct only the key-on trigger to produce chords, and entrust the envelope generator to the rest. In other words, pressing a key produces a key-on trigger to make the envelope uniform,
The structure is such that human beings cannot intervene afterwards because the tone and volume changes and effects are decided. Therefore, it is impossible to control the raw control, which must be changed in various ways, depending on the musical composition, feelings, the playing situation at that time, the condition, and the reaction of the audience.
I can't make live music. Here too, there are points to raise in the task. Further above

[Prior art]

The problems (a) to (f) described above are also to be solved. Therefore, the present invention aims at a musical instrument close to one ideal by further fusing the individual characteristics, advantages and disadvantages of stringed instruments, wind instruments, and keyboard instruments. Acoustic instruments use the sound produced by vibrating "objects" such as air, strings, lips, and reeds.
The structure and playing style are optimized. On the other hand, since electronic musical instruments are electronic sound sources, they are not restricted at all,
The structure, playing style, and musical expression should be idealized.

[0006]

[Means for Solving the Problems]

Means for solving the problems will be described in the order of the problems described in the above. It is a new electronic musical instrument that has never existed before, so it is free in many ways. Since human beings use it, it is necessary to think based on human size and ergonomics. 1. Form; It is the most reassuring for the performer that anytime, anywhere, anyone can freely play with their own instrument. In that respect, it is necessary for individuals to be able to carry and carry, and it can be said that the guitar is optimal for string instruments up to the size of cello, for wind instruments up to the horn bassoon. 2. Acoustic method; first problem

As mentioned above, the volume and sound quality produced by the musical instrument is life, and even if the electronic musical instrument says that the volume is free, the size of the object and the volume of the sound are limited, and optimization is necessary. Is. Furthermore, because of the sense of localization of the musical instrument and the spread and depth of the instrument as described above, in order to listen to the sound of the opponent at the time of the ensemble and control his or her own sound, it is necessary to have a large and good sound as much as possible. 3. Number of pronunciations; assignment first

As mentioned above, the representative piano of Japanese music instrument, the wind instrument representative of monophonic instrument, and the instrument of violin genus / guitar genre, at one time, produce a deep expression of a single tone, and at other times, Produces chords of 4 to 6 notes. Depending on the playing method, a melody and accompaniment can be played at the same time. In the electronic musical instrument of the present invention, the number of simultaneous polyphony is limited to some basic chords, for example, four or six tones. As a result, the dispersion of human nerves described above can be suppressed to 1/4 to 1/6. 4. Rendition style / method;

Like the above, without using the envelope generator that can not express with the piano, express on the music, violin, flute trumpet, expressive and playing style, With the right hand / bare hand, touching, pushing, tapping, flicking, rubbing, moving, bending, stroking, etc. with high precision and a high degree of freedom, new musical expression can be created and new music emerges. Will also be possible.

[0007]

[Operations / Examples] In what follows, what has been described so far will be described with reference to Examples. The operation will be described one by one as the embodiment is described. FIG. 1 is an explanatory diagram for grasping the overall image of the electronic musical instrument of the present invention, where A is a soprano-alt type and B is a tenor type. (A) has a belt or band attached to a part of the instrument to support the weight of the entire instrument.
Hang it around your neck and support it. You can perform standing or sitting, and move around to show various performances. (B) is provided with a support rod such as a cello end pin, and supports the total weight that becomes large and heavy here. The seat is the center.

FIG. 2 shows an example of a soprano type, and a schematic overall image will be described with reference to FIG. 1 is a fingerboard section 2, is a channel operation section 3, is a total operation section 4, is a sound source section 5, is a sound section, and is a fingerboard section 1 is operated mainly by the left hand, and determines the scale of the guitar genre (with fret). ), How to determine the scale of the violin (no fret), determine the scale by either operation, and replace it with an electrical signal. Therefore, it is not always necessary to stretch the strings, and a method of vertically arranging electric switches along the scale may be used. In the present invention, a scale sequence corresponding to one string or one switch sequence is referred to as one channel. That is, there are musical instruments of 6 channels in the genus guitar, 4 channels in the violin genus, 3 channels in the shamisen, and 1 to many channels. The channel operation unit 2 has a function of controlling sound generation, and is provided with one operator for each of the above-mentioned channels. Mainly with the right hand, with multiple hands, all the movements of the hand that are touched, pushed, hit, repelled, rubbed, moved, bent, stroked, etc. Detects and controls the sound of one channel. Therefore, the number of operators is 6 for guitar, 4 for violin, and 3 for shamisen. The total operation unit 3 has a plurality of pairs of operating systems each including a pair of channels and channel operators, and a plurality of pairs of sounds can be produced at the same time. An operator for controlling the plurality of sounds as a whole is called a total operator. In FIG. 2, the arm of the total operation unit 3 is
It rotates about the point C in the direction of arrow AB, detects the angle, rotation speed, rotation acceleration, etc., and performs common control for a plurality of sounds. The sound source unit 4 is an electronic type, and may be of any type as long as it is a sound source capable of independently controlling many parameters, such as an analog sound source, a digital sound source, or a computer software sound source, depending on the configuration of the musical instrument. The acoustic unit 5 amplifies the musical tone signal created previously and outputs it as a sound from a speaker. And the sound box that can get a good resonance as an instrument is integrated. The above is the main configuration of the musical instrument of the present invention.

For further understanding, a block diagram will be described. FIG. 3 shows an example of the above-mentioned four-tone musical instrument similar to the violin genus. 1 is the four channels of the fingerboard that determine the scale, 2 is the four operators corresponding to each channel, 4 is the sound source that generates the tone signal corresponding to the four pairs of channel operators Have, 3 is 4
A total operation unit 5 that controls the entire sound in common, and an acoustic unit 5.

Next, a description will be given of the channel operation unit 2 of FIG. 2, which is the heart of the present invention. 4A and 4B are views showing the structure of an operator for one channel in the channel operation unit 2 in FIG. 2, where FIG. 4A is a perspective view and FIG. 4B is a side cross section. (Common reference numerals are used for the perspective view (a) and the side sectional view (b)) 21 is a cover for covering the entire channel operator. Two
Reference numeral 2 is a base common to a plurality of channel operators. Two
3 is the main lever that is the basis of the channel operator,
Hereinafter referred to as an expression lever and referred to as EL. Reference numeral 24 is a second lever attached to the EL 23, which is hereinafter referred to as a quick lever and is described as QL.
The QL 24 may be a single or a plurality. Since the pre-tension and the positioning are performed for each, the leaf spring 241
And is fixed to a part of the EL 23 via a spacer 242. Further, the QL24 has a guide and a lever stopper 243, and is stopped by a stopper 245 attached to a part of the EL23. That is, when QL24 is pressed, it is stopped by the push lever stopper 244 attached to a part of the EL23. Further, a sensor for detecting the pressed state of QL24 is provided. In the embodiment, an optical distance measuring element photointerrupter is used for 246 to optically detect the movement of the guide stopper 243 of the QL 24 described above. In addition to the optical, the sensor 246 has a magnetic
Electric capacity and mechanical switches may be considered, but a non-contact sensor is preferable as much as possible to reduce the weight. QL2
4 is a lever made to follow a fast passage in music by making it small, light, small stroke, and light touch. However, there is a limit to the speed at which a human finger can move, and the speed at which one finger moves up and down, even with a trained pianist, is a sixth note on Allegro, about 8 to 12 times.
Seconds. Therefore, in the case of a piano, if a player wants a faster continuous beat, he tries to cover the same key with a few fingers in order. But there are limits. With wind instruments, sound is cut by tonging, but there is a limit to what can be done with the tongue, lips, and inner part, and there is a groll playing method, but it is a kind of spasticity and it is impossible to control with will. The violin genus has a small bow that repeats up and down, vibrates using the wrist, and raises the bow,
It is covered by so-called sottier playing method, which produces a double bow bow sound. Not possible with electronic keyboard instruments. Therefore, in the present invention, two QLs 24 are prepared, QLs 24A and QL24B are arranged adjacent to each other, and two fingers are used to alternately strike the QLs. You can play this at least twice as fast as a piano. Furthermore QL2
By constructing the surface of No. 4 in a sawtooth shape and rubbing it as shown by B in FIG. 4 (b), it is possible to perform at a speed exceeding ergonomics and with intention.

Next, the EL 23 has a leaf spring 231 for performing the pressing pretension and positioning in a state where all the functions of the QL 24 described above are incorporated, and is attached to a part of the channel operator base 22. ing.
Further, the EL 23 has a lever stopper 232 for the purpose of a guide and a lever stopper, and when the EL 23 is on, it is stopped by the push lever stoppers 221 and 222 attached to the channel operator base 22, which will be described later, and the EL 23 is turned off. At this time, it is attached to the channel operator base, which will be described later, and stopped with the leaf spring 225 and the cushion members 224 and 226. Reference numeral 233 is an actuator for driving a time difference contact 228 for detecting a lever speed, which will be described later. Here, the rubber stopper 232 is
Other than simply serving as a stopper when the EL 23 is off, it performs various functions.

Reference numeral 225 denotes a leaf spring attached to a part of the channel operator base 23, which is normally in a state of floating from the channel operator base 22. This leaf spring 225
A sensor 227 for detecting bending or impact is attached at the position shown in FIG. 224 is a leaf spring 22
5 is a cushion material for preventing the channel operator base 22 from directly hitting. 226 is also a cushion material. When the EL 23 is pushed in the direction C in FIG. 4B, the stopper 232 is also lowered, and the leaf spring 225 is in the non-forced position. Next, when the EL 23 is released, the stopper 232 rises up and the cushion material 2
Push up 26. Then, it stops through the cushion material 224. That is, the sensor 227 is the leaf spring 22.
It is called a return impact sensor because it detects bending or impact of item 5. At this time, the spring pressure of the return spring 231 of the EL 23 is set to be large, and the spring pressure of the leaf spring 225 is set to be small. In the EL 23 having such a structure, not only the lever-off state is detected, but, for example, when a shock sensor made of a piezoelectric element is attached to the sensor 227, as shown in FIG.
(B) When the lever is hooked in the direction of C with a finger and flipped with a "pin", a signal of the impact of flipping the lever is obtained.
The aim of this structure is to play the guitar. With the structure described above, a new lever playing style that is similar to a guitar playing style becomes possible.

Further, as shown in FIG. 4A, the surface of the EL 23 is vertically shaped so that the vicinity of the center has peaks and both ends have valleys. Although there is only one mountain in one channel operator, when 4 or 6 channels are used as a multi-music instrument, the lever surfaces become uneven and become serrated when adjacently installed side by side. Use your finger to move this serrated sideways
If you play like "rubbing", the EL23 will be repelled in sequence, and you can play the chord repeatedly on and off.

The stopper 232 also has another function. In the embodiment of the present invention, 223 uses an optical distance measuring element and a photointerrupter to measure the distance between the channel operator base 22 and the stopper 232. EL2
It is a stroke sensor that detects the state of movement from the start of pressing 3 to the end of pressing using reflected light.
The obtained sensor output is used as a musical expression, and is also used as a control signal for many sensors.

Further, the surface of the EL 23 is covered with a metal, or the surface of the EL 23 is coated with plastic or conductive to improve conductivity, thereby detecting hum in the human body.
Equipped with a touch contact sensor 234 that picks up a change in capacitance and picks up a specific current. This is the sensor that first detects if the finger touches EL23, and the obtained sensor output is used as a parameter for musical expression. Used as multiple sensor control signals.
I will add a word here. It should be added that keys and levers have completely different personalities, different things, different meanings, and different etymologies.

Further, 229 attached to a part of the channel operator base 22 is a contact sensor. It is covered with metal, has good conductivity with plastic plating, conductive coating, etc. on its surface, so that it detects hum in the human body, picks up changes in capacitance, and picks up specific current. It is called a “repelling contact sensor” and is used as a sounding mode selection signal described later. Others are those used in general electronic musical instruments, and 228 is a known time difference detection switch for detecting the pushing speed of the EL 23. 22
Reference numerals 1 and 222 are publicly known after-sensors that detect the pressure when the EL 23 is pushed down. Now that the structure / mechanism of the channel operation unit has been completed, the operation of the human finger and the way of producing sound in the operation unit will be described using circuit diagrams. Note that a reference example for explaining the present invention will be described in an analog system / analog circuit. that is
* All controls are analog elements. * The analog method is more intuitive and easier to understand. * Analog is more suitable for the present invention. That is the reason. Therefore, the same thing can be realized even if it is digitized and converted into microcomputer software.
In the explanation, it is necessary to write up the names of various playing styles of various musical instruments and the sound output and its effect one by one, but it is difficult to describe the sounds in words, let alone the basic playing style in the violin. It is said that there are 3000 ways and 5000 ways, and since it is very unreasonable to explain in the document of this application, only a part of the rendition style will be described.

In the present application, items relating to pitch / pitch will be referred to later applications, and the rendition style of the present invention and its effect will be described. Prior to the description, the symbol marks of various sensors used in the description of the present invention are defined as shown in FIG.
This mark is often used in the drawings. Then first

It will be explained with reference to an embodiment that the electronic musical instrument of the present invention can solve the "functional defect of the electronic keyboard musical instrument" described above. (B) Disadvantages of the touch response function As described above, the key pressing speed of the keyboard is detected by the time difference between the contacts, so the keyboard speed will inevitably increase when playing with a fast passage. The higher the speed, the louder the volume, so you can't play pianissimo. In terms of ergonomics, in order to play quickly with a small sound, it is desirable that the operating touch has a small stroke, light weight, good followability, and movement. Therefore, the finger of the QL 24 of FIG. Now, the touch pressure of QL24 is decreased and the touch pressure of EL23 is increased. That is, if the relationship of the Tatte pressure of each lever is set to the relationship of QL <EL, when the touch of QL is very weak, EL moves a little and the output of the stroke sensor 223 in FIG. 6 is small. This small output is VCL
Gating with 501. Furthermore, the sound signal oscillated by the VCO 503 by the fingerboard portion 1 by the output is VCA 5
Open and close with 02. You can play fast passages with low volume. Next, when you play QL24 strongly, EL
23 also moves slightly deeper, the output of the stroke sensor 223 gradually increases, and the signal of the VCA 501 also increases, so that a high output can be obtained quickly and a play rich in expression can be performed. (B) Disadvantages of the slur legato playing method As mentioned above, not only electronic musical instruments but general keyboard musical instruments are re-pronounced each time the pitch is changed, so the pronunciation always occurs from the beginning of the note. No true slur legato. The original form of the slur legato is, for example, an electronic musical instrument. ”
With the open / close circuit still open, only the pitch changes. In Fig. 7, hold EL23 pressed down and let the output of the stroke sensor 223 pass through the open VCA 511, and also open the VCA 512. Based on the signal from the fingerboard 1. And VC
The scale signal obtained by O513 is VCA51 as it is.
Put in 2. The VCA becomes through, and the state of the left hand scale change is obtained as it is, and the slur legato playing style is obtained. (C) Disadvantages of Detache playing method As mentioned above, this playing method cannot be performed with the conventional electronic keyboard instruments.
The general electronic musical instrument receives the output of the velocity sensor,
Generating an envelope. Generally, the time of R (release) in ADSR is not controlled. Above

As described above, "to play with each note cut" is to control how the note is cut. In FIG. 8, 5
24 is a general envelope generator, the output of which enters the VCA 521. When the EL23 is on, the contact sensor 234 also turns on and the VCA522
One of the signals will open. Next, the touch sensor 234 is turned off at the moment when the EL23 is turned off and the human finger E is turned off and moves away from the finger.
It turns off and the VCA 521 closes. The envelope of the envelope generator 524 is turned off at any moment, and the sound is cut off quickly. That is, the above
The difference from Tenuto Marquardt playing method can be shown clearly. (D) Disadvantages of fast ornamental sound / triller

As described above, the conventional electronic keyboard musical instrument has a limit. In FIG. 9, the stroke sensor 22 is pressed by pressing the EL 23 that moves in conjunction with the touch pressure of pressing the QL 24.
3 output is obtained, the VCA 531 is opened, and it is sent to the VCA 532. On the other hand, based on the signal from the fingerboard unit 1, the VCO5
The signal obtained is opened and closed by 33. . That is, a quick decorative sound / triller can be realized only by controlling the scale by the left hand operation with the switching circuit kept open. It is as fast as a wind or string instrument, but with the same quality of decorative sound and triller. (E) Fast staccato pianissimo It is necessary to open and close quickly to rise and fall in synchronism with the change in pitch. In FIG. 10, the output of the stroke sensor 223 and the output of the contact sensor 234 are VC.
Open and close A541, VCA524 VCO553
Control output. (F) Lever-off control In the conventional general electronic keyboard instruments, the way the sound falls after key-off is made by the envelope generator, and the decay time is always fixed. Therefore, in the present invention, FIG.
, 554 is a general electronic instrument envelope generator, the output of which enters the VCA551.
When the EL 23 is pressed, the lever-off impact sensor 227 does not output, and the envelope generator 55
The 4 outputs are straight and are input to the VCA 552 and sounded. However, the output of the lever-off impact sensor 227 becomes a signal of the VCA 553 in reverse phase by the inverting amplifier 555, the decay of the envelope generator 554 is closed, and it is rapidly attenuated. That is, the decay can be controlled by releasing the lever. Up to here

"Functional drawbacks of current electronic keyboard musical instruments"
Is an example in which the present invention has been solved.

Here, a new rendition style can be made by the present invention,
An example in which a new musical effect is obtained will be explained. (A) Homophone tap method

[0010] The needs are explained in the outline, but it is a rendition style in which the pitch is repeated at the same pitch at a high speed and then released.
In FIG. 12, QL24A and QL24B are arranged side by side, and two fast moving fingers alternately press the lever. The output of the stroke sensor 223 is used as the input signal of the VCA 561, and the signals of the quick sensor outputs 246A and 246B are used to open / close the VCA 561. The output of the stroke sensor 223 is used as the opening / closing signal of the VCA 562 to open / close the output of the tone signal VCO 563.
At a minimum, it will be possible to play the same note repeatedly at twice the speed of a piano. Normally, from the speed of repeating up and down with only one finger,
It is known that the alternating up-and-down repetition rate with two fingers can be three to four times higher. (B) Ultra-high-speed homophone repeat method When attempting to perform the above-mentioned (A) homophone continuous hits at a higher speed, look back at the drawing and refer to QL24 in Fig. 4B.
Has a serrated surface, and Q
L24 goes up and down once. If there are many peaks and troughs, that is, if they are moved in the direction of the finger mark B in FIG. 4B, the lever repeats the vertical movement the number of times of the peaks, and an output signal is obtained from the sensor 246. Further, by alternately moving the two fingers in the direction of the finger mark B in FIG. 4B, it is possible to repeatedly open and close the door at a speed twice as fast as that of one lever. This speed is a musical effect that no great composer or performer has ever experienced in history. (C) Percussive playing method A typical example of a keyboard instrument that produces a decaying sound is a piano, and these are also harpsichords, which are taps and repels strings from the keyboard through an action mechanism. It is pronounced by a thing. With these instruments, when the sound enters the decay mode, the piano cuts or lengthens the sound with a damper.
The harpsichord and the guitar genre have no control method (although there is a special playing method), but they still have that much musicality. In the electronic musical instrument of the present invention, a method of producing a percussive sound and a method of controlling when the sound is attenuated will be described. In the present invention, a percussive sound is produced by flipping the tip of the EL 23 described above in the direction of the finger mark C in FIG. In FIG. 13, reference numeral 575 is a contact sensor 234.
The output of the inverting amplifier is the opening / closing signal of VCA571.
When the finger is now in contact with EL23, the inverting amplifier 57
5, the VCA 571 is in the closed state, and when the finger is repelled by the "pin", the output is obtained to the lever-off impact sensor 227, the envelope generator 574 generates the envelope, and the VCA 571 enters the contact sensor 234.
Is separated from the finger, the output of the inverting amplifier 575 is output, the VCA 571 is opened, and the signal as generated by the envelope generator 574 is transmitted to the input of the VCA 576. On the other hand, the flip contact sensor 229 is E
Channel control base 22 just below the bottom of L23
It is installed in a part of. Therefore, after flipping EL23 with a finger with a "pin", * When flipping contact sensor 229 is not in contact: sensor 229 produces no output, inverting amplifier 577 causes VCA 576 to open, and envelope generator 574 Sound is produced according to the signal. * When the repelling contact sensor 229 is contacted: The output of the sensor 229 is closed by the inverting amplifier 577, the VCA 576 is closed, and the output of the envelope generator 574 is cut off during the attenuation. The sound is dumped during decay and disappears. With this, by changing the control method of the flip contact sensor 229, it is possible to change the method of dumping while the sound is being attenuated. In addition to the musical terms, playing styles, and effects that have been explained above, there are still many basic playing styles and effects such as sostenuto, marcato, crescendo, decrescendo, and sholtzand. Is omitted.

Next, referring to FIG.

FIG. 4 is a perspective view of the manipulator unit 2 when four channel manipulators 2 are combined into one musical instrument, using four sound generators described in FIG. 3 as an example. First

3, as described in terms of the number of pronunciations, it is common to produce four tones in the violin genre and six tones in the guitar genus. Strictly speaking, however, in the violin genus, since a bow is used, two notes are played in two steps, or four notes are played with one bow while moving the bow one note at a time. That is, four tones are not pronounced at exactly the same timing. (Except baroque and gamba) In the case of guitar genre, there is an accord style (Japanese chord), but it requires a considerable amount of training, which makes it difficult. Generally, the bass string to the treble string and vice versa are sequentially picked into strings. Pronounce it. There are many arpeggio techniques. In the present invention, since the EL 23 can be pressed with four fingers at the same time, there is no deviation in the sound of one note, and the same chord can be produced as with a keyboard instrument.

Next, the total operation section will be described. First

As described in part with reference to FIG. 2, a large lever 3 is provided which rotates about a point C as a rotation axis in FIG. Further, the channel operation section 2 is rotatably attached to the large lever 3 on the side opposite to the rotation axis. The angle, rotation speed, angular velocity, angular acceleration, etc. attached to each axis are detected by a large motion of the entire arm with the right hand. The output controls the whole of crescendo, decrescendo, sforz and bright, mellow, etc. so that richer expressions can be produced.

[0021]

EFFECTS OF THE INVENTION The present invention has the above-mentioned structure. * Sounds and effects of the acceptable parts of the wind instrument genre. * Improvement of defects and sounds and effects that cannot be achieved with keyboard instruments. Can be played with one instrument of the present invention. In addition, it can be played only by the electronic musical instrument of the present invention, and although it has not been officially approved, it can produce new playing sounds and effects, and new music can be played. Moreover, it will make a new history as a tool of original music creation that is not a convenient musical instrument like a conventional electronic keyboard instrument or a convenient instrument.

[Brief description of drawings]

[Fig. 1] Overall image diagram

FIG. 2 is a schematic diagram.

FIG. 3 is a block diagram.

[Fig. 4 (a)] --- Perspective view of the channel operator.

[Fig. 4 (b)] --- Side sectional view of the channel operator

FIG. 5: Symbol mark diagram of each sensor

6 to 13 are block diagrams explaining each operation.

FIG. 14 is a perspective view of the operation unit 2.

[Explanation of symbols]

[Fig. 2] 1.-fingerboard section 2.-channel operation section 3.-total operation section 4.-sound source section 5.-sound section

[Fig. 3] 1.-fingerboard section 2.-channel operation section 3.-total operation section 4.-sound source section 5.-sound section

[Fig. 4 (a) (b)] 21 .. Cover 22 .. Base 221, 222 .. Push lever stopper (after sensor) 223 .. Stroke sensor 224. 226 .. Cushion material 225 .. Leaf spring 227 .. Return impact detection sensor 228..Time difference detection sensor 229..repelling contact sensor 23..expression lever EL 231..leaf spring 232..lever stopper 233..actuator 234..touch contact sensor 24..quick lever QL 241 .. Leaf springs 242 .. Spacers 243 .. Guide stoppers 244 .. Push lever stoppers 245 .. Lever stoppers 246 .. Photointerrupters 501. 502. 511. 512. 52 Top. 522. 5
31, 532, 541, 542, 553, 552, 56
1,562,571,576,572 ... VCA 503, 513, 523, 533, 543, 551, 5
63/573 ... VCO 524.554.574 ... E / G 555.575.577 ... Inversion amplifier

─────────────────────────────────────────────────── ───

[Procedure amendment]

[Submission date] January 14, 1996

[Procedure Amendment 1]

[Document name to be amended] Statement

[Name of item to be corrected] Brief description of the drawing

[Correction method] Change

[Correction content]

[Brief description of drawings]

[Fig. 1] Overall image diagram

FIG. 2 is a schematic diagram.

FIG. 3 is a block diagram.

FIG. 4 is a perspective view of the channel operator. (B) Side sectional view of the channel operator.

FIG. 5: Symbol mark diagram of each sensor

6 to 13 are block diagrams explaining each operation.

FIG. 14 is a perspective view of a channel operation unit 2.

[Explanation of reference numerals] 1 ... finger plate section 2 ... channel operation section 3 ... total operation section 4 ... sound source section 5 ... sound section 21 ... cover 22 ... base 221, 222 ... Push lever stopper (after sensor) 223 Stroke sensor 224 226 Cushion material 225 Leaf spring 227 Return impact detection sensor 228 ..Time difference detection sensor 229..repelling contact sensor 23..expression lever EL 231..leaf spring 232 ........ lever stopper 233 ........ actuator 234 ..・ ・ ・ Touch contact sensor 24 ・ ・ ・ Quick lever QL 241 ・ ・ Leaf spring 242 ・ ・ Spacer 243 ・ ・Id stopper 244 ... Push lever stopper 245 ... Lever stopper 246 ... Photointerrupter 501/502/511/512/521/522/5
31, 532, 541, 542, 553, 552, 56
1,562,571,576,572 ... VCA 503, 513, 523, 533, 543, 551, 5
63/573 ... VCO 524.554.574 ... E / G 555.575.577 ... Inversion amplifier

[Procedure Amendment 2]

[Document name to be corrected] Drawing

[Correction target item name] All drawings

[Correction method] Change

[Correction content]

FIG.

[Fig. 2]

[Figure 6]

[Figure 7]

[Figure 3]

[Figure 4]

[Figure 5]

[Figure 8]

[Figure 9]

[Figure 10]

FIG. 11

[Fig. 12]

[Fig. 13]

FIG. 14

Claims (12)

[Claims] 1. The left hand is the same as a conventional string instrument genre,
An electronic musical instrument that mainly determines the pitch, has no tools in the right hand, and is equipped with a manipulator that electrically detects all movements that come into contact with the bare hand, and uses the obtained detection signal for sound pronunciation information. 2. The left hand mainly determines the pitch according to the intersection of the strings and the frets or the position where the strings are pressed on the fingerboard, as in the conventional string instrument genus, and converts it into an electric signal, and the right hand bows, picks and drumsticks.・ Contact with bare hands without using koto nails, mallets, sticks, human nails, etc.
Rubbing, moving, bending, stroking, etc. can be done with human hands, from intense movements to extremely delicate fine movements.
Multiple types of sensors that convert physical quantities such as displacement, velocity, pressure, bending, shock, vibration, etc. are provided in one operator, and each sensor output is a musical sound, including the sounding timing, among the musical sound information. An electronic musical instrument characterized by being assigned to each required parameter in the configuration. 3. A left-handed string that mainly determines the pitch and a single operator having a plurality of types of sensors are paired to form a sound source circuit, a tone color circuit, a volume circuit, etc., and their timing. An electronic musical instrument that has multiple pairs of these pronunciation systems, with a pronunciation system that controls changes musically as one unit. 4. The electronic musical instrument according to claim 3, wherein a plurality of tones are simultaneously produced when the plurality of tone producing systems are simultaneously turned “on”. 5. The same configuration as in claim 3, wherein electric switches are vertically arranged at positions corresponding to respective scales on a fingerboard of the left hand that mainly determines the pitch, and a scale signal similar to that of a string is obtained. Electronic musical instrument. 6. The electronic musical instrument according to claim 3, wherein the musical instrument has a plurality of structural units, the electronic musical instrument including a second operator for overall control. 7. A fingerboard portion (commonly called a neck) is provided at a position displaced in parallel or at a required angle from the front centerline of the stringed instrument, and a part of the main body serves as an axis on the opposite side of the front of the neck. An electronic musical instrument with a second manipulator that has a rotating lever and controls the entire musical instrument with various sensors attached to this lever. 8. A heavy touch, a large stroke, a long fulcrum position, a slow reaction, a heavy and large lever,
The touch is light, the stroke is small, the fulcrum is short, the reaction is quick, and the light lever is small.
Divide into multiple stages according to the application, use a heavy / large lever as the base, and place a medium / medium amount lever on it.
In addition, a compact and lightweight lever is placed on top of it, and the levers are combined and integrated in sequence, and the lever operation works in tandem in ascending order of touch pressure. 9. The touch is light, the stroke is small, the fulcrum is short, and the reaction is fast, and a relatively small lever is provided with a plurality of unevenness in the vertical direction on the surface contacting the finger, and the finger is pushed and rubbed. A lever for playing music that has a structure in which the lever repeatedly moves up and down to obtain fast on-off signals. 10. A lateral surface is formed by arranging a plurality of independent levers, each of which is formed by vertically arranging the surface of the lever which comes into contact with a finger vertically in the vicinity of the center and in the valley at both ends so as to be adjacent to each other. A lever for playing music that produces unevenness, and the lever repeats up and down movements by "pushing-rubbing" the finger, producing the same effect as the arpeggio style of a guitar. 11. In addition to a normal lever operation of "pushing / releasing", the end of the lever is "rubbed-repelled", and the strength with which the lever hits the stopper on the off side is determined by pressure, impact, bending, speed, etc. A lever for music playing that controls how the sound disappears with a sensor that converts the sound into. 12. A lever for playing music, which is provided with a contact sensor for detecting whether or not a finger is in contact with a portion directly below the lever for vertical movement.