JPH0954579A - Melody conversion device and its method - Google Patents

Abstract

PROBLEM TO BE SOLVED: To change melody in such a manner that the music after the melody conversion maintains the tone of the original music in the case where the melody is converted to another melody by changing the pitch data of the notes constituting the melody. SOLUTION: The first and second tables of the conversion data corresponding to respective sets of the pitch data of the arbitrary tones are stored in a data ROM 9. The pitch data of the arbitrary notes without having accidentals and the pitch data of the notes having the accidentals in the arbitrary notes correspond to the same digital data in the first table. The second table is composed of the pitch data corresponding to the digital data of the first table and the pitch data in this case corresponds to the pitch data of the notes having no accidentals. A CPU 5 executes prescribed arithmetic operation by converting the pitch data within one measure to the conversion data of the first table, retrieves the pitch data of the second table corresponding to the conversion data of the result of the arithmetic operation and determines the retrieved pitch data as the fresh pitch data.

Description

Detailed Description of the Invention

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to the technology of a melody conversion device and method thereof.

[0002]

2. Description of the Related Art In a conventional melody conversion device,
Change the pitch data of multiple notes that make up the desired song
Convert to songs. In this case, the pitch is 12 per octave.
Is divided into equal pitches, and the difference between adjacent pitches is defined as a semitone.
Use the 12 equal temperament. And one octave of one
The two pitches are (C_i), The starting point is (C_i),
(C_i#), (D_i), (E_i♭), (E_i),
(F_i), (F_i#), (G_i), (A_i♭),
(A_i), (B_i♭), (B_i) (However,
i = -1, 0, 1, 2, 3, 4, ...). These 12 sounds
The seven pitches in the pitch are written as musical notes on the staff.
In this case, which pitch is the main note "do" depends on the key.
different. For example, the one-measure note of the song shown in FIG.
The pitch of (C_i), (D_i), (E_i), (F_i),
(G_i), (A_i), (B_i), (C_{i + 1})
Dashi i = 4), (C_i) Is the keynote "do" in C major
It's a rodie. And Mi (E_i) And fa
(F_i) And Shi (B_i) And de (C_{i + 1}Between)
It is a semitone. Therefore, the pitch of these notes
When inverted upside down, that is, inverted upside down, as shown in FIG.
, (C_{i + 1}), (B_i♭), (A_i♭),
(G_i), (F_i), (E_i♭), (C_i#),
(C_i). Also, for example, for the song shown in FIG.
Performs conversion that shifts the pitch of one measure upward or downward.
U. The pitch of the note in this case is (C_i), (D_i),
(E_i), (F_i), (G_i), (E_i), (C_i)so
Yes (however i = 4), (C_i) Is the main tone "do"
It is a major melody. Move these notes upward in semitone steps.
Then, as shown in FIG. 16 (B), (C_i#),
(E_i♭), (F_i), (F _i#), (A_i♭), (F
_i), (C_i#) And shift down a semitone,
As shown in FIG. 16C, (B_i), (C_i#),
(E_i♭), (E_i), (F_i#), (E_i♭), (B
_i).

[0003]

However, in the above-mentioned conversion method of the conventional melody conversion device, the key of the converted music may be different from the key of the original music. That is, FIG.
The original songs shown in FIG. 5 (A) and FIG. 16 (A) are in C major without change marks, but the converted songs shown in FIGS. 15 (B), 16 (B) and (C) are sharp. Also, the number of notes having flat change symbols increases, and the original C major cannot be maintained. Therefore, there is a problem that the musical atmosphere of the converted music is different from that of the original music. This problem is caused by simply changing the pitch data and converting it into another melody without considering the tone of the tune. An object of the present invention is to enable a tune after melody conversion to maintain the tone of the original tune when changing the pitch data of the notes forming the melody and converting it to another melody.

[0004]

According to the first aspect of the present invention,
Twelve pitch table that converts the pitch data of the notes that make up the equal temperament into numerical data, and the pitch data of any note that does not have a change symbol and the pitch of a note with a change symbol attached to that arbitrary note First to convert data to the same numerical data
And a second table for converting numerical data into pitch data of musical notes which do not have a change symbol among musical notes constituting the above-mentioned 12th temperament, and a plurality of musical notes constituting a melody. When changing the pitch data of each for every predetermined section and converting it to another melody, a predetermined calculation is performed using the numerical data obtained by converting the pitch data of a plurality of notes by the first table, and the calculation result And the control means for converting the pitch data obtained by converting the numerical data of 1) by the second table into the pitch data of the notes of the other melody. According to a fifth aspect of the present invention, in the melody conversion method of changing the high-pitched sound data of a plurality of notes constituting a melody for each predetermined section and converting the same into another melody, the pitches of the notes constituting the 12th temperament The data is converted into numerical data, and the pitch data of an arbitrary note that does not have a change sign and the pitch data of a note that has a change sign in the arbitrary note are converted into the same numerical value data and specified The numerical data of the calculation result is converted to pitch data of the notes of the other melody by converting the numerical data of the calculation result into the pitch data of the notes that do not have the change symbol among the notes that compose the 12th temperament. . The configuration according to claim 1 or claim 5 has the following actions. That is, the numerical data corresponding to the pitch data of all the notes that make up the melody of the original song is used to perform a calculation for changing the pitch, and an accurate calculation result is calculated. Converted to pitch data of a note without.

According to a third aspect of the present invention, a storage means for storing a table for distinguishing between notes having an accidental note and notes having no accidental note among notes of each key constituting the 12th temperament, and a melody are stored. When changing the pitch data of a plurality of constituent notes for each predetermined section and converting it to another melody, if the note related to the changed pitch data has an accidental character by referring to the table, And a control means for continuing the change. According to a seventh aspect of the present invention, in a melody conversion method for converting treble data of a plurality of notes forming a melody into a different melody by changing the treble data for each predetermined section, the notes of each key constituting the 12th temperament. By distinguishing a note having an accidental note from a note having no accidental note among them, when the note relating to the changed pitch data has the accidental note, the change to the note is continued. According to the configuration of the invention of claim 3 or claim 7,
This has the effect of continuing the modification until the modified note becomes a note without accidentals.

[0006]

BEST MODE FOR CARRYING OUT THE INVENTION First to third embodiments of the melody converting apparatus of the present invention will be described below with reference to FIGS. FIG. 1 is a block diagram showing a hardware configuration of a first embodiment of a melody conversion device. The keyboard unit 1 inputs a pitch, a start timing of a sound from the beginning of a bar, a sounding time, and the like by the user's depression, that is, performance. The key depression detection circuit 2 detects depression of the keyboard portion 1 and converts it into tone data such as pitch data, clock time data, gate time data and the like. The switch group 3 is operated by the user to set the volume,
The timbre, octave switching, performance mode, etc. are input, and the switch detection circuit 4 detects the input from the switch group 3 and converts it to tone data. A CPU (control means) 5 uses a bus 6 to detect a key depression circuit 2, a switch detection circuit 4, a program ROM 7, a work RAM 8, and a data ROM (storage means).
9, the display unit 10 and the tone generation circuit 11 are connected to control this device based on a program stored in the program ROM 7. Then, the musical tone data given from the key-depression detection circuit 2 and the switch detection circuit 4 is converted into the work RA.
It is stored in M8, subjected to predetermined processing, and supplied to the musical tone generating circuit 11. The tone generation circuit 11 generates a digital acoustic signal based on the tone data supplied from the CPU 5,
It is supplied to the D / A converter 12. D / A converter 1
2 converts this digital audio signal into an analog audio signal and supplies it to the speaker 14 via the power amplification circuit 13. Therefore, the music corresponding to the user's keyboard operation and switch operation, that is, the user's manual performance is reproduced by the speaker 1.
Emitted from 4.

On the other hand, the data ROM 9 stores the melody data of the music in advance. Then, the user can perform the melody up / down conversion in which the pitch data of the musical notes of the music stored in the data ROM 9 is inverted, ie, the pitch is inverted within one measure, to be converted into another music. For this reason, the work RAM 8 is provided with a buffer area 81 for transferring and storing the melody data from the ROM 9 and an ma (address register) 82 for setting the address of the buffer area 81. Also, a pmin area 83 and a pmax area 84 are provided for the melody up / down conversion processing. The data stored in each area will be described later.

FIG. 2 shows the format of the melody data stored in the buffer area 81 of the work RAM 8. The melody data corresponds to n notes of one measure, pitch data (note data) # 1 to #n indicating the pitch, and clock time data 1 indicating the clock time from the beginning of the measure.
.About.n and gate time data 1 to n indicating the tone generation time. In this case, the pitch data is 128 from 0 to 127.
The pitch can be shown in stages. An end mark (FF (H)) is stored at the end of the data.

Next, the melody conversion method in the first embodiment will be described with reference to the flowchart of the melody conversion processing by the CPU 5 shown in FIG. First, FIG.
The number of notes of one bar shown in is counted (step S
1). FIG. 4 shows a flowchart of the note number counting process. In this processing, "0" is set to the program counter pc (step S11), and the data of ma82 (m
It is determined whether or not a) is "FF (H)", that is, the data end (step S12). If it is not the data end, it is determined whether or not the data (ma) is pitch data (step S13). For example, since the data (ma) may be a rest or a symbol other than a note, step S1
The judgment of 3 is required. If the data (ma) is pitch data, 1 is added to pc in step S14 and the process proceeds to step S15. If the data (ma) is not the pitch data, the process proceeds directly to step S15. In step S15, 3 is added to the value of ma82, that is, the address of the pitch data of the next note is set, and the flow proceeds to step S12. Then, the pitch data, that is, the number of notes is counted until the data (ma) reaches the data end, and when it reaches the data end, the process proceeds to the main flowchart of FIG.

In step S2 of FIG. 3, it is judged whether or not the value of the program counter pc is "0", and if pc is "0", there is no pitch data in one bar, that is, a note is played. Since there is no melody conversion process,
If pc is not "0", melody data replacement processing is performed (step S3). The melody data exchange according to the first embodiment is a melody up / down conversion process in which the pitch data in one bar is vertically inverted, that is, the pitch is inverted. FIG. 5 shows a flowchart of the melody up / down conversion process. In this case, in the buffer area 81, (C _i ), (D _i ), (E _i ), as shown in FIG.
(F _i ), (G _i ), (A _i ), (B _i ), (C _{i + 1} )
The pitch data of one measure in C major consisting of notes (i = 4) is stored. First, the start address of the buffer area 81 is set in ma82 (step S2
1). Next, the maximum value "127" of the pitch data is set in the pmin area 83 (step S22), and the minimum value "0" of the pitch data is set in the pmax area 84 (step S23). Next, it is determined whether or not the data (ma) in the buffer area 81 indicated by the address of ma82 is the end mark (step S24). In this case, since the data is the first pitch data # 1 and not the end mark, the pitch data (ma) is calculated based on the first table stored in the data ROM 9 as numerical data (m).
It is converted into a) (step S25).

FIG. 7 shows the structure of the first table. As shown in the figure, the pitch data of any note that has numerical data corresponding to each pitch data of the notes that compose the 12th temperament in C major and that does not have a sharp or flat change symbol and its arbitrary The pitch data of the note having the change sign in the note corresponds to the same numerical data. That is, the numerical data represents the position of a note on the staff, and the remainder "0-6" obtained by dividing the numerical data by "7" corresponds to the major name "Do-Si" in C major. For example, the pitch data “60” of C4 having no change symbol and the pitch data “61” of C # 4 having the change symbol sharp correspond to the same numerical data “35”. In this case, 35 ÷ 7 = 5 remainder 0, so
Both pitch data correspond to the floor name "do".

In step S26 of FIG. 5, numerical data (ma) and data in the pmin area 83 (pmin).
The numerical data (ma) is compared with the data (p
If it is smaller than (min), the process proceeds to step S27, and the numerical data (ma) is set as data (pmin), and the process proceeds to step S28. If the numerical data (ma) is equal to or larger than the data (pmin), the process directly proceeds to step S28. In step S28, the numerical data (ma) and the pmax area 84 data (pma)
x) is compared, and if the numerical data (ma) is smaller than the data (pmax), the process proceeds to step S29, and the numerical data (ma) is treated as data (pmax), and the process proceeds to step S30. When the numerical data (ma) is equal to or larger than the data (pmax), the process directly proceeds to step S30. Next, add 3 to the address of ma82
Is added, that is, the address of the next pitch data in the buffer area 81 is set, and the process proceeds to step S24.

In step S24, if the data (ma) in the buffer area 81 is not end marks but pitch data, the processes of steps S24 to S30 are repeatedly executed. The lowest pitch data in the bar is pmin area 8
3 is the highest pitch data stored in pmax area 8
Stored in 4. After that, the address of ma82 is set again as the start address of the buffer area 81 (step S3).
1). Next, it is determined whether or not the data (ma) in the buffer area 81 is the end mark (step S3).
2). In this case, since it is the pitch data (ma) and not the end mark, the process proceeds to step S33 and a predetermined calculation is performed. That is, the data obtained by adding (pmin) and (pmax) and subtracting the numerical data (ma) is updated as new numerical data (ma). Next, the numerical data (ma) is inversely converted into pitch data (ma) based on the second table stored in the data ROM 9 (step S34).

FIG. 8 shows the structure of the second table. The key code of the pitch data corresponding to a part of C major numerical data is shown. As shown in this figure, the pitch data corresponding to the numerical data is the pitch data of a note having no sharp or flat change symbol. Step S in FIG.
After the numerical data is inversely converted into the pitch data in 34, 3 is added to the address of ma82 in step S35, that is, the next numerical data in the buffer area 81 is set, and the process proceeds to step S32. Step S3
2, when the data (ma) in the buffer area 81 is not the end mark but the pitch data, the processes of steps S33 to S35 are repeatedly executed, and the data (ma) in the buffer area 81 becomes the end mark. When it becomes, it returns to the main routine (not shown).

As a result, as shown in FIG. 9, (C _i ),
(D _i ), (E _i ), (F _i ), (G _i ), (A _i ),
The pitch data of one measure in C major consisting of the notes (B _i ), (C _{i + 1} ) are (C _{i + 1} ), (B _i ), (A _i ), (G
_i ), (F _i ), (E _i ), (D _i ), and (C _i ). Therefore, after the conversion, as shown in FIG. 6 (B), the melody is a note without a sharp or flat transition symbol, and thus the melody is a 1-bar melody in C major, like the melody of the original tune. .

As described above, according to the first embodiment,
When converting a major melody song into another melody, the first table stored in the data ROM 9 is used to convert the pitch data of the notes constituting the 12th temperament into numerical data. At this time, the pitch data of an arbitrary note having no sharp or flat change symbol and the pitch data of a note having a change symbol in this arbitrary note are converted to the same numerical data. Then, the converted numerical data is used to perform an operation for up-down conversion, and the numerical data of the operation result is used for the pitch of a note having no change symbol by using the second table stored in the data ROM 9. Convert to data. Therefore, the song after melody conversion can maintain the C major of the original song, and the converted song can maintain the musical atmosphere of the original song.

The first table shown in FIG. 7 corresponds to the positions of the notes on the staff in C major,
In C major (key is 0), the pitch data is the first
It becomes the address of the table. However, depending on the key, the position of the note on the staff with the floor name "do" changes. Therefore, B major with B _i as the tonic “do” (key is 11)
In the case of, the pitch data plus 1 becomes the table address, and in B flat major (key is 10) with B _i ♭ the tonic "do", the pitch data plus 2. Is the address of the table, and in the C key major (key is 1) where C _i # is the tonic “do”, the pitch data is 11
The value obtained by adding is the address of the table. Further, in the second table shown in FIG. 8, the output value becomes the pitch as it is in the C major, but the output value becomes 1 from the output value in the B major.
The value obtained by subtracting is the pitch data, the value obtained by subtracting 2 from the output value is the pitch data in the case of B flat major, and the value obtained by subtracting 11 from the output value is the pitch data in the case of C major. Becomes Therefore, by using the first and second tables, even when the melody up-down conversion is performed for a song of any key other than C major, a change symbol immediately following the phonetic symbol (this is called a "key signature"). Apart from that, there is no change symbol attached to each note (this is called an "accidental symbol"), and the melody key of the later song becomes the same as that of the original song.

Next, a second embodiment of the melody up / down conversion according to the present invention will be described. Since the hardware configuration of the second embodiment is almost the same as that of the first embodiment shown in FIG. 1, duplicate description will be omitted. In the second embodiment, the data ROM 9 stores rhythm information data 91, and the work RAM 8 is provided with a p register 85, a key number area 86, and a rhythm number area 87. These functions will be described later. The buffer area 81 of the work RAM 8 is used for melody conversion processing.
The format of the melody data stored in is similar to that of the first embodiment shown in FIG. Hereinafter, the features of the second embodiment of the present invention will be described with reference to FIGS. 1 and 2 as necessary.

Rhythm information data 91 of the data ROM 9
As shown in FIG. 10 (A), is composed of a plurality of rhythm patterns of rhythm pattern 0, rhythm pattern 1, ... To determine the unique rhythm of the music to be converted.
Each rhythm pattern has a time signature and a time signature i that determines the beat.
d92 and beat id93, scale id94 that determines the melody tone, number of pattern measures id95 that determines how many measures the rhythm pattern is composed of, and part start address 96 that determines each start address of a plurality of parts (musical instruments). Have. The scale id 94 is shown in FIG.
As shown in (B), it is composed of 12-bit binary data, and each bit corresponds to a pitch of 12 equal temperament,
Higher pitch corresponds to higher pitch. For example, scale id = 0 corresponds to C major, and “10
It is 1010110101 ". That is, (C
_i ), (C _i #), (D _i ), (E _i ♭), (E _i ),
(F _i ), (F _i #), (G _i ), (A _i ♭),
Of the 12 pitches (A _i ), (B _i ♭), and (B _i ), 7 pitches (C _i ), which do not have a change symbol,
(D _i ), (E _i ), (F _i ), (G _i ), (A _i ),
The bit corresponding to (B _i ) is “1”, and the other five pitches (C _i #), (E _i ♭), (F _i #), which have change symbols,
The bits corresponding to (A _i ♭) and (B _i ♭) are “0”. Then, at the time of melody conversion, a key of a new song (key = 0 to 11) is designated, and the information is work R.
It is stored in the key number area 86 of AM8. Usually, the designated key is the key of the key of the original song, and if the original song is C major, key = 0, and if the key is B major, key =
11, in the case of B flat major, key = 10 is designated, and in the case of C major, key = 1 is designated. The rhythm number 87 of the designated rhythm pattern is also stored in the rhythm number area 87 of the work RAM 8.

Next, the melody conversion method according to the second embodiment will be described with reference to the flow chart of the operation of the CPU 5 shown in FIG. Regarding the main flow of melody conversion processing and the note count processing,
Since it is the same as FIG. 3 and FIG. 4 in the first embodiment, description thereof will be omitted. The melody conversion in the second embodiment is also the melody up-down conversion in which the pitch within one measure is vertically inverted, as in the first embodiment. In the buffer area 81, (C _i ), (D _i ), (E _i ), (F _i ), (G
_i), notes _{(E i), (C i} ) ( where i = 4) n1
Pitch data (60, 6) of C major consisting of ~ n7
2, 64, 65, 67, 64, 60) are stored. First, the head address of the buffer area 81 is set in ma82 (step S41). Next, the maximum value "127" of the pitch data is set in the pmin area 83 (step S42), and the minimum value "0" of the pitch data is set in the pmax area 84 (step S43). Next, it is determined whether or not the data (ma) in the buffer area 81 indicated by the address of ma82 is the end mark (step S44). If it is not end marks but pitch data, the size of the pitch data (ma) and the data of the pmin area 83 (pmin) are compared (step S45). Pitch data (ma) is data (pmi
If it is determined to be n) or more, the process proceeds to step S46, and the pitch data (ma) is set as data (pmin) and the process proceeds to step S47. When the pitch data (ma) is smaller than the data (pmin), the process directly proceeds to step S47. In step S47, the pitch data (ma) and the pmax area 84 data (pma)
x), and if the pitch data (ma) is equal to or larger than the data (pmax), the process proceeds to step S48, and the pitch data (ma) is set as the data (pmax) to step S49. Transition. If the pitch data (ma) is smaller than the data (pmax), the process directly proceeds to step S49. Next, add 3 to the address of ma82
Is added, that is, the address of the next pitch data in the buffer area 81 is set, and the process proceeds to step S44.

At step S44, if the data (ma) in the buffer area 81 is not the end mark,
When the end mark is reached by repeatedly executing the processing of steps S44 to S49, the lowest pitch data (60) in one bar in this case is the pmin area 8
Stored in 3 and the highest pitch data (67) is pmax
It is stored in the area 84. After that, the address of ma82 is set again as the start address of the buffer area 81 (step S50). Next, the data (m
It is determined whether or not a) is an end mark (step S51). When the data (ma) is pitch data instead of end marks, the data (pmin) and the data (p
max) and its pitch data (ma)
The pitch is vertically inverted by using the value obtained by subtracting as the new pitch data (ma) (step S52). Then, the obtained new pitch data (ma) is stored in the work RAM.
8 into the p register 85 (step S53).

Next, in step S54, it is determined whether the pitch of each note after the up / down conversion has a change symbol. Therefore, the following calculation is performed between the scale id of the rhythm information data set in the work RAM 8 and the pitch data (ma) of the p register 85 which is the converted pitch data. First, the value obtained by subtracting the key number from the pitch data (ma) is divided by 12 to obtain the remainder value. further,
Only the remainder value is 12-bit binary data "0000
The least significant bit "1" of "00000001" is left-shifted, and an operation for obtaining a logical product with 12-bit binary data of scale id is performed. Then, it is determined whether there is a bit whose logical product is "1", that is, whether the logical product of the bits of the shifted digits is "1". If the logical product is "1", the note does not have a change sign, and if the logical product is "0", the note has a change sign. This discrimination process is performed for each of the stored pitch data (ma), but for the sake of simplicity of explanation, FIG.
FIG. 1 shows the state of the note when the note n1 to n7 of (A) is converted up and down, and the determination process of step S54 is not performed.
2 (B). For example, in the case of the note n1 of FIG. 12B, the calculation of step S52, pmin (60) + p
The value of the pitch data becomes “67” by max (67) −ma (60) = 67. Also in this case, the specified k
The value of ey is “0”. Therefore, the remainder value is "7"
Then, the least significant bit "1" is shifted to the left by 7 digits, and is logically operated with the bit "1" at the eighth digit from the lower order of the binary data of scale id = 0, and the operation result "1" is obtained.
In this case, the note n1 after upside down has no change sign.

On the other hand, in the case of the note n3 in FIG. 12B, the value of the pitch data is "63" (60 + 67-64 = 6).
3), and the value of the designated key is also “0”. Therefore, the remainder value becomes “3”, the lower bit “1” is shifted to the left by 3 bits, and the logical operation is performed with the data “0” of the fourth bit from the lower order of the binary data of scale id = 0, and the operation result “0” is obtained. Is obtained. In this case, the note n3 after upside down has a change symbol flat. In step S55, if the calculation result is not “1”, the pitch data (ma) of the p register 85 is set to “1”.
Is added (step S55), and the process returns to step S54 to perform a logical operation. Then, the processes of steps S54 and S55 are executed until the operation result becomes "1", that is, until the note after the upside-down inversion has no change symbol. For example, in the case of the note n3 in FIG. 12B, "1" is added to the pitch data "63" to obtain "64". In this case, the remainder value is "4", the lower bit "1" is shifted to the left by 4 bits, and logically operated with the data "1" of the fifth bit from the lower order of the binary data of scale id = 0, and the operation result "1" is obtained. As described above, when the calculation result “1” is obtained in step S54, the pitch data (ma) in the p register 85 is set as the pitch data (ma) of the converted music in the buffer area 81.
(Step S56). Next, add 3 to the address ma, that is, the pitch data (ma) of the next note.
Address is set and the process proceeds to step S51. Thereafter, when the data (ma) in the buffer area 81 is not the end mark in step S51, steps S51 to S57 are repeatedly executed until the end mark is reached. When the data (ma) becomes the end mark, the notes of all the pitch data (ma) stored in the buffer area 81 after the melody up-down conversion have no change symbol. As a result, the notes n1 to n7 in one bar after the melody conversion are as shown in FIG.

As described above, in the second embodiment, among the notes in C major that constitute the 12th temperament, the notes having the change sign and the notes not having the change sign are distinguished from each other. If the note associated with the pitch data has a change symbol, the pitch change for the note is continued until it becomes a note having no change symbol. Therefore, when the pitch data of the notes forming the melody is changed and converted into another melody, the melody-converted music can maintain the C major of the original music.

Next, a third embodiment of the present invention will be described. The melody conversion in this third embodiment is 1
The conversion is performed by shifting the notes within a bar in the upward direction, that is, in the direction of high pitch, or in the downward direction, that is, in the direction of low pitch. In this case, the hardware configuration, the configuration of the melody data, the main flow of the melody conversion process, and the note number counting process are the same as those in the first and second embodiments.
~ It is the same as the case of Fig. 4, and its description is omitted. Also,
The structure of the rhythm information data is also the same as in FIGS. 10A and 10B of the second embodiment. CPU5 in FIG.
6 shows a flowchart of a melody data exchange process executed by the. In this process, first, the pointer i of the CPU 5
Is set to "0" (step S61). Next, the data (ma + 3 × i) at the address ma + 3 × i in the buffer area 81 is set in the p register 85 of the work RAM 8. Therefore, when i = 0, the pitch data # 1 which is the pitch data (ma) shown in FIG. 2 is set in the p register 85 (step S62).

Next, it is determined whether the pitch data is replaced by the upper shift designation or the lower shift designation (step S6).
3). When the upper shift is designated, the value of the p register is increased by "1" (step S64), and when the lower shift is designated, the value of the p resist is decreased by "1" (step S65). That is, the pitch of the note is shifted by a semitone upward or downward. Then, as in the case of the second embodiment, the value obtained by subtracting the key number from the pitch data (ma) is divided by 12 to obtain a remainder value, and “1” is left-shifted by the remainder value, and the scale is changed. An operation for obtaining a logical product with the binary data of id is performed (step S66). If the logical product is "1", the note does not have a change sign, and if the logical product is "0", the note has a change sign. When the logical product is "0" in step S66, the process proceeds to step S63, and the value of the p register is further increased or decreased by "1" according to the designated shift direction. After that, again in step S66, it is determined whether the logical product is "1" or "0".
Then, steps S63 to S are performed until the logical product becomes "1".
Each processing of 66 is repeatedly executed. When the logical product becomes "1", the value of the p register is set as the converted pitch data (ma + 3 × i) (step S67).

Next, an increment process for adding "1" to the pointer i is performed (step S68), and the pointer i
It is determined whether the value of is the same as the value of the program counter pc (step S69). As shown in FIG. 4, pc represents the number of notes in one bar, so when i = pc,
All notes have been shifted and converted into notes having no change symbol. Therefore, i
If not equal to = pc, the processes of steps S62 to S69 are repeated, and the pitch data shift process of all the notes is performed. When i = pc in step S69, the process returns to the main flow of FIG.

For example, as shown in FIG.
_i ), (D _i ), (E _i ), (F _i ), (G _i ), (E
_i ), (C _i ) (where i = 4), the pitch data of one major in C major is shifted up.
As shown in FIG. 14B, (D _i ), (E _i ), (F
_i ), (G _i ), (A _i ), (F _i ), and (D _i ) are notes, which is a melody of C major notes without change symbols. When the note of FIG. 14 (A) is shifted down, as shown in FIG. 14 (C), (B _i ), (C _i ),
The notes are (D _i ), (E _i ), (F _i ), (D _i ), and (B _i ), and in this case as well, the melody is a major C note with no change sign.

As described above, in the third embodiment described above, among the notes in C major that constitute the 12th equal temperament, the notes having the change sign and the notes not having the change sign are distinguished from each other. When the note associated with the pitch data has a change symbol, the pitch shift process for the note is continued until it becomes a note having no change symbol. Therefore, when the pitch data of the notes forming the melody is changed and converted into another melody, the melody-converted music can maintain the C major of the original music.

In the second and third embodiments described above, the melody up / down conversion is performed in the C major with C _i as the tonic "do". However, D major with D _i as the tonic "do" ( When the key is 2), the scale id 94 in the rhythm information data 91 corresponds to the scale id = 1 shown in FIG. 10B, and the 12-bit binary data is “011010101101”. Then, a value obtained by subtracting the key number from the pitch data (ma) is divided by 12 to obtain a remainder value, "1" is left-shifted by the remainder value, and the logical product is obtained with the binary data of the scale id. I do. If the logical product is "1", the note has no accidental sign, and if the logical product is "0", the note has an accidental sign. Therefore,
Even if a melody is converted up or down for a song of any key other than C major, there is no accidental sign attached to each note separately from the key signature, and the melody of the later song is the melody of the original song. It becomes the same as the key.

[0031]

According to the first or fifth aspect of the present invention, the calculation for changing the pitch using the numerical data corresponding to the pitch data of all the notes constituting the melody of the original song. To calculate an accurate calculation result and convert the calculation result into pitch data of a note having no change symbol, thereby changing the pitch data of the notes constituting the melody and converting it to another melody. In this case, the tune after the melody conversion can maintain the key of the original tune. Therefore, the musical atmosphere of the original song is not lost even after the melody conversion.

According to the invention of claim 3 or claim 7, the pitch data of the notes constituting the melody is changed by continuing the change until the changed note becomes a note having no accidental sign. When converting to another melody, the tune after melody conversion can maintain the key of the original tune. Therefore, the musical atmosphere of the original song is not lost even after the melody conversion.

[Brief description of drawings]

FIG. 1 is a block diagram showing the configuration of an embodiment of a melody conversion device of the present invention.

FIG. 2 is a diagram showing melody data in a work RAM in the embodiment.

FIG. 3 is a main flowchart showing a melody conversion process in the embodiment.

FIG. 4 is a flowchart of a note number counting process in FIG.

FIG. 5 is a flowchart of a melody up / down conversion process in the first embodiment.

FIG. 6 is a diagram showing an example of a note of melody conversion in the first embodiment.

FIG. 7 is a diagram showing a first table of a data ROM in the first embodiment.

FIG. 8 is a diagram showing a second table of the data ROM in the first embodiment.

FIG. 9 is a diagram showing a state of calculation of melody conversion processing in the first embodiment.

FIG. 10 is a diagram showing a structure of rhythm information data in a data ROM in the second embodiment.

FIG. 11 is a flowchart of a melody up / down conversion process in the second embodiment.

FIG. 12 is a diagram showing an example of a note in a melody conversion process in the second embodiment.

FIG. 13 is a flowchart of a melody up / down conversion process in the second embodiment.

FIG. 14 is a diagram showing a note example of a melody conversion process in the third embodiment.

FIG. 15 is a diagram showing an example of up / down conversion processing of melody data in a conventional melody conversion device.

FIG. 16 is a diagram showing an example of shift processing of melody data in a conventional melody conversion device.

[Explanation of symbols] 5 CPU 8 work RAM 9 data ROM 81 melody data area 83 buffer area

Claims (10)

[Claims] 1. A table for converting pitch data of notes constituting the 12th temperament into numerical data, and pitch data of an arbitrary note having no change symbol and a change symbol attached to the arbitrary note A first table for converting pitch data of a musical note into the same numerical data; and a first table for converting the numerical data into pitch data of a musical note which does not have the change symbol among the musical notes constituting the 12th temperament Storage means for storing the table of No. 2 and pitch data of the plurality of notes when changing the pitch data of the plurality of notes constituting the melody for each predetermined section and converting to the other melody. A predetermined calculation is performed using the numerical data converted by the table No. 1 and the pitch data obtained by converting the numerical data of the calculation result by the second table is set as the pitch data of the note of the other melody. Melody conversion device is characterized in that a control means. 2. The numerical data obtained by adding the numerical data obtained by converting the highest pitch data and the numerical data obtained by converting the lowest pitch data in the predetermined section by using the first table. 2. The melody conversion according to claim 1, wherein the predetermined calculation is to obtain the pitch data of the note of the other melody by subtracting numerical data obtained by converting the pitch data of the note to be changed from apparatus. 3. A storage means for storing a table for distinguishing between notes having an accidental sign and notes having no accidental sign among the notes of each key constituting the 12th temperament, and a plurality of notes constituting a melody. When changing the pitch data for each predetermined section and converting the pitch data to another melody, if the note related to the changed pitch data has an accidental symbol by referring to the table, control for continuing the change to the note And a melody conversion device. 4. The table is composed of 12-bit binary data corresponding to a note in the 12th temperament, and the control means sets the bit of the table corresponding to the note associated with the changed pitch data. 4. The melody conversion device according to claim 3, wherein it is determined whether or not the note has a temporary sign and whether to continue the change is determined. 5. The melody conversion device according to claim 3, wherein the table is included in rhythm information data for determining a rhythm of a new song by melody conversion. 6. A melody conversion method for converting treble data of a plurality of notes constituting a melody into a different melody by changing the treble data for each predetermined section, and converting pitch data of notes constituting the 12th temperament into numerical data. Converting, and at that time, the pitch data of an arbitrary note having no change symbol and the pitch data of a note having a change symbol on the arbitrary note are converted into the same numerical data to perform a predetermined calculation, Converting the numerical data of the calculation result into the pitch data of the notes of the other melody by converting the numerical data into the pitch data of the notes which do not have the change symbol among the notes constituting the 12th temperament. Melody conversion method characterized by. 7. The predetermined arithmetic operation adds the numerical data obtained by converting the highest pitch data and the numerical data obtained by converting the lowest pitch data in the predetermined section, and changes the added numerical data. 7. The melody conversion method according to claim 6, which is a calculation for subtracting numerical data obtained by converting the pitch data of the note to obtain pitch data of the note of the other melody. 8. A melody conversion method for converting high-pitched sound data of a plurality of notes constituting a melody into another melody by changing it in predetermined intervals, wherein an accidental sign is included among notes of each key constituting the 12th temperament. A melody conversion method characterized in that, by distinguishing a note having a note from a note having no accidental note, when the note relating to the changed pitch data has a note, the change to the note is continued. 9. Twelve keys of each key corresponding to a note in the 12th equal temperament
It is characterized in that, by referring to the binary data of the bit, it is determined whether or not the bit corresponding to the note relating to the changed pitch data is a note having an accidental sign and the continuation of the change is determined. The melody conversion method according to claim 8. 10. The melody conversion method according to claim 9, wherein the binary data is present in rhythm information data for determining a rhythm of a new song by melody conversion.