JPH0968982A - Electronic musical instrument having automatic accompaniment function - Google Patents

Abstract

PROBLEM TO BE SOLVED: To make the chord patterns subjected to sound production at the time of real time input and the chord patterns subjected to sound production at the time of automatic accompaniment coincident with each other. SOLUTION: The scales of the chord names assigned to the key arrangement of a keyboard 1 are assigned during the rear time input operation mode of accompaniment patterns (step 221) and the key number data of the respective tones of the accompaniment patterns inputted by key on operation are converted into the key numbers of the scales of standard chords. These key numbers are stored together with other musical tone data in a pattern RAM 10 (steps 222, 224). The key numbers converted into the standard chords are converted into the key numbers on the scales meeting the assigned chord names during the real time input on (step 228). The musical tones of the converted key numbers are produced (step 229). The key numbers are converted into the key numbers on the scales of the assigned chord names and the musical tones of the key numbers are produced in an automatic accompaniment operation mode.

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 that creates an accompaniment pattern by real-time input and automatically plays it.

[0002]

2. Description of the Related Art Some conventional electronic musical instruments have an automatic accompaniment function for reading out ready-made (maker-made) accompaniment data stored in a memory and producing a sound from a sound system. The accompaniment data used for this automatic accompaniment is
It is data of an accompaniment pattern for one or a plurality of measures, and in the automatic accompaniment mode, the accompaniment pattern for one or a plurality of measures is repeatedly sounded.

In the automatic accompaniment mode, the accompaniment data is read from the memory and the accompaniment sound is produced by the sound system, so that the performer can play a melody in accordance with the accompaniment sound or from another electronic musical instrument. They perform ensemble according to the melody sound to be pronounced. At this time, the chord designation key or switch is operated to change the chord in accordance with the progress of the melody, so that the accompaniment sound chord can be played while the chord of the melody is changed. Here, the chord name is chord information representing the structure of chords (chords), and is "C", "D", "E".
.. etc. and chord types (chord types) such as “major”, “minor”, “six”, “sevens”, “diminished” and “augment”. The code name includes the code root only (the same applies below).

The key number of each note of the chord data in the accompaniment data is converted into the key number of the note on the scale of the predetermined reference chord and stored in the memory. The reference chord is, for example, a C major chord, and each note in the chord data is composed of a note on the scale of the C major chord. Then, the accompaniment data stored in the C code is converted into a code designated in the automatic accompaniment mode and is sounded. As a result, it is not necessary to convert one accompaniment pattern into all chords and store them, and the memory capacity can be reduced.
This chord conversion process is a process of transposing by adding (or subtracting) the frequency of the chord root of the designated chord to the chord root of the C major chord to the key number of the musical tone that constitutes the accompaniment pattern stored in the memory. is there. Further, when a predetermined key number pitch is produced, the chord type is changed by replacing the pitch with a half-tone upper or lower half-tone or adding a tone of this pitch.

Some conventional electronic musical instruments allow the performer to input the accompaniment data used for the automatic accompaniment. This input method includes key number, step time, touch (velocity), There are a step input operation in which musical tone data such as gate time is input separately, and a real-time input operation in which an accompaniment pattern played by operating a keyboard is stored as it is.
When creating an accompaniment pattern by this real-time input operation, it is common to operate the keyboard while playing the accompaniment pattern while listening to the melody sound. Therefore, for example, if the melody sound corresponds to the F major chord, the performer also tries to play the accompaniment with the F major chord.

In a normal electronic musical instrument, when a key is pressed on the keyboard, a musical tone with a pitch corresponding to the key on the keyboard is generated. Further, the conventional electronic musical instrument does not require to specify the chord name of the accompaniment tone to be sounded at the time of real-time input. Therefore, for example, when the performer plays the accompaniment pattern by pressing a key on the scale of the F major chord in accordance with the melody corresponding to the F major chord as described above, the accompaniment sounded at the time of real-time input. As for the sound, the musical sound of the key number corresponding to the pressed key is generated. Then, the key number corresponding to the depressed key is stored as it is in the memory as the accompaniment data of the F major chord. Further, when the accompaniment data of the F major chord input in real time is reproduced in the automatic accompaniment mode, the key number data stored in the memory is read as it is unless the code name is specified. The accompaniment data is read as it is, and the sound system emits the accompaniment sound of the F major chord stored in the memory.

[0007]

However, as described above, since the ready-made accompaniment pattern can be transposed to the specified chord in the automatic accompaniment mode, it is also transposed when the accompaniment pattern input in real time is reproduced. May be required. However, the accompaniment pattern stored in the memory by real-time input is assumed to be output as it is, and is not assumed to be transposed. Therefore, if you try to play back the accompaniment pattern stored by real-time input by specifying a chord name different from that at the time of real-time input,
As in the case of transposing a ready-made accompaniment pattern to a designated code, the accompaniment pattern input in real time is regarded as the C code of the reference code, and code conversion is performed.
Therefore, the accompaniment sound to be generated is a pattern different from the accompaniment pattern input at the time of real-time input.

A specific example will be described. On the keyboard scale, as shown in FIG. 2 (A), there are 12 pitches including a white key and a black key in one octave. Each key is given a unique key number, and a musical tone with a pitch corresponding to the key number of the key for which the key-on event occurred is generated. The pitch on the scale of the F major chord is as shown in FIG. Then, when the accompaniment pattern is input in real time, it is assumed that the performer, for example, presses the key of the sound F, which is the chord root on the scale of the F major chord, while listening to the melody corresponding to the F major chord. Since this F sound is naturally on the scale of the keyboard, a musical tone of F pitch is produced from the sound system of the electronic musical instrument. The key number of this F sound is stored in the memory.

However, when the accompaniment pattern stored by this real-time input is reproduced in the automatic accompaniment mode, when the F major chord is specified, the F sound stored in the memory is regarded as the sound on the C chord. This accompaniment pattern data is converted into the sound on the designated F major chord. That is, in the conversion process from the C major code to the F major code, a process of converting each key number into a key number obtained by adding 4 times is performed.
Therefore, the F sound, which is the chord root of the F major chord, is converted to the B sound which is four times higher than that. Similarly, since each note of the accompaniment pattern stored in the memory is converted into a note four times above, the note is not an F major chord, and is a pattern different from the accompaniment pattern input in real time.

[0010]

In order to solve the above-mentioned problems, the present invention sets the scale of the chord name specified by the performer to the key input by the key-on operation during the real-time input operation mode of the accompaniment pattern. The key number data of each note of the assigned and input accompaniment pattern is converted into a key number on the scale of the reference code and stored in the accompaniment pattern storage means. Further, during the real-time input operation, the key number converted into the reference code is converted into the key number on the scale of the designated code name, and the tone of the converted key number is sounded. Then, in the automatic accompaniment operation mode, the key number that is converted and stored in the key number on the scale of the reference chord is converted to the key number on the scale of the specified chord name, and the tone of this converted key number is converted. Pronounce.

As described above, the musical tone sounded in the real-time input operation mode is similar to the musical sound sounded in the automatic accompaniment operation mode in that the key number on the scale of the reference chord is the key number on the scale of the designated chord name. It is the musical sound of the key number obtained by converting to. Therefore,
Accompaniment pattern that is pronounced in real-time operation mode,
When the specified chord name is the same as the accompaniment pattern sounded in the automatic accompaniment operation mode, the musical tones are the same. Further, even if the chord name designated in the real-time operation mode and the chord name designated in the automatic accompaniment operation mode are different, the accompaniment pattern does not change.

[0012]

BEST MODE FOR CARRYING OUT THE INVENTION

1. Overall Circuit FIG. 1 shows the overall circuit of an electronic musical instrument. Each key of the keyboard 1 is scanned by the key scan circuit 2, data indicating key-on and key-off is detected, and written in the working RAM 6 by the CPU 5. Then, the CPU 5 compares the data, which has been stored in the working RAM 6 up to that point, indicating the on / off state of each key, and the CPU 5 determines the on-event and off-event of each key. The keyboard 1 may be replaced by an electronic string instrument, an electronic wind instrument, an electronic percussion instrument (pad, etc.), a computer keyboard, or the like.

The switches and keys of the panel switch group 3 are scanned by the panel scan circuit 4. By this scan, data indicating ON / OFF of each switch or key is detected, and the CPU 5 performs the working RA.
Written to M6. And working RA until then
The CPU 5 compares the data indicating the on / off of each switch or key stored in M6, and determines the on event or off event of each switch or key by the CPU 5. The above-mentioned data and various kinds of processing data stored in the working RAM 6 are sent to an LCD (liquid crystal display device) 7 or an LED (light emitting diode) 8, and a display corresponding to the data content is performed.

The pattern ROM 9 stores accompaniment data for 95 patterns of automatic accompaniment with song numbers "1" to "95". The accompaniment data includes data of each accompaniment part such as rhythm data, bass data, chord data, backing data and arpeggio data. The ROM / RAM card 12 is a card having a built-in ROM or RAM therein, and stores sequence information including melody data for automatic performance, waveform data for giving a tone color, and the like. The program ROM 11 stores programs for the CPU 5 to perform various processes. Also, this program R
The OM 11 has input scale conversion data for converting a key number determined according to the keyboard layout of the keyboard 1 into a key number on the scale of a code designated by the user, and the key number data as a reference code C.
The scale conversion data for writing to convert to the key number on the scale of the major chord, and the scale conversion data to pronounce for converting the key number on the scale of the reference chord to the key number on the scale of other chords are stored. .

The sound system 13 is a DSP or M
A sound generator using a PU or the like produces a tone signal corresponding to a key depression of the keyboard 1, a tone color corresponding to a key-on or key-off touch (velocity), a tone signal corresponding to a tone color designated by the panel switch group 3, and the like. It is generated and output from a speaker, or a tone signal is output to the outside. Here, the touch (velocity) is data indicating the speed or strength of the keystroke operation of each key of the keyboard 1. In the sound system 13, a tone generation system for a plurality of channels, for example, 16 channels is formed by time-division processing, and the tone can be generated polyphonically. The musical tone data assigned to each channel is stored in an assignment memory (not shown). With this sound system 13, the waveform RO
Various types of waveform data are read from M14. This waveform data corresponds to the pitch, touch (velocity), and tone color. Midi Interface 1
Reference numeral 5 is an interface for transmitting and receiving musical sound data to and from an externally connected electronic musical instrument. This tone data is based on the MIDI (Musical Instrument Digital Interface) standard, and sound is also generated based on this tone data.

With this structure, this electronic musical instrument selects the normal keyboard performance mode in which a tone corresponding to the key number of each key is produced by the key depression operation of the keyboard 1, and the automatic performance mode. be able to. In the automatic performance mode, the song data stored in the ROM / RAM card 12 is read out to automatically play both the melody part and the accompaniment part, and the pattern ROM 9 and the pattern RAM 10 are also stored. There is an automatic accompaniment mode that automatically plays the accompaniment part. The automatic accompaniment mode allows the performer to play a melody part by pressing a key on the keyboard 1 while automatically playing the accompaniment part, or perform various performances such as automatically playing the accompaniment part and ensemble with another electronic musical instrument. Available for

The all-track automatic performance mode and the automatic accompaniment mode are created by the performer or the pattern ROM 9 is used.
Alternatively, the pattern RAM 10 is obtained by correcting and editing the accompaniment patterns and songs stored in the ROM / RAM card 12.
It is also possible to store it in a memory, read it, and play it back as an accompaniment pattern or music. As a means for the performer to input an accompaniment pattern or song, step input in which numerical values such as a key number and the number of steps are sequentially input for each part such as a melody part, a rhythm part, a bass part, a drum part, and a chord, There is a real-time input in which the keyboard 1 is pressed and input while listening to the musical sounds of other parts.

2. Scale conversion data The scale conversion data stored in the program ROM 11 is the input scale conversion data, the writing scale conversion data, and the sounding scale conversion data as described above. The input scale conversion data is data in which key numbers determined according to the key layout of the keyboard 1 are associated with key numbers on the scale of various code names. For example, as shown in FIG. 2A, the scale on the keyboard is represented by "C, D flat, D, E flat, E, F, G flat, G, A flat, A, B flat, B". It is a sound sequence. In addition, as shown in FIG. 2B, the scale of the F major chord is “F,
G, A, B flat, C, D, E ". Therefore, D
When the key numbers of black keys of flat, E-flat, G-flat, and A-flat are input, the scale conversion data for input of this F-measure causes D, E, G, and A respectively.
It is replaced with the key number of the white key. When the key number of the white key of B is input, it is converted into the key number of the black key of B flat by the scale conversion data for input of F major. Similarly, the input scale conversion data having a code name other than the F major code is also data for converting the key number data on the keyboard into the key number data on each scale.

The scale conversion data for writing is
This is data for converting the key number data converted by the input scale conversion data into the key number data on the scale of the C major code which is the reference code. For example, this is numerical data and semitone data corresponding to the frequency of each chord root and the chord root of the C major chord. As shown in FIG. 2C, the scale of the C major chord is “C, D, E,
F, G, A, B ". For example, there is a difference of 4 degrees between the F major chord route and the C major chord route.
Therefore, the key number on the scale of the F major code can be converted to the key number on the scale of the C major code by subtracting the numerical data corresponding to 4 degrees from the key number on the scale of the F major code.

In contrast to the scale conversion data for writing, the scale conversion data for pronunciation converts the key number data on the scale of the C major code, which is the reference code, to the key number data on the scale of another code name. It is data for doing. This is numeric data corresponding to the frequency between the chord root of the C major chord and the chord root of another chord name, like the scale conversion data for writing. For example, by adding the numerical data corresponding to 4 degrees to the key number on the scale of C major code, it is converted to the key number on the scale of F major code. Regarding the chord type, the pitch to raise or lower a semitone or the semitone to be added is determined for each chord type.Therefore, in the pronunciation scale conversion data, a predetermined key number is converted to a key number above or below the semitone according to this rule. And semitone data for adding a semitone key number. Furthermore, in the major chord and the minor chord,
Since the predetermined pitch differs by a semitone, the pronunciation scale conversion data is provided with semitone data for converting a predetermined key number on the major chord into a key number above or below the semitone.

The tone-scale conversion data and the writing-scale conversion data may be shared.
Further, the pronunciation scale conversion data and the writing scale conversion data may be a data table or a decoder in which a key number on the scale of the C major chord and a key number on the scale of each code name are associated with each other.

3. Automatic Accompaniment Mode In the automatic accompaniment mode, the ready-made accompaniment data already stored in the pattern ROM 9 or the accompaniment data created or edited by the performer stored in the pattern RAM 10 is read and sent to the sound system 13.
This is an operation mode in which an accompaniment corresponding to the read accompaniment data is sounded. The ready-made accompaniment data stored in the pattern ROM 9 has 95 patterns, and the song numbers “1” to “95” are assigned. There are five patterns of accompaniment data stored in the pattern RAM 10, and "96"-
Song numbers “99” and “00” are added. Further, the keys within a predetermined range of the keyboard 1 are set to be used as keys for specifying a chord name in the automatic accompaniment mode.

When performing the automatic accompaniment, the automatic performance switch 20 is turned on, the rhythm switch 26 is turned on, and the song number is designated by the ten keys 30. As a result, the accompaniment data corresponding to the designated song number is read from the pattern ROM 9 or the pattern RAM 10, and the rhythm pattern data in this accompaniment data is sent to the sound system 13 to produce a rhythm sound. In this state, when the performer presses the chord name designation key to designate the chord name, the bass pattern and the chord pattern in the accompaniment data are converted into chords corresponding to the designated chord name. Then, the sound is sent to the sound system 13 for sounding. After that, if the chord name is designated according to the progress of the melody, the chords of the bass pattern and the chord pattern can be changed according to the melody.

4. Panel Switch Group 3 FIG. 3 shows a part of the switches provided in the panel switch group 3 and the LCD 7 and the LED 8. The automatic performance switch 20 is a switch for instructing on / off of the automatic performance mode. The pattern maker switch 21 is a switch for turning on / off a pattern maker mode for creating an accompaniment pattern by real-time input. The start / stop switch 22 is a switch for instructing start / stop of automatic performance or for start / stop of a pattern make mode for recording real-time input of an accompaniment pattern in the pattern maker mode. The pattern maker mode includes a rhythm pattern maker mode for creating a rhythm pattern of accompaniment patterns, a bass mode maker mode for creating a bass pattern, and a chord pattern maker mode for creating a chord pattern.
Is a switch for starting the designation of the chord name of the chord pattern. The bar number setting switch 24 is a switch for starting the setting of the bar number of the chord pattern. The time signature setting switch 25 is a switch for starting the setting of the time signature of the chord pattern.

The rhythm switch 26 is a pattern ROM 9
Alternatively, it is a switch for starting selection of rhythm data stored in the pattern RAM 10 and for instructing on / off of the rhythm pattern maker mode. The base switch 27 is a switch for instructing on / off of the base pattern maker mode. The code switch 28 is a switch for instructing ON / OFF of the code pattern maker mode. The ten-key pad 30 is a switch for inputting a numerical value.

[5] Pattern RAM 10 FIG. 4 shows the pattern RAM 10. This pattern RA
M10 has song numbers "96" to "99" and "0".
Accompaniment data for automatic accompaniment for 5 patterns up to "0" is stored. The song numbers "95" to "99" and "00" include automatic accompaniment data newly created by the performer in the pattern maker mode by step input or real time input, and the pattern ROM 9
The accompaniment data stored in is transferred as it is, or the accompaniment data obtained by correcting and editing the accompaniment data is stored.

The accompaniment data is composed of index data, rhythm data, bass data, chord data and the like. The index data includes song name data, song name data consisting of headings registered by the performer, time signature data, and bar number data. The rhythm data is data indicating a rhythm pattern, and the base data is data indicating a base pattern.

The chord data includes note data for each note, bar mark data indicating the beginning of a bar, and end data indicating the end of chord data. The note data includes key number data that indicates the pitch, step data that indicates the timing from the beginning of the bar to the start of sounding or key on, gate data that indicates the duration of sounding or the time from key on to key off, keystroke speed or keystroke strength. Contains touch (velocity) data to indicate. This note data includes other musical factors such as tone color information, effect information, rhythm information, sound image (stereo) information, quantize information, modulation information, tempo information, volume information, envelope information, elapsed time from the start of sounding, etc. May be included. Further, pointers are provided at the start addresses of the note data, bar mark data, and end data forming the chord data.

6. Working RAM 6 FIG. 5 shows a register group in the working RAM 6. The automatic performance mode flag AP is turned on / off in response to an on / off operation of the automatic performance switch 20. The pattern maker mode flag PM is the pattern maker switch 2
It is turned on / off according to the on / off operation of 1. The pattern making flag PR is turned on / off in response to the on / off operation of the start / stop switch 22. The automatic accompaniment performance flag AR is turned on / off in response to the on / off operation of the start / stop switch 22 in the automatic performance mode. Step processed flag SE
Is a flag indicating whether or not the step processing (step 300) has been executed.

The rhythm pattern flag RP is turned on / off when the rhythm switch 26 is turned on / off in the pattern maker mode. The base pattern flag BP is turned on / off when the base switch 27 is turned on / off in the pattern maker mode.
The code pattern flag CP is turned on / off when the code switch 28 is turned on / off in the pattern maker mode.

The chord name data CN is data representing chord names designated by the performer in the automatic accompaniment mode by depressing a chord for designating chord names. The input code name data ICN is data indicating the code name input in the pattern maker mode.
The bar number data BN is data indicating the number of bars input in the pattern maker mode. Time signature data TM
Is data indicating the time signature input in the pattern maker mode.

The step counter SC is a counter used to count the tone generation start timing (step time) in the step processing (step 300). The gate counter GC is a counter used to count the sound generation maintaining time (gate time) of the key input sound in the pattern creation processing (step 120), and the counting processing is performed in the gate processing (step 310). . The channels assigned for automatic accompaniment are a part of all channels, and are further divided into rhythm channels, bass channels, and chord channels. Then, in order to count the gate time of the musical tones of the bass channel and the chord channel, a number of gate counters GC equal to the number of the bass channel and the chord channel are provided. The already-edited data EDA and EDB are data of the already created portion of the accompaniment data. The contents of the already-edited data EDA and EDB are the same as the note data in the accompaniment data described above.

The input scale conversion data IST is the program RO according to the input code name data ICN.
It is the input scale conversion data read from M11. Further, the pronunciation scale conversion data HST is the above chord name data CN or input chord name data I.
It is the pronunciation scale conversion data read from the program ROM 11 according to the CN.

7. Main Routine FIG. 6 shows a flowchart of the main routine. This process starts when the power is turned on, and the CPU 5 performs an initialization process (step 102) such as clearing the working RAM 6 and the pattern RAM 10. Then, the CPU 5 reads the scan data from the keyboard scan circuit 2 to discriminate a key-on event or a key-off event (step 10).
4). Then, processing is performed according to the key-on or key-off event (step 106). further,
The scan data from the panel scan circuit 4 is read (step 108), and panel switch event processing is performed according to the input data or input command of the switch or volume of the panel switch group 3 (step 1).
10).

Next, it is judged whether or not it is the automatic performance mode based on the automatic performance mode flag AP (step 112). At this time, in the automatic performance mode, the automatic performance process (step 114) is next executed. Also,
If it is not the automatic performance mode, it is judged whether or not it is the pattern maker mode based on the pattern maker mode flag PM (step 116). If it is the pattern maker mode, then the pattern making flag PR
Based on the above, it is determined whether or not the pattern making operation is being performed (step 118). Then, when the pattern making operation is being performed, the pattern creating processing by real-time input (step 120) is executed, and when the pattern making operation is not being executed, the pattern creating condition setting processing (step 122) is executed.

The other processing (step 124) is stored in the ROM / RAM card 12, processing for performing a normal performance operation, processing for MIDI input data, processing for creating and storing an automatic performance pattern by step input. In the pattern maker mode for reading music data and performing automatic performance, for reading accompaniment data stored in the pattern ROM 9 and performing automatic accompaniment, and in the pattern maker mode for creating accompaniment patterns, the rhythm in the accompaniment data created A rhythm pattern maker process for creating and recording a pattern and a base pattern maker process for creating and recording a bass pattern.

8. Step Processing FIG. 7 shows a flowchart of the step processing (step 300). This step process is an interrupt process that is executed when an interrupt signal that is periodically generated at regular intervals is given to the CPU 5, and is performed by an automatic performance process (step 114) or a pattern creation process (step 120). Step time of the accompaniment pattern,
Alternatively, it is a process of counting the step time of the accompaniment pattern input in real time in the pattern creation process (step 120). First, the step counter SC is incremented (step 302). Next, based on the count number of the step counter SC, it is judged whether or not the step time is overflow (step 3).
04). This overflow time is the creation condition setting process in the pattern maker mode (step 122).
It is the step time for one bar determined based on the bar mark data determined based on the time signature data set in step 1 or the bar mark data in the accompaniment data read in the automatic accompaniment mode. Therefore, this step 30
The process of 4 determines whether the step time exceeds the step time of one bar and reaches the head of the next bar. If the determination in step 304 is YES, the step counter SC is reset (step 306),
If NO, it will not be reset. When the step time overflows, in the real time input mode, the bar mark data is written in the working RAM 6 or the pattern RAM 10 (step 308),
Return to main routine. On the other hand, if the step time does not overflow, the step processed flag SE for indicating that the increment or reset of the step counter SC has been executed by the interrupt is set to ON (step 309), and the process returns to the main routine.

9. Gate Process FIG. 8 shows a flowchart of the gate process (step 310). This gate process is an interrupt process executed when an interrupt signal periodically generated at regular intervals is given to the CPU 5, and is a process of counting the gate time of the accompaniment pattern input in real time in the pattern maker mode. Is. First, each gate counter GC is incremented (step 31).
2). Then, the count number of each gate counter GC is searched and the overflowed gate counter GC
It is determined whether or not there is (step 314). The overflow time is set to the length of one chord pattern determined based on the time signature data and the bar number data set in the creation condition setting process (step 122) in the pattern maker mode, for example. Therefore,
The processing of step 314 determines whether the gate time exceeds the length of the code pattern. If the determination in step 314 is YES, the overflowed gate counter GC is reset (step 3
16) If NO, it will not be reset. Then, the process returns to the main routine.

10. Automatic Performance Processing FIG. 9 shows a flowchart of the automatic performance processing in the automatic accompaniment mode. In this process, the ready-made automatic accompaniment pattern stored in advance in the pattern ROM 9 or the automatic accompaniment pattern stored in the pattern RAM 10 is reproduced. This automatic performance process is started by turning on the automatic performance switch 20 and the start / stop switch 22. Before the start / stop switch 22 is turned on, a numeric key 30 is used to select a song number of an accompaniment pattern for automatic performance. The song number entered by the ten-key pad 30 is displayed on the LED 8 and the song name is displayed on the LCD 7. The performance chord is reset to "C major" immediately after the automatic performance switch 20 is turned on. The tone color of the chord part of the automatic accompaniment tone is set to the tone color designated by the ten key 30 in the tone color designation mode (not shown).

First, it is judged whether or not the automatic accompaniment playing flag AR is on (step 130). If the automatic accompaniment performance is being performed, then it is determined whether or not the step processed flag SE is on, that is, whether or not the step processing has been completed (step 132). When the step processing is completed and the step processed flag SE is turned on, the step processed flag SE is reset (step 134), and the chord data is sequentially read one by one from the earliest note data. Since the note data is delimited by the pointer of the start address, when the step data of the read note data matches the value of the step counter SC (step 138), the pointer is the pointer of the start address of the next note data. Is incremented to (step 140).

Next, the chord name data CN designated by the performer is read from the working RAM 6 (step 142), and the tone scale conversion data corresponding to the chord name data CN is read from the program ROM 11. Then, the key number data of the note data is converted into the key number data on the scale of the designated chord by the read scale conversion data for pronunciation (step 144). As described above, the code data stored in the working RAM 6 or the program RAM 11 is key number data on the scale of the C major code which is the reference code.

Therefore, the key number data on the scale of the C major chord is converted into the key number data on the scale of the designated chord name. As described above, the pronunciation scale conversion data is the data corresponding to the frequency between the chord root of the C major chord and the chord root of the designated chord name, and the semitone data. For example, if the designated code name is an F major code, it is converted into a key number on the scale of the F major code by adding numerical data corresponding to 4 degrees to each key number of the above code data. If the designated chord name is the F minor chord, numerical data corresponding to the frequency of lowering a semitone is added for a predetermined pitch on the scale of the F major chord. Designation code is F
In the case of dominant seventh, key number data corresponding to the pitch of genre 7 of the F major chord is added or replaced with other key number data based on the above-mentioned semitone data. For the key number data corresponding to the pitch of the genus 7, the step time is variably set according to the rhythm pattern. As a result, the musical sound of the pitch of genus 7 is generated at a timing suitable for the rhythm pattern. Note that the key number data may be converted by using a decoder, and as described above, the key number data on the scale of the C major code and the key number data on the scale of other code names are associated with each other. You may convert using the data table.

The code data for which the key number conversion has been completed is sent to the sound system 13 together with other musical sound data such as gate data, whereby the above step 13 is performed.
The sound of the note data read in 6 is sounded as the sound of the designated chord (step 146). Thereafter, each time the value of the step counter SC matches the step data of the note data, the pointer is updated to the pointer of the next note data (steps 138, 14).
0), the accompaniment sound of the designated song number is converted into the designated chord and sounded. The gate data is used to control the sound generation time in the sound system 13, and sound is generated for a length corresponding to the gate time indicated by the gate data.

Similarly, the rhythm data and the bass data are read out, and the respective tone generation processing is performed (step 148). At this time, the key number of the bass is also converted into a sound on the scale of the specified chord and sounded. In this way, the pattern ROM 9 or the pattern RAM
The automatic accompaniment pattern stored in 10 is converted into a note on the scale corresponding to the specified chord name and pronounced, whereby the chord of the automatic accompaniment pattern repeated every one or a plurality of measures is progressed in the melody. Can be changed according to.

11. Creation Condition Setting Process FIG. 10 shows a flowchart of the creation condition setting process (step 122) in the pattern maker mode by real-time input. This process is performed by the automatic performance switch 2
This is executed when 0 is turned on, the pattern maker switch 21 is turned on, and the start / stop switch 22 is set to stop. This creation condition setting process is a process for inputting various conditions of the accompaniment pattern before real-time input of the accompaniment pattern, and when there is an ON event of the switch for setting and inputting the various conditions, The input condition data is read and temporarily stored in the register. When the input code name switch 23 is turned on (step 15)
0), if a key within a predetermined range of the keyboard 1 set for code name designation is depressed, the code name corresponding to this key is stored as the input code name data ICN (step 152). When the measure number setting switch 24 is turned on (step 154), the numerical data input by the ten key 30 after that is stored as the measure number data BN (step 156). When the time signature setting switch 25 is turned on (step 15
8) After that, the numerical data input by the ten keys 30 is stored as the time signature data TM (step 16).
0). When the other condition setting switch is turned on (step 162), the data input thereafter is stored as the condition data (step 164). When the start / stop switch is set to start (step 166), the pattern making flag PR
Is set to ON (step 168).

12. Pattern Creation Process FIG. 11 shows a flowchart of the pattern creation process (step 120) in the pattern maker mode. This process is executed when a chord pattern of the accompaniment pattern is created by real-time input, the automatic performance switch 20 and the pattern maker switch 21 are turned on (steps 112 and 116), and the start / stop switch 22 is started. Is started (step 118).

This pattern creation process (step 1
20) Created by performer or R before start
The rhythm pattern and the bass pattern read from the OM / RAM card 12 are stored in the pattern RAM 10. The rhythm pattern creating process (not shown) is started by turning on the rhythm switch 26 and setting the start / stop switch 22 to start in the pattern maker mode. In this rhythm pattern creating process, the rhythm input in real time by the key depression of the keyboard 1 is stored in the pattern RAM 10. In addition, the base pattern creation process (not shown)
In the pattern maker mode, the base switch 27 is turned on, and the start / stop switch 22 is set to start. In this bass pattern creation process, the rhythm pattern is reproduced,
By pressing the keyboard 1 according to this rhythm sound, the bass pattern is input in real time. This real-time input base data is a pattern RAM
Stored in 10. The rhythm data and the bass data are composed of note data, bar mark data, and end data like the chord data shown in FIG. However, note data does not include key number data because the rhythm has no pitch, and in some cases does not include gate time data, but tone number data (instrument / timbre)
Is included.

Code pattern creation processing (step 12)
0) is started, depending on whether or not the code pattern flag CP is set to ON, the code switch 2
It is determined whether or not 8 has been turned on (step 17).
0). If the code switch 28 is off, the code pattern creation process is not performed. If the code switch 28 is turned on, the mode is the code pattern creation mode, so it is next determined whether or not the step processing (step 300) is completed (step 172). If the step processing is completed, the step processed flag SE
Are reset (step 174).

Next, the already-edited data EDA is read from the read side of the working RAM 6 (step 17).
8). This already-edited data EDA is the pattern RA
The accompaniment data transferred from the M10 to the working RAM 6, and when the chord pattern is created, the rhythm data stored in the rhythm pattern creation process and the bass data stored in the bass pattern creation process and the chord pattern creation process (step It is the code data input in 120). Previous edit data E to be read
DA is data for each pointer, as in the case of the automatic performance process (step 114). Then, it is determined whether or not the step data SD in the already-edited data EDA and the step counter SC match (step 180). The step data SD is the step counter S
If it matches C, the already-edited data EDA
Is written on the write side of the working RAM 6 (step 182). Here, the already-edited data written on the write side is EDB.

If the read already-edited data EDA is not the end data, the key number of this already-edited data EDA is on the scale of the code name designated in step 152 of the creation condition setting process (step 122). Converted to key number (step 18)
8). By transmitting the note data including the converted key number data to the sound system 13, an accompaniment sound corresponding to the already-edited data EDA is produced as a sound on the scale of the designated chord name (step 190). . In the key number conversion processing of step 188, the pronunciation scale conversion data of the designated code name is read from the program ROM 11, and the key number data of the already-edited data EDA composed of the key numbers on the scale of the C major code is read. It is converted to key number data on the scale of the specified code name. This key number conversion processing is performed in the step 144 described above.
It is done in the same way as.

If the already-edited data EDA read at step 178 is end data, the already-edited data EDR has been read out once. Therefore, already-edited data EDA at the read address and already-edited data at the write address have already been edited. Replace the address of data EDB. As a result, in the next read process, the already-edited data EDB with the read address is read and the already-edited data E with the write address is read.
DA is rewritten with the contents of the existing edit data EDB. Then, it is determined whether or not there is a key event (step 192), and if there is a key event, the key input process (step 194) is executed, and if there is no key event, the process proceeds to the next process.

While the pattern making flag PR is ON, this pattern forming process 120 is repeatedly executed. By repeating the processing of steps 172 to 190, the rhythm pattern and the bass pattern that have already been created are repeatedly pronounced. Therefore, the performer plays the chord pattern while listening to the musical sounds of the rhythm pattern and the bass pattern to be pronounced. Input from the keyboard 1. The rhythm pattern and the bass pattern that are sounded at this time are converted into sounds on the scale of the specified chord name. Therefore, when performing real-time input while listening to the melody tone, the musical tones of the rhythm pattern and the bass pattern can be adjusted to the tone of the melody tone, so that the chord pattern can be input in accordance with the tone of the melody tone.

When the performer presses a key, it is a key-on event.
4) is started, and the key number data of the depressed key is converted into the reference code (step 222 in FIG. 12) and stored in the pattern RAM 10 as code data (step 224 in FIG. 12). The code data stored in the pattern RAM 10 is next processed by the pattern creation processing 12
When 0 is repeated, it is transferred to the working RAM 6 as already-edited data EDA. Therefore, by the processing of steps 172-190, the chord pattern input in real time is sounded according to the rhythm pattern and the bass pattern. As a result, after the key is turned off, the code pattern input in real time can be repeatedly heard and confirmed. The chord pattern produced at this time is a note on the scale of the designated chord name. At the time of a key-on event, in steps 228 and 229 of FIG. 12, the sound of the key having the key-on event is converted into a sound on the scale of the specified chord name and sounded in real time.

For example, in the case of creating an accompaniment pattern of two measures, the rhythm pattern of two measures and the bass pattern are repeated with the notes on the scale of the designated chord name by repeating the processing of steps 172-190. Is pronounced. In this state, if the user presses only the first note of the chord pattern at the start of the first bar of the accompaniment pattern, the first note of the input chord pattern becomes the rhythm pattern from the next bar. It is pronounced according to the bass pattern. After that, if you do not press any other key,
An accompaniment pattern including only the first note of this chord pattern is repeatedly sounded. Then, the user presses the sound of the second sound of the chord pattern after the first sound is sounded, while listening to the accompaniment pattern that is repeatedly sounded next.
As a result, from the next first bar, the first and second tones are repeatedly sounded according to the rhythm pattern and the bass pattern. Similarly, by pressing the third and subsequent sounds, the chord pattern of two measures is input. As described above, it is not necessary to input the chord pattern of two measures at a time, and the chord pattern can be input for each note while listening to the content of the already-edited data that is repeatedly sounded. Of course, a chord pattern of two measures may be input at one time, or a plurality of notes may be input at one time. In this case as well, by repeating the processing of steps 172-190, the input number of sounds is repeatedly sounded in accordance with the rhythm pattern and the bass pattern. If the user makes a mistake in inputting the code pattern, the code pattern creation process can be started again to clear the previously input code pattern and input a new code pattern.

13. Key Input Process FIG. 12 is a flowchart of the key input process. This process is started when there is a key event by the keyboard 1 in the code pattern creation process (step 120), and the code pattern by key input is stored in the pattern RAM 10 in real time as code data. If the key event is the key-on event (step 202), next, the process of assigning the sounding channel of the key having the key-on event is performed (step 20).
6). In this step 206, each channel of the chord channel is searched to determine whether or not it is a sounding channel. The channels assigned for automatic accompaniment are a part of all channels, and if there is a free channel for this predetermined automatic accompaniment channel, this empty channel is assigned to the key with the key-on event. To be

Here, if there is no empty channel (step 208), the tone of the channel having the longest gate time among the tones being generated is muted. Since the longer the gate time is, the longer the time from the start of sounding, even if the tone of this channel is muted, it has little effect on other tones. Therefore, the tone of the channel having the maximum gate time is muted, and instead, the vacant channel is assigned to the key having the new key-on event (steps 208 to 218).

First, the count value of each gate counter GC of the automatic accompaniment channel is read out and compared in magnitude. Further, the maximum read count value is extracted, and the channel having the maximum count value is obtained (step 208). Next, CPU
The count value of the maximum gate counter GC is read to 5 (step 210), and is written in the gate data area in the note data to which the channel having the maximum gate count value is assigned (step 212). As a result, the gate time of the musical tone having the maximum count value is forcibly determined. Next, the key number data of the tone having the maximum gate count value is read into the CPU 5 (step 21).
4) is converted into key number data on the scale of the code name designated in step 152 (step 21)
6). The key number conversion process of step 216 is the same as that of step 144.

The code data in the pattern RAM 10 contains the key number data of the key for which a key-on event occurred during real-time input in step 222 to be described later.
It is converted into key number data on the scale of the C major code which is the reference code and stored. Further, the musical tones of the accompaniment chord pattern that is sounded during real-time input are converted into key numbers on the scale of the designated chord name and sounded (step 228). Therefore,
Since the key number data read in step 214 is the key number data converted into the C major chord, it is converted into the key number data of the chord name designated by the performer (step 216).
The converted key number data is sent to the sound system 13 together with the mute command data, so that the converted key number musical tone is muted (step 21).
8).

On the other hand, when there is an empty channel, the gate counter GC corresponding to this empty channel is reset (step 220). And program R
The key number of the key having the new key-on event is converted into the key number on the scale of the specified code name based on the input scale conversion data corresponding to the specified code name read from 0M11 (step 221). . By doing this, if a key that is not on the scale of the specified chord name is pressed, it will be converted into the key number of the key on this scale, so the key that is not on the scale of the chord name specified by the performer will be converted. Even if you press the key by mistake, it will be input as a sound on the scale of the specified chord name.

The input scale conversion data IST is shown in FIG.
As shown in FIG. 3, this is data in which key number data of pitches on the scale of each chord name is arranged corresponding to the key arrangement of the keyboard 1. For example, when the F major code is specified, the input scale conversion data is as shown in FIG.
It is data in which the scale on the keyboard of (A) corresponds to the scale of the F major chord of FIG. 2 (B), and it is as shown in FIG. 13 when expressed by a note name. Therefore, for example, when the performer presses a "D flat" key that is not on the F major chord scale, this "D flat" key number is on the F major chord scale according to the input scale conversion data. It is converted into the key number of "D".

This scale allocation processing (step 22)
1) is a program ROM that stores data as shown in FIG.
11 is stored in the form of a data table, the data corresponding to the designated code name is read out, and the format of the decoder for obtaining the key number data corresponding to the key number data input from the keyboard 1 is also used. good.
Further, as shown in FIG. 14, it may be calculated. In the processing of FIG. 14, first, the key number data input from the keyboard 1 is read (step 32
0) Further, the input scale conversion data corresponding to the designated code name is read from the program ROM 11 (step 322). And keyboard 1
It is determined whether or not the key number data input from the input scale conversion data matches, and this determines whether the pressed key is a sound on the scale of the specified chord name. (Step 324). Here, if the pressed key is a sound on the scale of the designated chord name, the key number data is not converted as it is (step 326). If the pressed key is not a note on the scale of the specified chord name, the key number is converted into a key number above or below a semitone (step 328).

The key number data thus converted in step 221 is further converted into a key number on the scale of the C major code which is the reference code (step 222). In step 222, the scale conversion data for writing is read from the program RAM 11, and the conversion processing of the key number data is performed by the scale conversion data for writing. As described above, the scale conversion data for writing is numeric data and semitone data corresponding to the frequency of each chord root and the chord root of the C major chord. For example, if the designated chord name is F major chord, there is a difference of 4 degrees between the route of F major chord and the route of C major chord. Therefore, the numerical data corresponding to 4 degrees is subtracted from the key number data converted into the key number on the scale of the F major code in step 221, and converted into the key number on the scale of the C major code. Also, based on the semitone data, conversion regarding a chord type or conversion between a major chord and a minor chord is performed.

Next, the key number data converted into the reference code in step 222 and the step data and touch data of the key having the key-on event are written in the note data of the chord data (step 224).
Next, the address for writing the gate data is stored in the note data at this time (step 226).
No data is written to this stored address until the key-off event (step 236).

Next, the key number converted into the C major chord sound in the above step 222 is converted into the key number on the scale of the chord name designated by the performer (step 228). The processing of this step 228 is
The processing is the same as that in step 144. The converted key number data is sent to the sound system 13 together with the musical sound data necessary for the key-on event such as touch data, and is sounded as a sound on the scale of the designated chord (step 229).

While the key-on continues, the musical tones of the rhythm pattern and the bass pattern are converted into the musical tones of the designated chord name by the processing of steps 172-190 of FIG. Releases the key at the desired timing. As described above, when the key-on key is released, since it is a key-off event, YES is selected in step 192 of FIG. 11 and step 2 of FIG.
Since 02 is NO and step 230 is YES, the channel of the key having the key-off event is searched from the channels being sounded (step 231). If there is a corresponding channel (YES in step 232), the value of the gate counter GC at that time is read (step 234) and written in the note data of the key having the key-off event. The count value of the gate counter GC is written to the address stored for writing the gate data in step 226 (step 236).

Next, the pronunciation scale conversion data is read from the program R0M11, and the key number of the key having the key-off event is converted into the key number on the scale of the designated code name based on the scale data. (Step 238). This step 238
The key number conversion process of is the same process as step 144 described above. The key number data converted in step 238 is sent to the sound system 13 together with the data indicating that there is a key-off event, and the sound of the key having the key-off event is muted (step 240).

As described above, in the electronic musical instrument of this embodiment,
When inputting accompaniment data by real-time input, the performer specifies a chord name (step 152 in FIG. 10) and plays the chord pattern using the keyboard 1. As a result, the sounds that can be input are limited to the sounds on the scale of the specified chord name (step 221 in FIG. 12), and the input sounds are converted to the sounds on the scale of the C major chord and then stored in the pattern RAM 10. It is stored (steps 222 and 224 in FIG. 12). Also,
The played chord pattern is sounded in real time with the sound on the scale of the designated chord name (steps 228 and 229 in FIG. 12).

For example, when the performer presses a D-flat black key not on the scale of the F major chord while listening to the melody sound corresponding to the F major chord, FIG.
As shown in, the D flat key number is converted into the D note key number on the scale of the F major chord and input. Then, the key number of the D sound is further converted into the key number on the scale of the C major code which is the reference code and stored in the pattern RAM 10. In this case, since the root of the C major chord is 4 degrees lower than the root of the F major chord, the key number of the D note is converted into the key number of the A note which is 4 degrees down and stored in the pattern RAM 10. Further, the input data converted into the key number on the scale of the C major code is converted again to the key number on the scale of the designated code name. That is, the key number of the A sound stored in the pattern RAM 10 is read and converted into the key number of the D sound on the scale of the F major code. Then, the key number data of the D sound is sent to the sound system 13, and the D sound is generated. At this time, the player presses the D flat sound key on the keyboard 1, but the sound system 13 produces the D sound. Therefore, even if a key having a pitch that is not on the designated chord name is pressed, it is converted into a pitch on the scale of the designated chord name and sounded.

In the automatic accompaniment mode, the pattern RAM 1
When reproducing the chord pattern stored in 0, the key number on the scale of the C major chord stored in the pattern RAM 10 is on the scale of the chord name (step 136 in FIG. 9) designated by the performer. Converted to key number and pronounced (step 1 in FIG. 9)
44, 146). For example, as described above, the pattern RAM
The key number of the note A stored in 10 is F
When a major chord is specified, it is converted into a D sound and sounded in the same manner as in the above real time input. When another chord name is designated, it is converted into the pitch on the designated chord name and is sounded.

Thus, in the electronic musical instrument of the above embodiment,
At the time of real-time input, the scale of the specified code name is assigned to the keyboard layout of the keyboard 1 so that only the key numbers on the scale of the specified code name can be input. As a result, the conversion process of the input data to the reference code and the conversion process from the reference code to the specified code are performed correctly according to the transposition rules, so that the chord pattern that is sounded during real-time input is played back in the automatic accompaniment mode. The real-time input can be performed more easily than in the conventional case in accordance with the chord pattern to be performed, and an incorrect pitch is not input.

The gate times written in steps 210 and 234 may be those obtained by subtracting the corresponding step times.

The present invention is not limited to the above embodiment,
Various modifications can be made without departing from the spirit of the present invention.
For example, in step 221 in the key input process (step 194) of FIG. 194, if the key input pitch is not the pitch on the scale of the specified codename, an error display or an error notification sound is generated. You may do it. In this case, the key number data of the key that is erroneously pressed is removed without being converted into the key number data on the scale of the designated code name, and the subsequent processing is not performed. Therefore, the performer can input a chord pattern corresponding to the designated chord name by selecting and pressing a pitch on the scale of the chord name designated by the performer.

In the chord pattern creating process (step 120), the real time input may be a chord. In this case, the code pattern creation process (step 120) is performed by time-divisional process for each key that is key-on redundantly. Also in the automatic accompaniment process (step 114), chords are sounded by performing time-division processing on chord patterns including musical sounds to be sounded redundantly. Further, the rhythm pattern or bass pattern creating process and the rhythm pattern or bass pattern sounding process in the automatic performance process (step 114) and the pattern creating process (step 120) may be omitted.

[0074]

As described above in detail, according to the present invention, in the real-time input operation mode, by assigning the scale of the chord name designated by the performer to the keyboard layout on the keyboard, the scale of the designated chord name is assigned. You can eliminate the input of sound that is not in. Then, the chord pattern input with the pitch on the scale of the designated chord name is converted into a reference chord and stored, and is stored as the reference chord in both the real-time input operation mode and the automatic accompaniment operation mode. By converting an existing chord pattern into a chord pattern on the scale of the designated chord name and pronouncing, the chord pattern pronounced in the real-time operation mode matches the chord pattern pronounced in the automatic accompaniment operation mode.

Therefore, it is possible to prevent an erroneous chord pattern from being created by depressing a key whose pitch is not on the scale of the chord name designated during real-time input. Further, since the chord pattern that is sounded at the time of real-time input matches the chord pattern that is sounded at the time of the automatic accompaniment operation mode, real-time input can be performed more easily than before.

[Brief description of drawings]

FIG. 1 is an overall circuit diagram of an electronic musical instrument.

FIG. 2 is a diagram illustrating a correspondence between a scale and a key when a key number is changed according to a code.

FIG. 3 is a plan view of a part of a panel switch group.

FIG. 4 is a configuration diagram of accompaniment data in the pattern RAM 10.

5 is a diagram showing a register group in a working RAM 6. FIG.

FIG. 6 is a diagram showing a flowchart of a main routine.

FIG. 7 is a diagram showing a flowchart of step processing.

FIG. 8 is a diagram showing a flowchart of gate processing.

FIG. 9 is a diagram showing a flowchart of automatic performance processing.

FIG. 10 is a diagram showing a flowchart of a creation condition setting process.

FIG. 11 is a diagram showing a flowchart of a code pattern creation process.

FIG. 12 is a diagram showing a flowchart of key input processing.

FIG. 13 is a diagram showing input scale conversion data.

FIG. 14 is a diagram showing a flowchart of scale allocation processing.

[Explanation of symbols]

1 ... Keyboard, 2 ... Keyboard scan circuit, 3 ... Panel switch group, 4 ... Panel scan circuit, 5 ... CP
U, 6 ... Working RAM, 7 ... LCD, 8 ... LED,
9 ... Pattern ROM, 10 ... Pattern RAM, 11 ... Program ROM, 12 ... ROM / RAM card, 13 ...
Sound system, 14 ... Waveform ROM, 15 ... MIDI
Interface, 20 ... Automatic performance switch, 21 ... Pattern maker switch, 22 ... Start / stop switch, 23 ... Input chord name switch, 24 ... Measure number setting switch, 25 ... Beat setting switch, 26 ... Rhythm switch, 27 ... Bass switch , 28 ... Code switch, 30 ... Numeric keypad.

Claims (4)

[Claims] 1. A pitch data generating means for generating pitch data according to a sounding operation, and scale conversion data generating means for generating input scale conversion data, writing scale conversion data, and sounding scale conversion data. , A first operation mode discriminating means for discriminating whether the real-time input operation mode is in progress, a second operation mode discriminating means for discriminating whether the automatic accompaniment operation mode is in progress, and a codename designating means A tone generating means for generating and producing a tone according to tone information including pitch data, and the scale conversion when the first operation mode determining means determines that the real-time input operation mode is being performed. Based on the input scale conversion data read from the data storage means, the pitch data generated by the pitch data generating means, Input scale conversion means for converting the pitch data of the chord designated by the chord name designating means into pitch data, and the input scale based on the scale conversion data for writing generated from the scale conversion data generating means. Writing scale converting means for converting the pitch data converted by the converting means into pitch data on a scale of a predetermined reference chord, and the accompaniment pattern input by the sounding operation for the writing. Accompaniment pattern storage means for storing the pitch data converted by the chord conversion means, and scale conversion data for sounding generated by the scale conversion data generation means according to the chord name designated by the chord name designating means. Is converted by the writing scale conversion means based on The tone pitch data,
First tone generation code conversion means for converting the tone data on the scale of the designated code name, and tone information including tone data converted by the first tone generation code conversion means. First accompaniment pattern data from the accompaniment pattern storage means when the automatic accompaniment operation mode is determined by the first musical sound information supply means for supplying the means and the second operation mode determination means. The accompaniment pattern data read-out means for reading out, and the accompaniment pattern read-out means for reading out based on the scale conversion data for sounding generated from the scale conversion data generation means according to the chord name designated by the chord name designating means. The pitch data in the accompaniment pattern data that has been set is the pitch data on the scale of this specified chord. Second tone code conversion means for converting, and second tone information supply for supplying tone information including pitch data converted by the second tone code conversion means to the tone generating means in the order of progression of performance. And an electronic musical instrument having an automatic accompaniment function. 2. A key number data generating means for generating key number data according to a key-on operation and a key-off operation of the keyboard, and an accompaniment including rhythm data, bass data and chord data input by the key-on operation and the key-off operation of the keyboard. Accompaniment data storage means for storing data, first operation mode determination means for determining whether or not the operation mode is the accompaniment chord pattern real-time input operation mode, and whether the operation mode is the automatic accompaniment operation mode A second operation mode discriminating means for discriminating whether or not there is generated, a tone corresponding to tone information including key number data is generated at the time of the key-on operation, and a tone is produced at a pitch according to the key number data, and the key is depressed at the time of the key-off operation. A sound system that silences musical tones according to the number data, and the first operation mode determination described above. When the step determines that the accompaniment chord pattern is in the real-time input operation mode, a creation condition input means for inputting the creation condition of the accompaniment chord pattern such as the chord name, the number of bars, and the time signature, and the key number data generation described above. Input scale conversion data storage means for storing input scale conversion data for converting the key number generated by the means into the key number on the scale of the code name designated by the creating condition input means, and the first operation. When the mode discriminating means discriminates that the accompaniment chord pattern is in the real-time input operation mode, the input scale converting data is read from the input scale converting data storing means and generated by the key-on operation or the key-off operation. The key number data is transferred to this designated code. Input scale conversion means for converting to key number data on the scale of the domain name, reference code conversion data storage means for storing the reference code conversion data for converting the key number to the key number on the scale of the predetermined reference code, The key number data on the scale of the code name designated by the creating condition input means is converted into the key number data on the scale of the reference code based on the reference code conversion data read from the reference code conversion data storage means. The scale conversion means for writing for converting into the accompaniment chord pattern and the accompaniment chord pattern input by the key-on operation and the key-off operation when it is determined by the first operation mode discrimination means that the accompaniment chord pattern is in the real-time input operation mode. Is the scale conversion means for writing Accompaniment code pattern writing means including the converted key number data in the accompaniment data storage means as code data, and key number data on the scale of the reference code stored in the accompaniment data storage means Real-time input of an accompaniment chord pattern by the pronunciation / silence scale conversion data storage means for storing the pronunciation / silence scale conversion data for converting into the key number data on the scale of the chord name, and the first operation mode discrimination means. When it is determined that the operation mode is in effect, the pronunciation / silence scale conversion data corresponding to the code name designated by the creation condition input means is read from the pronunciation / silence scale conversion data storage means, and the accompaniment is performed. The scale of the reference code stored in the data storage means. It is determined that the real-time input operation mode is in progress by the first scale conversion means for converting the key number data on the key into the key number data on the scale of the designated code name, and the first operation mode determination means. At this time, the first musical tone information supplying means for supplying the musical tone information including the key number data converted by the first scale converting means to the sound system and the automatic accompaniment by the second operation mode discriminating means. Chord name designating means for designating a chord name when the operation mode is determined, and the accompaniment data storage when the second operation mode determination means determines that the automatic accompaniment operation mode is in effect. The accompaniment data reading means for reading the accompaniment data from the means in the order of progress of the performance, and the second operation mode discriminating means. When it is determined that the automatic accompaniment operation mode is in effect, the scale conversion data for sounding / silence corresponding to the code name designated by the codename designating means is read from the scale conversion data storage for sounding / silence, and Second scale conversion means for converting the key number data in the accompaniment data read by the accompaniment pattern reading means into key number data on the scale of the designated chord, and the second operation mode discrimination means. Second musical tone information supplying means for supplying musical tone information including key number data converted by the second scale converting means to the sound system when the automatic accompaniment operation mode is determined. 2. An electronic musical instrument having an automatic accompaniment function comprising: and the electronic musical instrument according to claim 1. 3. The electronic musical instrument having an automatic accompaniment function according to claim 1, wherein the reference chord is a C major chord. 4. The electronic musical instrument having an automatic accompaniment function according to claim 1, wherein the accompaniment pattern data includes index data, rhythm data, bass data, and chord data.