JPH10105173A - Performance data converter - Google Patents

Abstract

PROBLEM TO BE SOLVED: To appropriately adds a characteristic expression of a musical instrument to performance data by shifting the sound generation starting timing of plural notes employing the sound generation continuation time of a prescribed note as a reference. SOLUTION: An effect circuit 16 adds various effects to the musical sound signals from a sound source circuit 15. When the expression adding conversion switch of a panel switch 2 is pushed, an expression adding conversion process subroutine is called out and executed. If a code quantize process is set, for example, as an expression conversion process, a CPU 5 searches for plural notes, which note-on at a same timing, if an objective phrase is a chord phrase. Then, a shortest gate time among the gate time data, which indicate the sound generation continuation time of the objective notes, is obtained, a note-on shift width parameter value is multiplied by the shortest gate time and the amount of shift is computed. Based on the computed amount of the shifting, the note-on timing of the objective note is shifted.

Description

DETAILED DESCRIPTION OF THE INVENTION

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to a performance data conversion apparatus for giving an expression specific to a musical instrument, particularly a stringed instrument, to performance data.

[0002]

2. Description of the Related Art Conventionally, as a technique for giving a musical expression, particularly a stringed musical instrument, a performance expression to performance data, a chord (chord) is shifted in sounding timing of each constituent sound of the chord (for example, Japanese Patent Application Laid-Open No. 64-4795) ), And a technique for adding fret noise are known.

[0003]

However, in the former of the above-mentioned prior arts, the sounding timing of each of the constituent tones is uniformly set for a predetermined time (ΔTIM
E), the sounding timing of each of the constituent tones always shifts evenly even if the sounding time of the entire chord varies, resulting in a dull expression or an uncomfortable expression. Sometimes it was.

On the other hand, in the latter of the above prior arts, the fret noise is inserted when the time required for transition from the fret for sounding to the fret for the next sounding is shorter than a predetermined time. No fret noise was inserted unless was pronounced, that is, fret noise was emitted when the finger movement was completed, which was very unnatural.

SUMMARY OF THE INVENTION The present invention has been made in view of the above problems, and has as its object to provide a performance data conversion device capable of appropriately giving a musical instrument-specific expression to performance data.

[0006]

In order to achieve the above object, according to the present invention, the same timing note searching means for searching a plurality of notes which sound at substantially the same timing in input performance data. And when the plurality of notes are searched by the same timing note search means, the sounding start timing of each note is shifted with reference to the sounding continuation time of a predetermined note among the plurality of notes. Sounding start timing shift amount determining means for determining the timing shift amount; and performance data converting means for converting the performance data by shifting each sounding start timing of the plurality of notes according to the determined timing shift amount. It is characterized by having.

Accordingly, the sound generation start timing of each of the plurality of notes is shifted with reference to the sound continuation time of a predetermined note among the plurality of notes. The set tone is
For example, in the case of a guitar tone, quick cutting (often the duration of each note is short)
, The difference between the sound generation start timings of the plurality of notes is reduced, while the slow stroke (often the sound continuation time of each note is long) reduces It is possible to perform control such that the deviation of the sound generation start timing is increased, and it is possible to convert the performance data into a more guitar-like performance.

Here, the timing shift amount is based on, for example, a parameter indicating a ratio to the reference sounding continuation time (this parameter value is set in advance, and is one of the expression expression parameters of claim 11). Is determined.

According to a second aspect of the present invention, when the sounding timing of each of the notes shifted in accordance with the sounding timing shift amount determined by the sounding start timing shift amount determining means is substantially the first timing, the plurality of notes are generated. While the performance data corresponding to the note is determined to be based on the upstroke, when the shifted sounding timing of each of the notes is substantially the second timing, the performance data corresponding to the plurality of notes is determined by the downstroke. Up / down stroke determining means for determining that the stroke is caused by

Thus, the direction of the stroke can be properly determined.

According to a third aspect of the present invention, there is provided a velocity slope selecting means for selecting a velocity slope according to the direction of the stroke determined by the up / down stroke determining means, and the velocity slope selecting means for selecting the velocity slope according to the selected velocity slope. Velocity shift amount determining means for determining a velocity shift amount for shifting each velocity of the plurality of notes searched by the same timing note search means; and each velocity of the plurality of notes according to the determined velocity shift amount. And performance data conversion means for converting the performance data by shifting the performance data.

Thus, different velocity slopes are selected according to the up-stroke and the down-stroke, and the velocities of the plurality of notes can be shifted according to the selected velocity slope. Therefore, a performance expression like a stringed instrument can be given by the performance data.

According to a fourth aspect of the present invention, there is provided the same timing note searching means for searching a plurality of notes generated at substantially the same timing in the inputted performance data, and the plurality of notes searched by the same timing note searching means. Shift amount determining means for determining a shift amount for shifting each sound continuation time of the plurality of notes when the note satisfies a predetermined condition, and the plurality of notes according to the determined shift amount. And performance data conversion means for converting the performance data by shifting each sound generation duration.

Thus, when a plurality of notes that are searched at substantially the same timing and satisfy predetermined conditions, a shift amount for shifting each sound generation duration of the plurality of notes is determined. Since the respective sound continuation times are shifted according to the amount, it is possible to give the performance data, in particular, a performance expression by a mute performance technique.

According to a fifth aspect of the present invention, a plurality of adjacent notes having different pitches among the input performance data are combined into one note to form new performance data, and the pitch of the new performance data is determined. A plurality of note summarizing means for setting the pitch of any one of the plurality of notes and making the sound generation duration from the first sounding start timing to the last sounding end timing of the plurality of notes; Performance data for converting performance data by inserting pitch bend data at a predetermined position in the performance data so that the pitch of the new performance data changes from the lowest pitch to the highest pitch of the plurality of notes. Conversion means.

As a result, new performance data is generated from the performance data of a single note and a plurality of notes, and the pitch of the new performance data changes from the lowest pitch to the maximum pitch of the original note due to pitch bend. Various types of performance expressions can be added to the performance data.

According to a sixth aspect of the present invention, the performance data conversion means inserts pitch bend data having different types of pitch bend in accordance with the pitch of a plurality of original notes of the new performance data.

Thus, since the mode of the pitch bend is determined according to the pitch of a plurality of adjacent notes, the control position can be determined by a simple algorithm.

According to a seventh aspect of the present invention, the performance data conversion means sets the pitch bend start timing based on the first pitch bend data among the pitch bend data accompanying the new performance data to a predetermined delay from the sound generation start timing of the new performance data. The first pitch bend data is inserted at a position after a lapse of time.

Thus, since a predetermined delay time is provided from the tone generation start timing to the pitch bend start timing of the new performance data, a so-called "me" performance expression can be given to the new performance data.

According to an eighth aspect of the present invention, there is provided an adjacent note search means for searching two adjacent notes having different pitches in input performance data, and a predetermined note corresponding to the pitch of the searched notes. A performance data conversion unit for converting performance data by inserting effect sound data for generating a sound effect into a predetermined position of the performance data;

Thus, whether to insert sound effect data for generating a predetermined sound effect at a predetermined position is determined according to the pitch of the two searched notes.
The sound effect data can be appropriately arranged at a position where the sound effect is optimally generated.

Here, the sound effect is, for example, fret noise, and the sound effect data is data for generating fret noise.

According to a ninth aspect of the present invention, the predetermined position is between the sound generation start timings of the two searched notes.

As a result, a sound effect can be generated at a natural position (time). For example, when the sound effect is fret noise, the generation of the unnatural fret noise, which is a conventional problem, can be changed to a more natural position.

According to a tenth aspect of the present invention, there is provided a phrase dividing means for dividing inputted performance data into phrases, and a note detecting means for detecting a note which satisfies a predetermined condition among notes included in the divided phrase. Means, sounding duration shift amount determining means for determining a sounding duration shift amount for shifting the sounding duration of the detected note, and a velocity shift amount for shifting the velocity of the detected note. Means for determining a velocity shift amount to be determined, and performance data conversion for converting the performance data by shifting the note duration and shifting the velocity according to the determined sound duration shift amount and the velocity shift amount. Means.

As a result, only the note that meets the predetermined condition is shifted by the determined shift amount for the duration of sound and the velocity thereof, so that the performance data can be given a performance expression, especially by the arpeggio playing method. it can.

According to an eleventh aspect of the present invention, when the performance data conversion means converts the input performance data, various expression parameters which are the basis of the conversion are stored in a storage medium in association with the performance data music. It is characterized by having storage means for storing.

This eliminates the need for the user to set various facial expression parameters, thereby improving operability.

In a twelfth aspect of the present invention, the storage means stores a plurality of facial expression parameter groups including the various facial expression parameters as sequence data,
When performing the conversion of the performance data based on the input performance data, the performance data conversion means switches the parameter group in accordance with the progress of the conversion, and converts the parameter group included in the switched parameter group to the expression parameter. The performance data is converted based on the performance data.

Thus, it is possible to designate a certain part in the performance data and set a desired expression parameter of a parameter group at that position, so that a more detailed performance expression can be given to the performance data. it can.

According to a thirteenth aspect of the present invention, the storage means stores in the storage medium the optimum expression expression parameters for each musical instrument corresponding to a tone color that can be set in performance data.
The performance data conversion means loads the stored expression parameters in accordance with the type of musical instrument set in the input performance data, and converts the performance data based on the loaded expression parameters. It is characterized by the following.

Thus, the performance data can be converted with the most suitable expression parameters according to the type of the selected musical instrument.

[0034]

Embodiments of the present invention will be described below in detail with reference to the drawings.

FIG. 1 is a block diagram showing a schematic configuration of a performance data conversion device according to an embodiment of the present invention.

As shown in the figure, the performance data converter of the present embodiment includes a keyboard 1 for inputting pitch information,
A panel switch 2 including a plurality of switches for inputting various information; a key press detection circuit 3 for detecting a key press state of each key of the keyboard 1; and a switch for detecting a press state of each switch of the panel switch 2 A detection circuit 4, a CPU 5 for controlling the entire apparatus, a ROM 6 for storing a control program executed by the CPU 5, table data, and the like, and a RAM 7 for temporarily storing performance data, various input information, calculation results, and the like. A timer 8 for measuring an interrupt time and various times in a timer interrupt process, and a display device for displaying various information, for example, a large liquid crystal display (LCD) or a CRT (Cathode Ray Tube) display and a light emitting diode (LED) 9 and a floppy disk drive (F) for driving a floppy disk (FD) as a storage medium. DD) 10, a hard disk drive (HDD) 11 for driving a hard disk for storing various application programs and various data including the control program, and a compact disk for storing various application programs and various data and the like including the control program. A CD-ROM drive 12 for driving a read-only memory (CD-ROM) and an external MIDI (Musical Instrument D)
and a MIDI interface (I / F) 13 for inputting a digital interface (IG) signal and outputting the signal to the outside as a MIDI signal, and a communication network 101.
For example, a communication interface (I / F) 14 for transmitting and receiving data to and from the server computer 102, a tone generator circuit 15 for converting performance data input from the keyboard 1 or preset performance data and the like into musical tone signals, and a tone generator circuit Fifteen
Circuit 1 for adding various effects to the tone signal from
6 and a sound system 17 such as a speaker for converting a tone signal from the effect circuit 16 into sound.

The above components 3 to 16 are interconnected via a bus 18, a timer 8 is connected to the CPU 5,
Another MIDI device 100 is connected to the MID II / F 13, a communication network 101 is connected to the communication I / F 14, an effect circuit 16 is connected to the sound source circuit 15, and a sound system 17 is connected to the effect circuit 16. ing.

As described above, the control program executed by the CPU 5 can be stored in the hard disk of the HDD 11, and if the control program is not stored in the ROM 6, the control program is stored in the hard disk. By reading into RAM7, ROM
6 can cause the CPU 5 to perform the same operation as when the control program is stored. This makes it easy to add a control program, upgrade a version, and the like.

CD-ROM of CD-ROM drive 12
The control program and various data read from the
It is stored on the hard disk in D11. This makes it possible to easily perform new installation, version upgrade, and the like of the control program. In addition to the CD-ROM drive 12, a device for utilizing various forms of media, such as a magneto-optical disk (MO) device, may be provided as an external storage device.

As described above, the communication I / F 14 is connected to a communication network 101 such as a LAN (Local Area Network), the Internet, or a telephone line.
It is connected to the server computer 102 via the communication network 101. If the above-mentioned programs and various parameters are not stored in the hard disk in the HDD 11, the communication I / F 14
02 to download programs and parameters. A computer (a performance data conversion device in the present embodiment) serving as a client is provided with a communication I / F.
14 and a command for requesting download of a program or parameter to the server computer 102 via the communication network 101. Upon receiving this command, the server computer 102 distributes the requested program and parameters to the computer via the communication network 101, and the computer
1 to receive these programs and parameters and store them in the hard disk in the HDD 11,
Download is completed.

In addition, an interface for directly exchanging data with an external computer or the like may be provided.

FIG. 2 is a diagram showing an example of a data format of performance data. FIG. 2 (a) shows a data format of a normal performance data file (song file) before tab music conversion, and FIG. Shows the format of the tablature data file after the performance data of (a) is converted to the tablature.

As shown in (a), the performance data file is composed of header data 21, timing data 22, event data 23 and file end data 24.
It is mainly composed.

The header data 21 refers to data stored at the beginning of the performance data.
For example, data such as a song title and an initial tempo are stored.

The timing data 22 is a relative time interval between the event data 23, that is, time data indicating the timing at which the event data 23 is output to the tone generator 15. Note that the timing data is usually numerical data, and this numerical data is decremented during the timer interrupt processing executed in response to the timer interrupt generated by the timer 8 at predetermined time intervals. Of the event data is waited for. Therefore, a count value that is decremented (down counted) in the timer interrupt processing is set as the timing data. Here, it is necessary to change the tempo of the automatic performance based on the tempo data (for example, the initial tempo data or tempo data instructing the tempo to be changed in the middle of the song). A method of changing a time interval (the predetermined time) according to tempo data,
A method of changing the value of the timing data according to the tempo data without changing the time interval, or changing the width of the value decremented at one time during the timer interrupt processing according to the tempo data without changing the time interval. There is a method of changing, and any one of them may be used.

The event data 23 refers to data such as note-on event data, note-off event data, tempo data, pitch bend event data, and the like.
The note-on event data is composed of note-on, MIDI channel (CH), note number, and velocity data.
Similarly, it is composed of note-off, MIDI channel, note number and velocity data.
As described above, the MIDI channel is stored for each note event data in the present embodiment.
Note event data is arranged in a row in the output order regardless of the type of each event and stored, and at the stage of actually reading and processing, the type of the event is determined based on the MIDI channel, and the note event is determined according to the determination result. Is performed. Note that the note-off event data may be configured not to include velocity.

In the present embodiment, the MIDI channel (hereinafter, abbreviated as “channel” when there is no risk of confusion) in the tone generator circuit 15 is composed of 16 channels, of which 0 to 8 channels are provided by the user. You can freely assign tones, and 9 to 15 channels
As will be described later, the present system uses each for a predetermined purpose.

In this embodiment, the tablature conversion is
This is performed for performance data of only one of the 0 to 8 channels. This channel is called a source track, and the user can arbitrarily set the source track as described later. As described above, in the present embodiment, the configuration is such that only one channel can be designated as the source track. However, the present invention is not limited to this.
The configuration may be such that a plurality of channels can be specified.

Actually, the performance data includes data other than the above-mentioned data. However, the data is not essential for explaining the present invention, so that the description thereof will be omitted.

Further, in the present embodiment, the event data is arranged and stored in a line in the output order regardless of the assigned MIDI channel. However, the present invention is not limited to this. And event data may be assigned to each track. By doing so, it is not necessary to store the MIDI channel for each note event data as described above, but the memory capacity increases.

Further, in the present embodiment, the data format of the performance data is configured as "event data + timing (relative time) data" as described above. However, the present invention is not limited to this. Any format such as "absolute time data" and "pitch data + note length data" may be used.

Performance data having such a format is converted into tablature format data shown in FIG. 2B by the method of the present invention. Hereinafter, an outline of the tablature conversion according to the present invention will be described, and then a detailed description will be given.

First, the performance data of (a) is divided into two types of phrases. The two types of phrases are a “single phrase” and a “chord phrase”. A phrase in which note-on events do not temporally overlap is determined as a single tone phrase, and a phrase that overlaps is determined as a chord phrase. The details of the method of discriminating a single-tone phrase and a chord phrase will be described later with reference to FIGS.

As the phrase division process proceeds, "phrase start" data indicating the beginning of the divided phrase and "phrase end" data indicating the end thereof are inserted into the performance data. As a result, the timing data 22 and the event data 23 constituting one phrase can be determined. Here, the "phrase start" data includes "single phrase start" data and "chord phrase start" data for distinguishing between a single-tone phrase and a chord phrase, respectively. There is "single phrase end" data and "chord phrase end" data for distinguishing a single tone phrase from a chord phrase, respectively.

For each phrase thus divided, each event data (note on / off event data) constituting the phrase is converted into tablature format data. In the present embodiment, conversion to tablature format data refers to source track (channels 0 to 8).
The note-on / off event data of any one of the channels is assigned to any of the channels 10 to 15 (each channel corresponds to the first to sixth strings of the 6-line score in the tablature, respectively) In the tone generator circuit 15, the MIDI channels 10 to 15 are assigned to slightly different timbres corresponding to the first to sixth strings of the guitar, respectively. That is, conversion to tablature format data in the present embodiment is to determine a string to be pressed by the player. When the tablature is actually displayed using the converted tablature format data, the tablature is represented by a string and a fret number to be pressed by the player. The fret number must be calculated from the note number because the note number is not converted to the fret number. In this way, the note number is left as it is, while the fret number can be easily calculated from the note number, but the converted data is not only used for tablature display. This is because holding the number as it is is more versatile.
However, it is needless to say that the note number may be converted to a corresponding fret number and stored.

As described above, each note event is assigned to one of the guitars.
The notes are distributed to six MIDI channels corresponding to strings 6 to 6, and each of the distributed note events is assigned to six MIDI channels in the tone generator circuit 15 which have slightly different timbres corresponding to guitars 1 to 6 respectively. When supplied, it becomes a natural performance close to actual guitar performance.

FIG. 3 is a diagram showing an example of parameters used in the performance data converter of the present embodiment.

The performance data conversion apparatus according to the present embodiment mainly performs a tablature conversion process for converting normal performance data (FIG. 2A) to performance data in a tablature format (FIG. 2B). Since two different types of expression conversion processing for applying an expression to the converted performance data are performed independently, parameters are also set as shown in FIG.
"Tab staff conversion parameters" and "Expression parameters"
And two types of parameters.

The tablature conversion parameter is a source track parameter ST for designating the source track number.
N, a phrase separation time interval parameter P for specifying the number of clocks (time interval) for determining the phrase separation
IC, the highest fret number parameter UFN that specifies the upper limit of the fret number, and candidate positions for the phrase currently being processed (hereinafter referred to as “target phrase”) (the details will be described later with reference to FIGS. 8 to 12). When searching for, a plurality of candidate positions are searched, and when one of them is determined, the previous position that specifies whether to determine the position of the target phrase with reference to the position determined in the previous phrase Even if reference parameter RTPP and performance data to be converted to tablature (note on / off event data of source track) are data that does not fit on the fretboard (cannot fit), all of them are forcibly placed on the fretboard. It is constituted by a forced arrangement parameter FANOF or the like for designating whether or not to perform.

The expression expression parameter determines whether or not to perform a chord quantization process that shifts each sound generation start time by a predetermined time when a plurality of note event data have substantially the same sound generation start time such as a chord phrase. A code quantization parameter CQ to be specified, a note-on shift width parameter OSW to specify a note-on shift width for determining the predetermined time, three types of code strokes,
That is, it is configured by a parameter (hereinafter, referred to as “stroke mode”) S-MODE indicating which of the upstroke, downstroke, and alternate strokes is selected in the mode. It should be noted that there are other parameters used as expression expression parameters other than the above-mentioned parameters, but these parameters will be described when actually used, and the description thereof will be omitted.

The control processing executed by the performance data converter configured as described above will be described below with reference to FIGS.

As described above, the performance data conversion device of the present embodiment mainly has two types of functions, namely, a "tablature conversion processing function" and a "expression conversion processing function". It will be described individually.

First, a control process for realizing the "tab notation conversion function" will be described with reference to FIGS.

FIG. 4 is a flowchart showing the procedure of the tablature conversion processing subroutine. This tab conversion processing is a part of the processing constituting a main routine (not shown) executed by the CPU 5.

When the user operates the panel switch 2
When a tablature conversion switch (not shown) is pressed, the tablature conversion processing subroutine is called and executed.
Before the control of the CPU 5 shifts to the tablature conversion processing subroutine, the performance data file to be converted to the tablature is read from the hard disk of the HDD 11 in accordance with a user's instruction, and is stored in a predetermined position of the RAM 7. It is assumed that the music data has been loaded into the secured performance data storage area.

In FIG. 4, first, when the user selects a desired parameter from the tablature conversion parameters and instructs to change its value, the parameter is set to the instructed value (step S1). Here, the initial values of the parameter group of FIG. 3 including the tablature conversion parameters are stored in the ROM 6 or the hard disk of the HDD 11 in advance, and the user can use, for example, a power switch (not shown) of the panel switch 2. ) Is pressed,
This initial value is read out and loaded into the parameter storage area secured at a predetermined position in the RAM 7. Therefore,
In the parameter setting process of step S1, only when the user wants to change the parameter value which is initially set,
Make that setting.

Next, in order to divide the original performance data loaded in the performance data storage area into phrases, a phrase search processing subroutine for searching each phrase in the original performance data (the details thereof will be described with reference to FIG. 5). (Described later)
Is executed (step S2).

Further, for each phrase searched and divided in step S2, the note-on /
The position where the off-event data is entered (as described above, if there are a plurality of candidate positions, one of
8), and assigns (assigns) the note on / off event data to any one of the channels 10 to 15, respectively. A position determination and assignment processing subroutine (the details will be described later with reference to FIG. 8) Is performed (step S3), and the main tablature conversion processing subroutine ends.

FIG. 5 is a flowchart showing a detailed procedure of the phrase search processing subroutine.

In the figure, first, a source track is selected (step S11). This process is performed according to the value of the source track parameter STN. That is, if the loaded performance data is data for a plurality of channels, a track (channel) specified by the source track parameter STN is selected from the data, and the performance data ( The following processing is executed for the note-on / off event data).

Next, one piece of performance data is read (step S12), and it is determined whether or not the read performance data is note-on event data (step S1).
3).

In step S13, if the read performance data is note-on event data, a note-on processing subroutine described later with reference to FIG. 6 is executed (step S14), and then the process returns to step S12 while reading. If the performed performance data is not note-on event data, the process proceeds to step S15.

In step S15, it is determined whether or not the read performance data is note-off event data. If the data is note-off event data, a note-off processing subroutine described later with reference to FIG. 7 is executed (step S15). After step S16), the process returns to step S12.
If it is not note-off event data, step S1
Go to 7.

In step S17, it is determined whether or not the read performance data is the file end data. If the read performance data is not the file end data, that is, event data other than the timing data or the note on / off event (for example, pitch bend) If the data is event data, the process returns to step S12 without doing anything, while if the data is file end data, the present phrase search processing subroutine ends.

FIG. 6 is a flowchart showing a detailed procedure of the note-on processing subroutine of step S14.

The note-on process and the note-off process described next are based on the following phrase delimiter conditions.
The target performance data (the performance data loaded in the performance data storage area) is divided into "single phrase" or "chord phrase".

1) Conditions for judging the beginning of a single-tone phrase When a note-on occurs for the first time after a silent period of a single-tone phrase has elapsed for a predetermined time (for example, the time specified by the phrase delimiter time interval parameter PIC). When there is a note-on for the first time after the end of the phrase 2) Conditions for determining the end of the single-tone phrase The silent interval of the single-tone phrase has elapsed for a predetermined time (for example, the time specified by the phrase separation time interval parameter PIC). When a single-tone phrase becomes double-tone 3) Conditions for judging the beginning of a chord phrase Four-tone for a single-tone phrase 4) Conditions for judging the end of a chord phrase When all notes in a chord phrase are turned off Figure In 6, first, other notes are ongoing Whether or not another note-on event data is read before the target note-on event data of this processing is read, and whether or not note-off event data corresponding to the note-on event data is read It is determined whether or not another note is being continued (step S21). If another note is not ongoing, the process proceeds to step S22. If another note is ongoing, the process proceeds to step S27.

In step S22, it is determined whether or not the number of clocks (hereinafter referred to as "time PIC") indicated by the phrase delimiter time interval parameter PIC in FIG. 3 has elapsed from the note-off timing of the note read immediately before. Determine. Unlike the performance data reproduction process, the tablature conversion process is not performed by reading performance data one by one in real time, but is performed at a speed corresponding to the capability of the CPU 5. This determination is not made based on the actual elapsed time. Therefore, the elapsed time is calculated every time the timing data is read.
The value of the timing data is calculated by adding or subtracting the value in accordance with the note-on / off event data read immediately before.

In the discrimination in step S22, the time PIC from the note-off timing of the note read immediately before is set.
When the time has elapsed, it is determined whether or not the read note-on event data is in a single tone phrase, that is, whether or not the “single phrase start” data is in the inserted phrase (step S23).

In step S23, if the read note-on event data is in a single-tone phrase, the note-on timing of the note-on event data, that is, the "single-tone phrase end" immediately before the note-on event data is set. Insert data (Step S
24) On the other hand, if it is not in the single tone phrase, step S24 is skipped and the process proceeds to step S25. That is, when the process proceeds to step S24, the phrase delimiter condition is satisfied, so that immediately before the note-on, it is determined that "the end of a single sound phrase".

In step S25, after the "single-tone phrase start" data is inserted at the note-on timing of the note-on event data, the present note-on processing subroutine ends. That is, when the process proceeds from step S22 to step S25 via step S23, since the phrase delimiting condition is satisfied,
The note-on is determined to be "the beginning of a single-sound phrase".

On the other hand, in the determination of step S22, the time PI from the note-off timing of the note read immediately before is determined.
If C has not elapsed, it is determined whether the previously determined phrase is a chord phrase (step S26).

At step S26, if the previously determined phrase is a chord phrase, the process proceeds to step S25, while if the previously determined phrase is not a chord phrase, the note-on processing subroutine is terminated. That is, when the process proceeds from step S22 to step S25 via step S26, the note-on is determined to be "beginning of a monophonic phrase" because the phrase delimiting condition is satisfied.

In step S27, it is determined whether or not the read note-on event data is in a chord phrase, that is, whether or not the "chord phrase start" data is in the inserted phrase. If it is within a chord phrase, the note-on processing subroutine is immediately terminated. If it is not within a chord phrase, the process proceeds to step S28.

In step S28, it is determined whether or not the "single phrase start" data is inserted at the note-on timing of the note read immediately before. After rewriting the "single phrase start" data to the "chord phrase start" data (step S29), the note-on processing subroutine is terminated. On the other hand, if the "single phrase start" data is not inserted, the note-on event data After the "single phrase end" data and the "chord phrase start" data are inserted in this order at the note-on timing (step S30), the note-on processing subroutine ends.

Here, in step S28, it is determined whether or not the "single phrase start" data is inserted.
In the present embodiment, at the beginning of a phrase, "single-tone phrase start" data is always inserted at first regardless of the type of the phrase (see step S25), and then the phrase satisfies the condition of a chord phrase. This is because, at the time when it is understood, this "single phrase start" data is rewritten to "chord phrase start" data.

As described above, when the processing shifts to step S29, the note-on is "the beginning of a chord phrase" because the phrase delimiter condition is satisfied.
Is determined. When the process proceeds to step S30, the phrase separation condition is satisfied, so that immediately before the note-on is determined to be “end of a single-tone phrase”, and the note-on is determined as “the beginning of a chord phrase”. Is determined.

FIG. 7 is a flowchart showing a detailed procedure of the note-off processing subroutine of the step S16.

In the figure, first, it is determined whether or not the read out note-off event data is for a chord phrase (step S41). On the other hand, if it is within the chord phrase, it is determined whether another note is continuing or not in the same manner as in 21 (step S42).

In step S42, when another note is continuing, the present note-off processing subroutine is immediately terminated. On the other hand, when another note is not continuing, the note-off timing of the read out note-off event data is set. After inserting the "chord phrase end" data (step S43), the present note-off processing subroutine ends. That is, when the process proceeds to step S43, the note-on is determined to be "end of the chord phrase" because the phrase delimiter condition is satisfied.

FIG. 8 is a flowchart showing a detailed procedure of the position determination and distribution processing subroutine in step S3 of FIG.

In FIG. 8, first, performance data for one phrase is read (step S51). As described above, the performance data is composed of a monotone phrase and a chord phrase.
Since each phrase is divided into “phrase start” data and “phrase end” data, the processing in step S51 is performed by dividing “phrase start” data and “phrase end” data immediately thereafter. This is done by searching and reading out all the note-on / off event data between these data.

Next, it is determined whether or not the target phrase is a chord phrase (step S52). If it is not a chord phrase, that is, if it is a single tone phrase, a single tone phrase processing subroutine described later with reference to FIG. 9 is executed (FIG. 9). (Step S53) On the other hand, if it is a chord phrase, a chord phrase processing subroutine described later with reference to FIG. 10 is executed (step S54).

In a succeeding step S55, it is determined whether or not the above-described processing has been performed up to the last phrase. If there is a phrase to be processed still, the flow returns to the step S51 to execute the above-mentioned processing, while performing the processing. If no phrase remains, the present position determination and distribution processing subroutine ends.

As described above, in the present embodiment, candidate positions are determined and channels are allocated with the divided phrases as one unit.

FIG. 9 is a flowchart showing a detailed procedure of the single tone phrase processing subroutine in step S53.

In the figure, first, one or a plurality of candidate positions including all the notes in the read phrase are searched from positions 1 to UFN-3 (step S61).

FIG. 12 is a diagram showing an example of a fretboard, for explaining candidate positions.

In the figure, vertical line segments f0 to fUFN indicate frets (however, f0 means open), and horizontal line segments g1 to g6 indicate chords. The fret is the highest fret number parameter UF in FIG.
N, and as described above, the value of the highest fret number parameter UFN can be arbitrarily set by the user.

Since the fret is pressed with a maximum of four fingers, each finger may press a different fret. Therefore, the candidate position is configured with 6 strings and 4 frets as one unit. (Only position 1 includes the open position and the 5th fret is one unit.)
Therefore, the number of candidate positions is UFN-3.

When one single-sound phrase is played, the position of the hand can be slid slightly in the direction of the fret, so that the candidate position may be constituted by five or more fret units. .

Further, the position is not limited to the one having the same fret number for all the strings, and a position where the fret number is slightly different for each string may be set.

Returning to FIG. 9, it is determined whether or not the candidate position has been searched (step S62). If the candidate position has not been searched, the highest note and the lowest note are excluded from all the read notes. The candidate position is searched again for the remaining notes (step S6).
3) Return to step S62. Note that only one of the highest sound and the lowest sound may be excluded.

On the other hand, if a candidate position has been searched in step S62, the flow advances to step S64 to determine whether or not the value of the previous position reference parameter RTPP is "1". Here, similarly to the flag, the previous position reference parameter RTPP takes a value of either “0” or “1”, and when “1” is set, the position determined in the immediately preceding phrase is set. , The position of the target phrase is determined.

If it is determined in step S64 that RTPP = 1, the previous position, that is, the position closest to the position determined in the immediately preceding phrase is selected (step S65). However, if the target phrase is located at the beginning of the song, the position with the lowest pitch is selected.

On the other hand, if RTPP = 0 in step S64, the position with the lowest pitch is selected (step S66).

It goes without saying that the processing in steps S65 and S66 is meaningful only when a plurality of candidate positions have been searched.

In the following step S67, a note distribution processing subroutine for distributing all the note on / off event data included in the target phrase to the strings and frets in the selected candidate positions is executed (step S67), and thereafter, the monophonic phrase is executed. The processing subroutine ends.

In the present single-tone phrase processing subroutine, if the notes in one phrase do not fit in one candidate position in steps S62 and S63, the highest and lowest notes are excluded, and the remaining notes are removed. Although the candidate position is searched again for the note No., the present invention is not limited to this, and the phrase may be further divided and the candidate position may be searched separately.

FIG. 10 is a flowchart showing a detailed procedure of the chord phrase processing subroutine of step S54.

In the figure, first, all the read notes, that is, note on / off event data, are rearranged in the order of pitch (for example, in the order of lowest).
In the same manner as in step 61, one or more candidate positions including all the pitches are searched among the positions 1 to UFN-3.

The subsequent steps S72 to S75 are the same as steps S64 to S67, respectively, and will not be described.

The chord phrase processing subroutine omits the processing when no candidate position is found, as compared with the single-tone phrase processing subroutine, but includes all notes constituting the chord phrase. This is because it is based on the assumption that there is always a candidate position, and if this assumption is not always true, it is sufficient to add processing when no candidate position is found, as in the monophone phrase processing subroutine. .

FIG. 11 shows steps S67 and S7.
15 is a flowchart illustrating a detailed procedure of a note distribution processing subroutine of No. 5;

In the figure, first, one note data in the target phrase, that is, one note on / off event data is read (step S81).

Next, it is determined whether or not the note, that is, the pitch of the read note on / off event data falls within the selected candidate position (step S82). Here, it is determined whether or not the candidate position is included in the candidate position because the candidate position is searched in step S63 of the single-tone phrase processing subroutine of FIG. 9 excluding the highest sound and the lowest sound. It is.

In step S82, when the target note enters the selected candidate position, the string and fret position where the note is located are determined based on the candidate position, and each channel is determined based on the determined string. , That is, among the candidate positions,
The target note corresponds to which string of which string and which fret is determined by referring to a table, playing, or the like, and a channel corresponding to the determined string is determined (step S83). Since only the sound of the lowest fret (f0) of the second string and the highest fret (f4) of the third string are the same in only the position 1, the strings and frets are not uniquely determined for this note. From the relationship between the strings and frets of other sounds, a person who can play more naturally may be selected. For other notes, the strings and frets are uniquely determined. The string determined in this way is, for example, the string g in FIG.
If it is 1, it is assigned to channel 10 and the string g
If it is 3, it is assigned to channel 12.

On the other hand, when the target note does not fall within the selected candidate position in step S82, the pitch of the note is set to the tone of the musical tone generated with the sixth string (string g6 in FIG. 12) opened. Whether the pitch is lower than the pitch, or higher than the pitch of the musical tone generated when the highest fret of the first string (string g1 in FIG. 12, in this embodiment, fret fUFN in FIG. 12) is pressed. Is determined (step S8).
4).

In the step S84, the answer is negative (“N
O "), the string is set to the sixth string (string g6) for a low sound that does not enter the candidate position, and 1 for the high sound.
The fret position is determined as the string (string g1), and based on the determined string, it is allocated to each channel in the same manner as in step S83 (step S85), and then the process proceeds to step S89.

On the other hand, if the answer is affirmative ("YES") in step S84, the forced placement parameter F
The value of ANOF is determined (step S86). here,
Similar to the previous position reference parameter RTPP, the forced placement parameter FANOF takes either a value of “0” or “1”. If “1” is set, the target note is placed on the fretboard. Even if you do not ride, it will be forcibly placed on the fretboard.

In step S86, forced placement parameter F
When ANOF is "1", that is, for example, even if the performance data is not created for a stringed instrument and there is no string and fret to which the target note is assigned, all notes are forcibly placed on the fretboard. When set to assign, the pitch of the target note is
After shifting the low note up by one octave and the high note down (step S87), the process returns to the step S82, and the string and fret positions are searched again based on the candidate positions.

On the other hand, if the forced placement parameter FANOF is "0" in step S86, note on / off event data corresponding to the note is deleted (step S88), and the flow advances to step S89.

In step S89, it is determined whether or not the processing in steps S81 to S88 has been completed for all notes of the target phrase. If there are still notes to be processed, the flow returns to step S81. When the above processing is repeated and the processing is completed for all the notes, the present note distribution processing subroutine ends.

As described above, in the present embodiment, the performance data is divided into two types of phrases, a monotone phrase and a chord phrase, and the candidate position is searched for each of the divided phrases. Appropriate candidate positions can be detected in accordance with the content, so that when performing tablature conversion, the target note can be distributed to the optimal string so that one phrase can be played at one position.

When a plurality of candidate positions are searched and one of the positions is determined, one of the “lowest pitch position” or the “previous position reference” is selected according to the user setting. Since the position that satisfies the above condition is determined, the degree of freedom of the position selection by the user can be increased, and the operability can be improved. At this time, if the “lowest pitch position” is selected, it is possible to determine an easy-to-press position using the open string when playing the chord, while if “reference last position” is selected, It is possible to determine a smooth playing position with few position changes.

In the present embodiment, the user is free to set any one of the "position with the lowest pitch" and the "reference to previous position". However, the present invention is not limited to this. Alternatively, the selection condition may be automatically changed depending on whether the target phrase is a "chord phrase" or a "single phrase".
For example, when playing a chord, the lowest position is prioritized, while when playing a single note, the previous position is referred to.
As a result, a smoother performance can be performed, and this is particularly effective for a song in which chord performance and single-tone performance are not mixed.

Further, in the present embodiment, the performance data is divided into two types of phrases, a single tone phrase and a chord phrase, and data indicating the delimitation of each phrase is stored in the performance data. However, the present invention is not limited to this. Instead, they may be separated by another method. For example, time data and delimiter data may be stored in a track different from the performance data.

Next, with reference to FIGS. 13 to 31, control processing for realizing the "expression conversion processing function" will be described.

FIG. 13 is a flowchart showing the procedure of the expression conversion processing subroutine. This expression conversion processing is a partial processing constituting a main routine executed by the CPU 5 in the same manner as the tablature conversion processing. It is.

The user operates the panel switch 2
When the expression conversion switch (not shown) is pressed, the expression conversion processing subroutine is called and executed.

In FIG. 13, first, in step S1
Similarly, when the user selects a desired parameter from the expression parameters in FIG. 2 and instructs to change its value, the parameter is set to the instructed value (step S91).

Next, when the code quantization processing is set as the expression conversion processing, a code quantization processing subroutine for applying the code quantization processing to the performance data is executed (step S92), and the portamento conversion is performed as the expression conversion processing. If the processing is set, a portamento conversion processing subroutine for applying portamento to the performance data is executed (step S93).

Next, when a sound effect insertion process for inserting a sound effect (in this embodiment, fret noise) is set as the expression conversion process, the sound effect insertion process for inserting the sound effect into the performance data is performed. A processing subroutine is executed (step S94), and when an arpeggio emphasis processing is set as the expression conversion processing, an arpeggio emphasis processing subroutine for applying the arpeggio emphasis to the performance data is executed (step S95). When the velocity randomizing process is set, a velocity randomizing process subroutine for randomly changing the velocity of the performance data is executed (step S9).
6) Thereafter, it is determined whether or not the processing has proceeded to the final phrase (step S97).

If it is determined in step S97 that the process has proceeded to the last phrase, the expression conversion processing subroutine is terminated. On the other hand, if the process has not progressed to the final phrase, the next phrase is set as the target phrase (step S98).
Return to 92.

FIG. 14 is a flowchart showing a detailed procedure of the code quantization processing subroutine of the step S92.

In the figure, first, it is determined whether or not the setting of the code quantization is ON by checking the value of the code quantization parameter CQ (step S101). Here, the code quantization parameter CQ is equal to the previous position reference parameter RT.
As in the case of the PP, a value of either “0” or “1” is taken, and when “1” is set, code quantization processing is set (turned on) as the facial expression conversion processing. Is shown.

If the chord quantization setting is ON (CQ = 1) in step S101, it is determined whether or not the target phrase is a chord phrase (step S10).
2).

If it is determined in step S102 that the target phrase is not a chord phrase, or if step S1
01, the code quantization setting is off (CQ
= 0), the chord quantization processing subroutine is immediately terminated. On the other hand, if the target phrase is a chord phrase in the determination of step S102, the process proceeds to step S102.
Go to 103.

As described above, in step S102, whether or not the target phrase is a chord phrase is determined because chord quantization is set without depending on the type of phrase. Therefore, when the chord quantization setting depends on the type of phrase, for example, the parameter sequence according to the progress of the music, that is, each parameter value of the parameter group of FIG. 2 (including the on / off setting of each expression processing) is included in the performance data. If a sequence arranged at an appropriate position in the middle is configured to be given (see FIG. 33 described later), this step S
The processing of 102 can be omitted. In the other expression processing, if the above sequence is given, this determination can be omitted in the same manner.

In step S103, note data of all channels, ie, channels 10 to 15, ie, note-on / off event data, is searched, and a plurality of notes that are turned on at the same timing are searched. here,
Whether or not the timings are the same is not limited to the case where the difference between the note-on timings between the target note data is “0”, and the case where the difference is within the range of the preset width. The same timing may be determined.

In the following step S104, it is determined whether or not there is a target note, that is, whether or not a plurality of notes have been searched in step S103. A timing shift processing subroutine for shifting the note-on timing corresponding to the target note (for details,
(To be described later with reference to FIG. 15) (step S10).
5).

Next, in step S106, a velocity shift processing subroutine for shifting (changing) the velocity value of the target note according to a preset ratio is executed (the details will be described later with reference to FIG. 16). In S107, a mute cutting processing subroutine (the details of which will be described later with reference to FIG. 17) for simulating a so-called mute cutting playing technique for shortening the sounding time of the target note is executed (step S10).
7) Thereafter, the process returns to step S103, and the above-described processing is repeated.

On the other hand, if it is determined in step S104 that there is no target note, that is, if a plurality of notes have not been searched in step S103, the present code quantization processing subroutine ends.

FIG. 15 is a flowchart showing a detailed procedure of the timing shift processing subroutine of step S105.

In the figure, first, of the gate time data indicating the sound continuation time of the target note, the shortest gate time is obtained, and the shortest gate time is multiplied by the value of the note-on shift width parameter OSW to calculate the shift amount. (Step S111). In the present embodiment, since the note-on shift width parameter OSW is set as a% value, the shift amount, that is, the number of shift clocks (time) is
It is calculated by the following equation.

Shift amount = shortest gate time × OSW / 100 Note that the note-on shift width parameter OSW is not limited to the% value and may be set, for example, in a ratio.

Next, the current stroke mode parameter S-MODE is determined (step S112), and the stroke mode parameter S-MODE is set to "alternate mode", that is, the direction in which the strings are cut alternately in the up direction and the down direction. In the switching mode,
It is determined whether the stroke is a stroke in the up direction or a stroke in the down direction (step S113). Hereinafter, a method of this up / down determination will be described.

In the present embodiment, the up / down determination is made when the note-on timing of the chord (chord) in the target chord phrase is an eighth note above timing, and is determined in eighth note (eight beat chord stroke) units. Specifically, when the note-on timing is on an odd beat of an eighth note, that is, on a quarter note, it is determined to be a down stroke, and the note-on timing is on an even beat of an eighth note. Is determined to be an upstroke.

When the note-on timing slightly deviates from the timing of the eighth note, it is regarded as an eighth note. Also, all even-numbered beats of the sixteenth note that do not fall on the eighth note are upstrokes.

FIGS. 19A and 19B are diagrams for explaining the up / down determination method. FIG. 19A is a diagram showing at what timing the up stroke and the down stroke are determined. FIG. 6B is a diagram illustrating a determination result obtained by performing up / down determination of an 8-beat chord stroke by the method of FIG. In the figure, the horizontal axis indicates the number of clocks, the symbol v indicates the note-on timing of the target code, and the symbol d indicates that the code of the note-on timing v corresponding to the symbol d is determined to be a down stroke. , Symbol u indicates that the code of the note-on timing v corresponding to the symbol u is determined to be an upstroke. In the present embodiment, the period of one clock is 1536 minutes, that is, a time obtained by equally dividing a quarter note by 384.

Since the note-on timing of chord 1 is on the 384th clock, that is, on a quarter note, as shown in FIG. Is on the 960th clock, that is, on the back beat of an eighth note, so chord 2 is determined to be an upstroke.

When the up / down determination of the 8-beat chord stroke is performed by such a method, the up-stroke and the down-stroke are repeated every eighth note, as shown in FIG.

Note that the 3, 7, 11, and 15 beats of 16 beats are even-numbered eighth-note beats, and thus are upstrokes. To solve this inconvenience, the chord performance must be 8
It is also possible to determine whether the beat is a beat or 16 beats and change the algorithm for determining the upstroke and the downstroke.

Returning to FIG. 15, in step S114, it is determined whether or not the chord stroke determined to be up / down as described above is a downstroke. g6)
After shifting the note-on timing of the target note based on the shift amount calculated in step S111 so that the note-on timing is shifted in the direction of the first string (string g1 in FIG. 12) from step (step S115), this timing shift is performed. The processing subroutine ends.

On the other hand, when the chord stroke determined in step S114 is an upstroke, the calculated shift amount is shifted so that the note-on timing is shifted from the first string to the sixth string, contrary to the processing in step S115. After shifting the note-on timing of the target note on the basis of (step S116), the present timing shift processing subroutine ends.

On the other hand, when it is determined in step S112 that the stroke mode parameter S-MODE is "down mode", the process proceeds to step S115, whereas when the stroke mode parameter S-MODE is "up mode", the process proceeds to step S116. .

FIG. 18 is a diagram showing the note-on timing of the chord before and after the timing is shifted by the timing shift processing subroutine. In FIG. 18, the vertical axis indicates the pitch and the horizontal axis indicates the time. I have. And
(A) shows an example of the note-on timing of the target code before the timing shift, (b) shows the result of the timing shift of the note-on timing of (a), and (c) shows the result of the target code. Gate time time (a)
Here is an example of the note-on timing for a shorter time,
(D) shows the result of the timing shift of the note-on timing of (c). (B) and (d) are timing shift examples during an upstroke.

[0158] In the example shown in the figure, since the note-on shift width parameter OSW is set to 20%, as shown in (b), the note-on timing of each adjacent note of the target code is as shown in (a). Shortest gate time (time t0
t1) by 20% (time t0 to t01, t01)
To t02). Similarly, as shown in (d), the note-on timing of each adjacent note of the target code is the shortest gate time of (c) (time t0 to t2).
(Time t0 to t03, t03 to t0)
4) Yes.

As described above, in the present embodiment, the shift amount is determined according to the shortest gate time in the target code, so that the note-off timing of the first note-on note is different from that of the other notes in the target code. There is no delay from the note-on timing, and a timing shift without a sense of incongruity is performed. Further, since the amount of shift of the note-on timing of each note of the target chord is controlled with reference to the gate time of a predetermined (shortest in this embodiment) note in the chord, quick cutting (gate time of each note) Is often short), the difference between the note-on timings of the note is reduced, while the slow stroke (the gate time of the note is often long) is reduced. It is possible to perform control such that the deviation of the on-timing is increased, and thereby, it is possible to convert the chord more like a guitar performance.

FIG. 16 is a flowchart showing a detailed procedure of the velocity shift processing subroutine of step S106.

In the figure, first, the slope top, that is, the string at the beginning of the velocity slope (the amount of velocity shift is minimum) is determined (step S121).
Here, the determination of the slope top is performed according to a parameter value set to a slope top parameter (not shown). The slope top parameter includes an "alternate mode" in which the first string side and the sixth string side are alternately switched and assigned to the slope top in accordance with the up stroke and the down stroke, and an "all mode" in which the slope top is always assigned to the first string side. The user sets any one of three types of modes, a "weave bottom gauge mode" and a "all-weather top gauge mode" in which a slope top is always assigned to the sixth string side.

In step S121, when the slope top is switched to alternate, that is, when the "alternate mode" is set, the process proceeds to step S122, and up / down determination is performed in the same manner as in step S113.

In a succeeding step S123, it is determined whether or not the determined chord stroke is a down stroke. When the determined stroke is a down stroke, the slope top is set to one string and the slope bottom is set to 6 in the velocity slope shown in FIG. The string is set, the slow ratio corresponding to each string is determined based on the velocity slope thus set, and the velocity of each target note is shifted according to the determined slow ratio (step S124). The shift processing ends.

Here, the ratio value of the velocity slope shown in FIG. 20 is configured such that the user can arbitrarily set only the respective ratio values at the slope top and the slope bottom, and the other ratio values are the same as those of the set values. Based on the ratio value, for example, it is calculated by linear interpolation. The ratio values for all strings are not limited to this,
It goes without saying that the user may arbitrarily set it.

On the other hand, if it is determined in step S123 that the determined chord stroke is an upstroke, the slope top is set to 6 strings and the slope bottom is set in the velocity slope of FIG. Is set to one string, the slow ratio corresponding to each string is determined based on the velocity slope thus set, and the velocity of each target note is shifted according to the determined slow ratio (step S125). This velocity shift processing ends.

On the other hand, if it is determined in step S121 that the slope top has the first string, the process proceeds to step S124, while if the slope top has the sixth string, the process proceeds to step S125.
Proceed to.

FIG. 17 is a flowchart showing a detailed procedure of the mute cutting processing subroutine in step S107.

In the figure, first, it is determined whether or not the gate time of each target note is to be muted (step S131). If so, whether the stroke mode S-MODE is to be muted or not is determined. Is determined (step S132).

Here, whether the gate time and the stroke mode S-MODE of each target note are to be muted is determined according to the state of each parameter. That is, the upper limit value of the gate time to be muted and the direction of the chord stroke can be set in these parameters. In step S131, when the target gate time is shorter than the set upper limit value of the gate time, The gate time is determined to be a mute target, and in step S132, when the stroke mode S-MODE matches the direction of the set code stroke, the stroke mode S-MODE is determined to be a mute target.

If it is determined in step S132 that the stroke mode S-MODE is to be muted, the gate time is changed according to a setting parameter (not shown) (step S133), and then the mute cutting process ends. Here, similarly to the note-on shift width parameter OSW, the setting parameter is a parameter for setting a ratio value for changing the gate time, and the ratio value is determined by the user in the parameter setting in step S91. . In addition, in order to give a feeling of “mute”, the setting parameter is usually set to a value that shortens the gate time, but is not limited thereto, and a value that increases the gate time may be set. Good.

On the other hand, if it is determined in step S131 that the gate time of each target note is not a mute target, or in step S132, the stroke mode S-MODE
If is not a mute target, the mute cutting process is immediately terminated.

As described above, in the present chord quantization processing subroutine, the shift amount of the chord sounding timing is controlled in accordance with the gate time of the target note. Therefore, for example, in the case of quick cutting (the gate time is often short), the shift is performed. Control can be performed such that there is little shift and there is a lot of deviation when the stroke is slow (the gate time is often long). This makes it possible to reduce the tone of the performance data to the guitar, especially when simulating a guitar performance. You can pronounce like playing.

FIG. 21 is a flowchart showing the detailed procedure of the portamento conversion subroutine of step S93 in FIG. This portamento conversion processing subroutine simulates three types of guitar playing methods of “chalking”, “hammering on / pulling off”, and “glissando (slide)”.

In FIG. 21, first, it is determined whether or not the portamento conversion setting is turned on (step S141). This determination is made by checking the value of a portamento conversion parameter (not shown) which allows the user to freely set whether to perform portamento conversion (on / off).

If the portamento conversion setting is ON in step S141, it is determined whether or not the target phrase is a single-tone phrase (step S142).

In step S142, when the target phrase is a monotone phrase, the process proceeds to step S143. On the other hand, when the target phrase is not a monotone phrase, that is, in a chord phrase, or when the portamento conversion setting is off in step S141, The portamento conversion processing subroutine is immediately terminated.

In step S143, two notes that are temporally adjacent to each other are determined by looking at the note data of all channels, that is, the note on / off event data of channels 10 to 15. In step S144, the two notes are determined. Determines whether or not they are on the same string, that is, whether or not the channel numbers assigned to the two notes are the same.

In step S144, when the two notes are on the same string, the pitch of the two notes is a designated value to be subjected to the hammering on / pulling off process (hereinafter, "hammering on / pulling off designation"). Value) is determined (step S1).
45). The user can arbitrarily set the hammering-on / pulling-off designated value, but preferably, the hammering-on / pulling-off designated value is set to a value smaller than a glissando designated value, which will be described later. .

In step S145, when the pitch of the two notes is larger than the specified value for hammering on / pulling off, the pitch of the two notes is the specified value to be subjected to glissando processing (hereinafter, “specified value for glissando”). "
Is determined (step S14).
6). The glissando specified value can also be arbitrarily set by the user, but is preferably set larger than the hammering on / pulling off specified value, and is preferably about three semitones.

In step S146, when the pitch of the two notes is equal to or greater than the glissando specified value, it is determined whether or not the glissando setting is on (step S147). This determination is made by checking the value of a glissando processing parameter (not shown) in which the user can freely set whether to perform glissando processing (on / off).

If the glissando setting is ON in step S147, a glissando processing subroutine described later with reference to FIG. 26 is executed.

On the other hand, in the determination in step S146,
When the pitch of one note is less than the specified value for glissando,
Alternatively, when the setting of the glissando is off in the determination of step S147, the process proceeds to step S154.

On the other hand, if it is determined in step S145 that the pitch of the two notes is within the specified value for hammering / pulling-off, it is determined whether the setting of hammering on / pulling-off is on (step S145). Step S1
49). In this determination, similarly to the determination in step S147, a hammering on / pulling-off processing parameter (not shown) that allows the user to freely set whether to perform the hammering on / pulling-off processing (on / off). By checking the value of

If it is determined in step S149 that the setting of hammering on / pulling off is on, a hammering on / pulling off processing subroutine described later with reference to FIG. 22 is executed (step S150). When the pull-off setting is off,
The process skips step S150 and proceeds to step S154.

On the other hand, if it is determined in step S144 that the two notes are not on the same string, the pitch of the two notes is within a specified value to be subjected to the choking process (hereinafter, referred to as a "designated value for choking"). Is determined (step S151). In addition, the user can also arbitrarily set the specified value for choking.
Preferably, about two semitones are good.

In step S151, when the pitch of the two notes is within the designated value for choking, it is determined whether or not the setting of choking is on (step S152). This determination is also made by checking the value of a choking process parameter (not shown) that allows the user to freely set whether or not to perform the choking process (on / off), similarly to the determination in step S147.

In step S152, when the setting of choking is on, after executing a choking process subroutine described later with reference to FIG. 24 (step S153), the process proceeds to step S154, while when the setting of choking is off, or If it is determined in step S151 that the pitch of the two notes is larger than the designated value for choking, step S153 is skipped and the process proceeds to step S154.

In step S154, it is determined whether or not the above-described processing has been completed for all notes of the target phrase. If there are still notes to be processed, the flow returns to step S143 to execute the above-described processing. While repeating
If there are no notes to be processed, the portamento conversion processing subroutine ends.

FIG. 22 is a flowchart showing a detailed procedure of the hammering on / pulling off processing subroutine in step S150.

In the figure, first, of the two notes to be processed, the last note is deleted, and the note-off timing of the preceding note is extended to the note-off timing of the second note (step S161).

Next, a pitch bend is inserted at the note-on timing position of the subsequent note (step S1).
62). However, the bend amount of the pitch bend is set so as to be the pitch of the subsequent note.

Further, after the velocity is changed according to a setting parameter not shown (step S163), the present hammering on / pulling off processing subroutine is terminated. Here, the setting parameter is a parameter for setting a ratio value for changing the velocity of the previous note, and the ratio value can be arbitrarily set by the user.

FIGS. 23A and 23B are diagrams showing the structure of a note event before and after performing expression conversion by the hammering on / pulling off processing subroutine.
Shows an example of two target note events before conversion, (b) shows a state after conversion of the note event of (a), and (c) shows an example of pitch bend event data inserted after conversion. The transition of the pitch bend amount is shown.
In FIG. 23, the horizontal axis indicates time, and the vertical axes indicate (a) and (b).
Indicates a pitch, and (c) indicates a pitch bend amount.

When the pitches of the two target note events are "note 1" and "note 2", respectively, as shown in (a), a hammering on / pulling off processing subroutine is executed. Then, as shown in (b), the subsequent note event “Note 2” is deleted, and the note-off timing tf1 of the previous note event “Note 1” is changed to the note-off timing tf2 of “Note 2”. And the sounding continuation time (gate time) of “Note 1” becomes time T1. And
As shown in (c), the position (t) where “Note 2” was present
o2-tf2), the pitch of “Note 1” is “Note 2”
Is inserted, that is, pitch bend event data having a pitch bend amount corresponding to the pitch difference between “Note 1” and “Note 2”.

In this manner, before conversion, the sound generation of "Note 1" is ended, the sound generation of "Note 2" is started after the silence state is continued for a predetermined time (tf1 to to2). Since the event data is converted to note event data having a structure that suddenly changes to a pitch of "note 2" from a state in which a musical tone having a pitch of "note 1" is generated, a playing style hammering on / pulling off is performed. Can be appropriately simulated.

FIG. 24 is a flow chart showing a detailed procedure of the choking process subroutine of step S153.

In the figure, first, at step S16
In the same manner as in step 1, the last note of the two notes to be deleted is deleted, and the note-off timing of the preceding note is extended to the note-off timing of the subsequent note (step S171).

Next, a pitch bend is inserted according to a setting parameter (not shown) (step S172). Here, the setting parameters refer to delay parameters and resolution parameters. The delay parameter is a parameter for setting a delay time from the note-on timing of the previous note to the timing of starting pitch bend, and the set value is represented by the number of clocks, and can be arbitrarily set by the user. The resolution parameter is a parameter indicating the number of pitch event data inserted from the start to the end of pitch bend, and the set value indicates the pitch bend on timing by the number of clocks, and can be arbitrarily set by the user. . The pitch bend amount is determined, for example, according to a pitch bend curve (not shown) set as table data in the ROM 6, and using the pitch bend amount determined in this way, the pitch bend event data is used to determine the pitch bend event data of the previous note. From the delay time indicated by the delay parameter after the note-on timing to the note-on timing of the subsequent note, the value (the pitch bend amount) gradually changes according to the pitch bend curve up to the pitch of the subsequent note event, and It is inserted so that the bend amount changes at intervals specified by the solution parameter. Note that a plurality of types of pitch bend curves may be prepared so that they can be arbitrarily selected.

Next, in step S173, as in step S163, the velocity is changed in accordance with the set parameters, and then the choking process subroutine ends.

FIGS. 25A and 25B are diagrams showing the structure of note events before and after expression conversion by this choking processing subroutine. FIG. 25A shows an example of two note events to be converted before the conversion. , (B)
The state after conversion of the note event of (a) is shown, and (c)
Shows the transition of the pitch bend amount of the pitch bend event data inserted after the conversion. Since FIGS. 23A and 23B are the same as FIGS. 23A and 23B, respectively, description thereof will be omitted.

As shown in (c), after the delay time T2 indicated by the delay parameter from the note-on timing (time to1) of "note 1", that is, from a certain point in time during the sound generation of "note 1" (time to1 + T2). ,
The pitch of "Note 1" is gradually changed, that is, at the time interval indicated by the resolution parameter and the width of the bend amount indicated by the pitch bend curve, and at the note-on timing (time to2) of "Note 2". , A pitch bend is inserted so as to have the pitch of “Note 2”.

As described above, the sounding of "Note 1" is ended before the conversion, the sounding of "Note 2" is started after the silent state is continued for a predetermined time (tf1 to to2). Since the data is converted to event data having a structure in which the tone of the pitch of "Note 1" is gradually changed to the pitch of "Note 2", appropriately simulating the playing style choking Can be.

[0203] The delay choking can be simulated by the delay time T2. Note that the delay time T2 is not limited to the absolute time set by the delay parameter, but is set by a ratio with respect to the gate time of note 1 or a ratio with respect to the time from note-on of note 1 to note-on of note 2. You may do so.

FIG. 26 is a flowchart showing a detailed procedure of the glissando processing subroutine of step S148.

In the figure, first, at step S16
In the same manner as in step 1, the last note of the two notes to be deleted is deleted, and the note-off timing of the preceding note is extended to the note-off timing of the subsequent note (step S181).

Next, a pitch bend is inserted according to a setting parameter (not shown) (step S182). Here, the setting parameter refers to a delay parameter,
This delay parameter is a parameter for setting a delay time from the note-on timing of the previous note to the timing of starting pitch bend, similarly to the delay parameter described in FIG. The difference of the process of step S182 from the process of step S172 is that the pitch bend amount to be changed only changes in semitone units, and a description thereof will be omitted.

Next, in the same manner as in step S163, the velocity is changed according to the set parameters (step S183), and the glissando processing subroutine ends.

FIG. 27 is a diagram showing the structure of a note event before and after expression conversion is performed by this glissando processing subroutine. In FIG. 25, the transition of the pitch bend amount is as shown in FIG. The only difference is that it is changed in semitone units, and a description thereof will be omitted.

[0209] In this way, before conversion, the sound data of "Note 1" is ended, the silence state is continued for a predetermined time (tf1 to to2), and then the sound data of "Note 2" is started. Is converted into event data having a structure in which the pitch of “Note 1” is changed from the state of sounding the pitch of “Note 1” to the pitch of “Note 2” in semitone units, so that the playing style glissando can be appropriately simulated.

As described above, in the portamento conversion processing, the “glissando processing” and the “hammering on /
From the three types of conversion processing of "pulling-off processing" and "chalking processing", one processing is selected according to the pitch of two target notes, and the note event structure of the two notes is changed according to this processing. You.

In the present embodiment, the portamento conversion process is called, and if the above condition is satisfied, one conversion process is always selected from the three types of conversion processes and executed. Instead of executing the one conversion process every time the portamento conversion process is performed, one conversion process is performed every predetermined number of times.
It may be executed twice. Further, the predetermined number may be changed at random.

FIG. 28 is a flowchart showing the detailed procedure of the sound effect insertion processing subroutine of step S94 in FIG.

In FIG. 28, first, at step S141
It is determined whether or not the effect sound insertion setting is turned on in the same manner as (1) (step S191). This determination is made by checking the value of a sound effect parameter (not shown) that allows the user to freely set (on / off) whether to insert a sound effect (in this embodiment, fret noise). .

If the setting of sound effect insertion is on in step S191, it is determined whether or not the target phrase is a single tone phrase (step S192).

At step S192, if the target phrase is a monophonic phrase, the process proceeds to step S193. On the other hand, if the target phrase is not a monophonic phrase, that is, a chord phrase, or if the effect sound insertion setting is off at step S191, The sound effect insertion processing subroutine is immediately terminated.

In step S193, step S1 is executed.
In the same manner as in step 43, two notes that are temporally adjacent to each other are determined by looking at the note data of all channels, that is, the note on / off event data of channels 10 to 15, and in step S194, in step S14,
Similarly to 5, it is determined whether or not the pitch of the two notes is equal to or greater than a specified value at which a sound effect is to be inserted (hereinafter, referred to as “sound effect insertion specified value”) (step S194). The sound effect insertion designation value can also be arbitrarily set by the user.

In step S194, when the pitch of the two notes is equal to or greater than the specified sound effect insertion value, a note event for generating fret noise is inserted into a predetermined channel (in this embodiment, channel 9) (step S194).
195). Specifically, the note event of the fret noise has the same note number as the previous note of the above two note events, its velocity takes a predetermined value, and its note-on timing is the note of the previous note. This is the off timing, and the note off timing is determined to be the note on timing of the following note.

On the other hand, if the pitch of the two notes is less than the specified sound effect insertion value in step S194, step S195 is skipped and the flow advances to step S196.

In step S196, it is determined whether or not the above processing has been completed for all notes of the target phrase. If there are notes to be processed, the flow returns to step S193 to repeat the above processing. When the processing has been completed for all notes, the sound effect insertion processing subroutine ends.

FIGS. 29A and 29B are diagrams showing the structure of note events before and after expression conversion by this sound effect insertion processing subroutine. FIG. 29A shows an example of two target note events before conversion. And (b) shows
The state after conversion of the note event of (a) is shown.

In (b), “FX note” indicates a note event of the inserted fret noise, and as described above, “FX note” has the same note number as “note 1”, and On timing is "Note 1"
Note-off timing (time tf1), and the note-off timing is the note-on timing (time to2) of “Note 2”.

Thus, in two adjacent sounds,
Since the fret noise is generated between the previous sound and the next sound, the fret noise can be generated at a natural position (time).

In the portamento conversion processing and the sound effect insertion processing described above, pitch bends and sound effects are inserted between two notes in one phrase. It may be inserted between the last note of the phrase and the first note of the next phrase.

FIG. 30 is a flowchart showing a detailed procedure of the arpeggio emphasis processing subroutine of step S95 in FIG.

Referring to FIG. 30, first, in step S1
Similarly to 41, it is determined whether or not the setting of the arpeggio enhancement is ON (step S201). This determination also
Whether or not to perform arpeggio enhancement (on / off) is checked by checking the value of an arpeggio enhancement parameter (not shown) that can be freely set by the user.

If the setting of arpeggio emphasis is on in step S201, it is determined whether or not the target phrase is a single-tone phrase (step S202).

If the target phrase is a monophonic phrase in step S202, the gate times and velocities of all notes of the channel corresponding to the specified string in the target phrase are changed in accordance with a setting parameter not shown (step S203). This arpeggio emphasis processing subroutine ends. Here, the setting parameter is
A string parameter for determining a string to be treated as a base note by its corresponding channel number, a gate time ratio parameter for determining a ratio for changing a gate time, and a ratio for changing a velocity of the base note It refers to three types of parameters: velocity ratio parameters. The values of all these parameters can be arbitrarily set by the user.

On the other hand, if it is determined in step S201 that the arpeggio emphasis setting is off, or if step S20
If it is determined in step 2 that the target phrase is not a single tone phrase, the arpeggio emphasis processing subroutine is immediately terminated.

[0229] In this way, for a note to be played with the thumb, by playing the sound strongly and for a long time,
It is possible to simulate the arpeggio playing method of the guitar more effectively. The arpeggio emphasis subroutine is not limited to the purpose of simulating the arpeggio playing method. The movement is emphasized, and a more effective expression can be given to the performance data.

FIG. 31 is a flowchart showing a detailed procedure of the velocity randomizing processing subroutine of step S96 in FIG.

In FIG. 31, first, in step S1
Similarly to 41, it is determined whether or not the velocity randomization setting is on (step S211). This determination also determines whether or not to perform velocity randomization (on /
Off) is checked by checking the value of a velocity randomization parameter (not shown) that can be freely set by the user.

If the velocity randomization setting is off in step S211, the velocity randomization processing subroutine is immediately terminated, while if the velocity randomization setting is on, step S212 is executed.
Proceed to.

In step S212, the velocities of all notes in the target phrase are randomly changed according to a setting parameter (not shown), and then the velocity randomizing subroutine is terminated. Here, the setting parameter refers to a velocity ratio orange parameter for setting a range of the ratio for changing the original velocity, and the parameter value can be arbitrarily set by the user.
Then, a range value within the range set in this way is randomly selected, and the selected range value is multiplied by the velocities of all the notes in the target phrase.

As described above, since the flat velocity between each note in the target phrase is randomly changed, more musical flavor can be added to the performance data.

In this embodiment, the various parameters are set by the user one by one in the parameter setting processing in steps S1 and S91.
However, the present invention is not limited to this. As shown in FIG. 32, an optimal (standard) parameter group for performance data is set in advance, and is associated with the performance data file (song file). When stored in a hard disk or the like and a user selects one song file, a parameter file corresponding to the song file may be automatically loaded into the parameter storage area. This eliminates the need for the user to set each parameter for each piece of performance data. For a user who selects only standard parameters for the target performance data, the trouble of setting parameters is eliminated, and operability is improved.

Further, as shown in FIG. 33, for a user who wants to change parameters to be used in accordance with the progress of a song, a parameter sequence file corresponding to a song file is stored in advance, and the user selects one song file. At this time, the parameter sequence file corresponding to the song file and the parameter file used in the parameter sequence file may be loaded into the predetermined area together with the song file. As a result, it is possible to specify a certain part in the music and make finer settings such as applying "chalking" to that position, and also to make parameter settings that are satisfactory even for a skilled person, thereby improving operability. It can be further improved.

As shown in FIG. 34, the parameter files may be individually prepared according to the types of stringed instruments. For example, if the stringed instrument is an electric guitar, choking is often used, but if the acoustic guitar is an acoustic guitar, fret noise is likely to appear. Because there is. As a result, optimal parameters can be set according to the type of the selected musical instrument.

FIG. 35 shows a case where a song file is loaded into the performance data storage area when a parameter file or a parameter sequence file is stored corresponding to the song file as described with reference to FIG. 32 or 33. It is a flowchart which shows the procedure of a file load processing subroutine. In FIG. 35, the contents in parentheses indicate a song file loading process when a parameter sequence file is stored corresponding to the song file. As described above, the processing procedure for both the case where the parameter file is stored corresponding to the song file and the case where the parameter sequence file is stored are shown in one flowchart. Because there are many. Therefore, only when the parameter file is stored corresponding to the song file, the procedure for loading the song file will be described.

In FIG. 35, first, a song file is selected according to a user's instruction (step S221).
The selected file is loaded into the performance data storage area (step S222).

Next, it is determined whether there is a parameter file having the same file name as the song file (step S223). If there is a parameter file having the same file name, the parameter file is loaded into the parameter storage area. (Step S224) After that, the present song file load processing subroutine ends. Here, the parameter file corresponding to the song file is
As shown in FIG. 32, the file names are the same, and the secondary name, that is, the name below the comma (“P
RM ") to distinguish between a song file and a parameter file. Therefore, in order to search for a parameter file stored corresponding to a song file, step S
As in the determination at 223, a parameter file having the same file name as the target song file may be searched. This is the same when searching for a parameter sequence file.

On the other hand, if there is no parameter file having the same file name as the target song file in step S223, the parameter file designated by the user is selected (step S225), and the selected parameter file is loaded into the parameter storage area. (Step S
226) After that, the song file loading process ends.

In this way, when the user specifies a desired song file, the parameter file (or parameter sequence file) corresponding to the song file is automatically loaded. Therefore, the user can save the trouble of setting parameters one by one, thereby further improving operability.

Also, the performance data may be associated with the musical instrument, and when the user selects the performance data, the corresponding musical instrument may be automatically selected. By selecting the musical instrument, for example, a picture of the musical instrument is displayed on the display device 9, the fingering of the user is displayed based on the tablature format data, and further, the timbre of the musical instrument is displayed on the sound source circuit 15.
May be set automatically.

In the present embodiment, a guitar has been described as an example of a stringed instrument. However, the present invention is not limited to this, and performance data for giving an expression specific to another stringed instrument such as a bass may be generated. . Also, it goes without saying that the type of the facial expression parameter is not limited to that described in the present embodiment.

In the present embodiment, the present invention is configured in the form of a performance data converter, but is not limited to this, and may be configured in the form of a personal computer and an application program. This application program may be stored in a storage medium such as a magnetic disk, an optical disk, or a semiconductor memory and supplied to a personal computer, or may be supplied via a network.

Further, in the present embodiment, as shown in FIG. 1, the present invention relates to a sound source device (sound source circuit 12, effect circuit 13 and sound system 14) and an automatic performance device (CP).
The present invention is realized by a performance data conversion device incorporating U5), but the present invention is not limited to this, but is configured by separate devices and connected to each device using communication means such as a MIDI interface and various networks. You may make it.

Further, in the present embodiment, an example has been described in which the present invention is applied to an electronic musical instrument having a keyboard 1, but the present invention is not limited to this, and is applied to a device for creating accompaniment data and the like reproduced by a karaoke apparatus. You can also.

[0248]

As described above, according to the first aspect of the present invention, when a plurality of notes are searched by the same timing note search means, a predetermined one of the plurality of notes is searched. A timing shift amount for shifting the sounding start timing of each note is determined based on the sounding continuation time, and by shifting each sounding start timing of the plurality of notes according to the determined timing shift amount. Since the performance data is converted, if the tone set for the performance data to be converted is, for example, the tone of a guitar, quick cutting (often the duration of sound of each note is short) is not necessary. The difference between the sounding start timings of a plurality of notes is reduced, while the slow stroke (the sounding of each note (The duration is often long), it is possible to perform control such that the difference between the sounding start timings of the plurality of notes is increased, and the performance data can be converted more like a guitar performance. To play.

According to the second aspect of the present invention, when the sounding timing of each note shifted in accordance with the sounding timing shift amount determined by the sounding start timing shift amount determining means is substantially the first timing,
While the performance data corresponding to the plurality of notes is determined to be based on the upstroke, when the sounding timing of each shifted note is substantially the second timing, the performance data corresponding to the plurality of notes is performed. Since the data is determined to be based on the downstroke, the direction of the stroke can be appropriately determined.

According to the third aspect of the present invention, a velocity slope is selected according to the determined stroke direction, and a search is made by the same timing note search means according to the selected velocity slope. A velocity shift amount for shifting each velocity of the plurality of notes is determined, and the performance data is converted by shifting each velocity of the plurality of notes according to the determined velocity shift amount.
A performance expression like a stringed instrument can be given by the performance data.

According to the fourth aspect of the present invention, when a plurality of notes searched by the same timing note search means satisfy a predetermined condition, each sound generation duration of the plurality of notes is shifted. Is determined, and the performance data is converted by shifting each sound duration of the plurality of notes according to the determined shift amount. Can be granted.

According to the fifth aspect of the present invention, a plurality of adjacent notes having different pitches among the input performance data are combined into one note to form new performance data.
The pitch of the new performance data is set to the pitch of any one of the plurality of notes, and the sounding continuation time is changed from the first sounding start timing to the last sounding end timing of the plurality of notes. The performance data is converted by inserting pitch bend data at a predetermined position in the performance data so that the pitch of the new performance data changes from the lowest pitch to the highest pitch of the plurality of notes. Therefore, it is possible to provide various types of performance expressions to the performance data.

According to the sixth aspect of the present invention, pitch bend data having different pitch bend modes are inserted in accordance with the pitches of a plurality of original notes of the new performance data. Can be determined.

According to the seventh aspect of the present invention, the pitch bend start timing based on the first pitch bend data among the pitch bend data accompanying the new performance data is:
Since the first pitch bend data is inserted at a position where a predetermined delay time has elapsed after the sound generation start timing of the new performance data, it is possible to add a so-called “me” to the new performance data. it can.

According to the eighth aspect of the present invention, according to the pitch of the note searched by the adjacent note search means,
Since the performance data is converted by inserting sound effect data for generating a predetermined sound effect at a predetermined position in the performance data, the sound effect data is appropriately arranged at a position where the sound effect is optimally generated. be able to.

According to the ninth aspect of the present invention, since the predetermined position is between the sounding start timings of the two searched notes, a sound effect is generated at a natural position (time). Can be done.

According to the tenth aspect of the present invention, the input performance data is divided into phrases, and among the notes included in the divided phrases, notes that meet predetermined conditions are detected. The sounding duration shift amount for shifting the sounding duration of the detected note is determined, the velocity shifting amount for shifting the velocity of the detected note is determined, and the determined sounding duration shift amount and The performance data is converted by shifting the note duration and the velocity of the note in accordance with the velocity shift amount, so that the performance data can be given a performance expression, particularly by an arpeggio playing method.

According to the eleventh aspect of the present invention, when the input performance data is converted, various expression parameters which are the basis of the conversion are stored in the storage medium in association with the performance data music. Therefore, the user does not need to set various expression parameters, and operability can be improved.

According to the twelfth aspect of the present invention, a plurality of facial expression parameter groups including the various facial expression parameters are stored as sequence data, and conversion of the performance data is performed based on the input performance data. Is performed, the parameter group is switched in accordance with the progress of the conversion, and the performance data is converted based on the expression parameters included in the switched parameter group, so that a certain portion in the performance data is designated. Then, it is possible to set the expression parameter of a desired parameter group at that position, whereby a more detailed performance expression can be given to the performance data.

[0260] According to the thirteenth aspect of the present invention, the optimal expression expression parameters are stored in the storage medium for each musical instrument corresponding to the timbre that can be set in the performance data, and are set in the input performance data. The stored facial expression parameters are loaded according to the type of the musical instrument, and the performance data is converted based on the loaded facial expression parameters. Therefore, the optimal facial expression is selected according to the type of the selected musical instrument. Performance data can be converted with parameters.

[Brief description of the drawings]

FIG. 1 is a block diagram showing a schematic configuration of a performance data conversion device according to an embodiment of the present invention.

FIG. 2 is a diagram showing an example of a data format of performance data.

FIG. 3 is a diagram showing an example of parameters used in the performance data converter of FIG. 1;

FIG. 4 is a flowchart illustrating a procedure of a tablature conversion processing subroutine.

FIG. 5 is a flowchart showing a detailed procedure of a phrase search processing subroutine of FIG. 4;

FIG. 6 is a flowchart showing a detailed procedure of a note-on processing subroutine of FIG. 5;

FIG. 7 is a flowchart showing a detailed procedure of a note-off processing subroutine of FIG. 5;

8 is a flowchart showing a detailed procedure of a position determination and distribution processing subroutine in FIG.

FIG. 9 is a flowchart showing a detailed procedure of a single sound phrase processing subroutine of FIG. 8;

FIG. 10 is a flowchart showing a detailed procedure of a chord phrase processing subroutine of FIG. 8;

FIG. 11 is a flowchart showing a detailed procedure of a note assignment processing subroutine of FIGS. 9 and 10;

FIG. 12 is a diagram illustrating an example of a fretboard and illustrating a method for selecting a candidate position.

FIG. 13 is a flowchart showing a procedure of a facial expression conversion subroutine.

14 is a flowchart showing a detailed procedure of a code quantization processing subroutine of FIG.

FIG. 15 is a flowchart showing a detailed procedure of a timing shift processing subroutine of FIG. 14;

16 is a flowchart showing a detailed procedure of a velocity shift processing subroutine of FIG.

FIG. 17 is a flowchart showing a detailed procedure of a mute cutting processing subroutine of FIG. 14;

18 is a diagram showing note-on timings of chords before and after the timing is shifted by the timing shift processing subroutine of FIG.

FIG. 19 is a diagram for explaining a method of up / down determination in FIGS. 15 and 16;

FIG. 20 is a diagram illustrating an example of a velocity slope.

FIG. 21 is a flowchart showing a detailed procedure of a portamento conversion processing subroutine of FIG. 13;

22 is a flowchart showing a detailed procedure of a hammering on / pulling off processing subroutine in FIG. 21.

23 is a diagram showing the structure of a note event before and after performing expression conversion by the hammering-on / pull-off processing subroutine of FIG. 22.

24 is a flowchart showing a detailed procedure of a choking process subroutine in FIG. 21.

25 is a diagram showing the structure of a note event before and after performing expression conversion by the choking processing subroutine of FIG. 24.

26 is a flowchart showing a detailed procedure of a glissando processing subroutine of FIG. 21.

27 is a diagram showing the structure of a note event before and after performing expression conversion by the glissando processing subroutine of FIG. 26;

FIG. 28 is a flowchart showing a detailed procedure of a sound effect insertion processing subroutine of FIG. 13;

29 is a diagram showing the structure of a note event before and after performing expression conversion by the sound effect insertion processing subroutine of FIG. 28. FIG.

FIG. 30 is a flowchart showing a detailed procedure of an arpeggio emphasis processing subroutine of FIG. 13;

FIG. 31 is a flowchart showing a detailed procedure of a velocity randomizing processing subroutine in FIG. 13;

FIG. 32 is a diagram showing an example of a case where a parameter file is associated with a song file.

FIG. 33 is a diagram showing an example of a case where a parameter sequence file is associated with a song file.

FIG. 34 is a diagram showing an example of a parameter file when a parameter file is prepared according to the type of musical instrument.

FIG. 35: When there is a parameter file or parameter sequence file corresponding to a song file,
It is a flowchart which shows the procedure of the song file loading processing subroutine which loads a song file.

[Explanation of symbols]

 5 CPU 6 ROM 7 RAM 11 Hard disk drive 13 MIDI interface

Claims (13)

[Claims] 1. An identical-timing note searching means for searching for a plurality of notes sounding at substantially the same timing in input performance data, and when a plurality of notes are searched by the same-timing note searching means, Sounding start timing shift amount determining means for determining a timing shift amount for shifting the sounding start timing of each of the plurality of notes based on the sounding duration of the predetermined note; and the determined timing. Performance data conversion means for converting the performance data by shifting each sound generation start timing of the plurality of notes according to the shift amount. 2. The musical performance corresponding to the plurality of notes when the sounding timing of each of the notes shifted according to the sounding timing shift amount determined by the sounding start timing shift amount determining means is substantially the first timing. While the data is determined to be based on an upstroke, when the shifted sounding timing of each note is substantially the second timing, the performance data corresponding to the plurality of notes is determined to be based on a downstroke. 2. The performance data conversion device according to claim 1, further comprising: a downstroke determination unit. 3. A velocity slope selecting means for selecting a velocity slope according to the direction of the stroke determined by the up / down stroke determining means, and the same timing note searching means according to the selected velocity slope. Velocity shift amount determining means for determining a velocity shift amount for shifting each velocity of the searched plurality of notes; and shifting the respective velocities of the plurality of notes according to the determined velocity shift amount. 3. The performance data conversion device according to claim 2, further comprising performance data conversion means for converting performance data. 4. The same timing note searching means for searching a plurality of notes which sound at substantially the same timing in the input performance data, and the plurality of notes searched by the same timing note searching means are provided under a predetermined condition. The shift amount determining means for determining a shift amount for shifting each sounding duration of the plurality of notes, and calculating the sounding duration of each of the plurality of notes according to the determined shift amount. Performance data conversion means for converting the performance data by shifting the performance data. 5. A plurality of adjacent notes having different pitches among input performance data are collected into one note to form new performance data, and the pitch of the new performance data is stored in the plurality of notes. A plurality of note summarizing means for setting the pitch of any one of the notes, and setting the sounding continuation time from the first sounding start timing to the last sounding end timing of the plurality of notes; Performance data conversion means for converting performance data by inserting pitch bend data at a predetermined position of the performance data so that the pitch changes from the lowest pitch to the highest pitch of the plurality of notes; A performance data converter characterized by the following. 6. The performance data according to claim 5, wherein said performance data conversion means inserts pitch bend data having different types of pitch bend in accordance with the intervals of a plurality of original notes of said new performance data. Conversion device. 7. The performance data conversion means, wherein the pitch bend start timing based on the first pitch bend data among the pitch bend data accompanying the new performance data,
7. The first pitch bend data is inserted at a position such that a predetermined delay time has elapsed from the tone generation start timing of the new performance data.
The performance data conversion device according to any one of the above. 8. An adjacent 2 of the input performance data
Adjacent note searching means for searching for notes having different pitches, and inserting sound effect data for generating a predetermined sound effect at a predetermined position in the performance data in accordance with the pitch of the searched note. And a performance data conversion means for converting performance data according to the performance data. 9. The method according to claim 1, wherein the predetermined position is the searched 2
9. The performance data converter according to claim 8, wherein the timing is between the sound generation start timings of the notes. 10. Phrase dividing means for dividing inputted performance data into phrases, note detecting means for detecting notes corresponding to a predetermined condition among notes included in the divided phrases, Sounding duration shift amount determining means for determining the sounding duration shift amount for shifting the sounding duration time of the selected note; and a velocity shift amount determining means for determining the velocity shift amount for shifting the velocity of the detected note. Means, and performance data conversion means for converting the performance data by shifting the sounding duration of the note and shifting the velocity in accordance with the determined sounding duration shift amount and velocity shift amount. Characteristic performance data converter. 11. When the performance data conversion means converts the input performance data, the performance data conversion means has a storage means for storing, on a storage medium, various expression expression parameters which are the basis of the conversion in correspondence with the performance data music. The performance data conversion device according to any one of claims 1 to 10, wherein: 12. The storage means stores a plurality of facial expression parameter groups including the various facial expression parameters as sequence data, and the performance data conversion means performs the performance based on the input performance data. 12. The data conversion according to claim 11, wherein the parameter group is switched according to the progress of the conversion, and the performance data is converted based on an expression parameter included in the switched parameter group. Performance data converter. 13. The performance data conversion means stores the optimum expression expression parameter for each musical instrument corresponding to a tone color that can be set in performance data in the storage medium. 13. The performance data conversion according to claim 12, wherein the stored expression parameters are loaded in accordance with the type of musical instrument set in the step (a), and the performance data is converted based on the loaded expression parameters. apparatus.