JPH10171450A - Electronic musical instrument - Google Patents

Abstract

PROBLEM TO BE SOLVED: To freely and easily prepare a desired arpeggio pattern by regarding stringing from the play of any one string to the stop of sounding of all strings as stringing at the same timing on the time base. SOLUTION: When a 'Hold1' pedal 102a is operated and play information is held in a hold part 102, the arpeggio play based on the play information is continued at an arpeggiator 103, the play information based on current stringing is inputted only to a sound source 105, and a musical sound signal based on the play information is generated at the sound source 105. Namely, the play superimposing an arpeggio play sound based on the play information held in the hold part 102 and the play sound of a guitar 200 is performed. When a 'Hold2' pedal 102b is stepped, during stepping, the inputted play information is held even after the string stops sounding and when the new play information of the string is inputted, in place of play information up to the moment, the new play information is held.

Description

DETAILED DESCRIPTION OF THE INVENTION

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to an electronic musical instrument, such as an electric guitar, to which an electronic string musical instrument provided with a string vibration sensor is connected or integrated with such an electronic string musical instrument, and more particularly, to an arpeggiator. The present invention relates to an electronic musical instrument having a function referred to as an electronic musical instrument.

[0002]

2. Description of the Related Art Conventionally, an electronic musical instrument having a function called an arpeggiator has been known. The arpeggiator has a function of automatically applying an arpeggio by applying input or generated pitch information to a predetermined arpeggio (dispersion chord) pattern and controlling the sounding timing. Among electronic musical instruments provided with such an arpeggiator function, an electronic musical instrument connected to an electronic stringed instrument such as an electric guitar is known (Japanese Patent Application Laid-Open No. Sho 53-6).
No. 0625).

[0003]

However, conventionally known electronic musical instruments which are connected to an electronic stringed musical instrument and perform an arpeggio are not capable of freely creating an arpeggio pattern or have an arpeggio pattern. Patterns can be created freely, but must be created in a very cumbersome manner, and are never easy to handle by players of electronic stringed instruments.

When performing an arpeggio performance, pitch information is obtained by playing the strings of an electronic musical instrument, and the pitch information is applied to an arpeggio pattern created in advance. If the sound is not played, the sound may be partially dropped, resulting in a musically unnatural incomplete arpeggio performance.

SUMMARY OF THE INVENTION In view of the above circumstances, an object of the present invention is to provide an electronic musical instrument having an arpeggiator function that can freely and easily create a desired arpeggio pattern. Further, according to the present invention, when performing an arpeggio performance in accordance with a predetermined arpeggio pattern, it is possible to prevent a sound from being dropped even when a string that is supposed to be played for the arpeggio performance is not played. It is an object of the present invention to provide an electronic musical instrument having an arpeggiator function capable of performing an arpeggio performance with less discomfort.

[0006]

FIG. 1 is a block diagram showing the principle of an electronic musical instrument having the functions of the first to fourth electronic musical instruments according to the present invention described below. The electronic musical instrument 10 is connected to the stringed musical instrument 20 in any of the first to fourth electronic musical instruments of the present invention. The stringed musical instrument 20 includes a plurality of strings 21 _
, 21_2, ..., 21_n and the plurality of strings 21_
, 21_n, a plurality of sensors 22_1, 22_2,..., 22_n provided corresponding to each of them. These plurality of sensors 22_1, 22_2,
, 22_n are the corresponding strings 21_1, 21_2,
.., 21_n are picked up to obtain a ringing signal.

In the first to third electronic musical instruments of the present invention, the electronic musical instrument 10 includes a plurality of strings 2 obtained by a stringed musical instrument 20.
A pattern generation mode for generating a pattern representing a change over time of a string of the stringed musical instrument 20 based on a string signal corresponding to 1_1, 21_2, ..., 21_n;
, 21_n, and a tone generation mode for generating a tone signal based on the pattern generated in the pattern generation mode.

The fourth electronic musical instrument of the present invention may have both of the above-described pattern generation mode and musical tone generation mode. The electronic musical instrument may have only a function corresponding to the tone generation mode among the modes and the tone generation modes. A first electronic musical instrument of the present invention is an electronic musical instrument having the above-described basic configuration, and includes a pattern storage unit 11 and a data writing unit 12.

The pattern generated in the pattern generation mode includes a plurality of strings 21_1, 21_2,.
And an array corresponding to a plurality of grids representing the direction over time, corresponding to each coordinate point composed of a chord and a grid, and corresponding to each coordinate point in the grid corresponding to each coordinate point. This is a pattern in which string-corresponding data including information indicating whether or not a given string is struck is stored in the pattern storage unit 11 in the pattern generation mode.

In the above-mentioned pattern, basically, string-corresponding data including information indicating whether or not a string corresponding to each coordinate point has been struck is arranged. In the present invention, other data is arranged. It is also allowed to be done. For example, in an embodiment to be described later, end data indicating the end of the array in the grid direction and continuation data (tie data) indicating that the performance of the immediately preceding grid is continued as is are stored.

The data writing means 12 of the first electronic musical instrument of the present invention operates in the pattern generation mode, in which all the vibrations (strings) of the plurality of strings 21_1, 21_2,..., 21_n are stopped. After the timing at which any string is struck, the plurality of strings 21_1,
Before the timing at which all the vibrations (ringing) of 21_1,..., 21_n stop next, the plurality of strings 21_1, 21_21
_2,..., 21_n correspond to the current grid pointed by the writing pointer in the grid direction and include a plurality of strings 21_1, 21_2,. Is written at each coordinate point corresponding to
In response to the stop of all the vibrations (strings) of 1, 21_2,..., 21_n, the write pointer is advanced by one in the grid direction.

The data writing means 12 corresponds to one grid and has a plurality of strings 21_1, 21.
,..., 21_n may be written with the same timing at the same timing at all of the coordinate points respectively corresponding to _2,..., 21_n, but this is not necessary. String-corresponding data indicating that there is no ringing at a point is written, and string-corresponding data indicating that there was a string at a coordinate point corresponding to the string that was struck at the timing when the string was actually struck (the present invention) Then, among the string-corresponding data indicating whether or not a string has been struck, string-corresponding data indicating that a string has been struck is referred to as string-string data.

According to the first electronic musical instrument of the present invention, a string is struck from a state in which all strings are stopped to a state in which one of the strings is struck until all strings are stopped again. Is regarded as a string with the same timing on the time axis, and a free pattern can be easily created based on the player's free performance. In the first electronic musical instrument of the present invention, the strings within a certain time width (the time width from the bounce of one of the strings to the stop of the sounding of all the strings) have the same timing on the time axis (the same timing). By creating a pattern that is regarded as a grid), it is possible to perform an arpeggio performance that is extremely varied as described in an embodiment described later.

In the first electronic musical instrument of the present invention, the electronic musical instrument further comprises an operator 13, and when the operator 13 is operated, the data writing means 12 sets a plurality of coordinate points corresponding to the current grid. Of the plurality of coordinate points corresponding to the immediately preceding grid, the coordinate point corresponding to the coordinate point in which the string data representing the presence of the string was written, and the coordinate point corresponding to the immediately preceding grid in the tone generation mode. And continuation data indicating that generation of a musical tone based on the string correspondence data written at the coordinate point corresponding to the same string is continued in the current grid, and the write pointer is advanced by one in the grid direction. Preferably, it is

In this case, a pattern having a greater degree of freedom can be generated, and a more varied arpeggio performance can be performed. In the first electronic musical instrument of the present invention, it is preferable that, of the string-corresponding data, the string data indicating that the string has been struck is data indicating the strength of the string.

By generating a pattern in which the string data representing the string strength is arranged, it is possible to perform arpeggio performances that vary in sound intensity in accordance with the intention of the player when creating the pattern. . Next, a second electronic musical instrument of the electronic musical instrument of the present invention will be described. For convenience, the second electronic musical instrument of the present invention will be described with reference to the functional blocks of FIG. 1 referred to when describing the first electronic musical instrument of the present invention described above. The operation of each functional block in the first electronic musical instrument of the present invention described above may be different.

The second electronic musical instrument of the present invention has the above-described pattern generation mode and musical tone generation mode, and has a pattern storage unit 11, a data writing unit 12, and an operation unit 13. The pattern format and the operation of the pattern storage means 11 in the second electronic musical instrument of the present invention are the same as those in the case of the first electronic musical instrument of the present invention described above, and the description thereof will not be repeated.

The operator 13 in the second electronic musical instrument of the present invention is not different from the operator in the case where the operator 13 is provided in the first electronic musical instrument described above. Is different in the way the operator is used. The data writing means 12 of the second electronic musical instrument of the present invention operates in the pattern generation mode, and operates after the operation start timing of the operation
The plurality of strings 21_1, 21_ before the operation end timing of
String data including information indicating whether or not each of the strings 2,..., 21_n corresponds to the current grid pointed by the writing pointer in the grid direction, and a plurality of strings 21_1, 21_2,. Are written to the respective coordinate points corresponding to, and when the operation of the operation element 13 is completed, the write pointer is advanced by one in the grid direction.

The data writing means 12 of the second electronic musical instrument of the present invention also corresponds to one grid and has a plurality of data, like the data writing means 12 of the first electronic musical instrument of the present invention. Strings 21_1, 21_
Each string-corresponding data may be written at the same timing to all coordinate points respectively corresponding to 2,..., 21_n, but this is not necessary. Write string-corresponding data indicating that there is no ringing at the point, and at the timing of actual stringing, string-corresponding data (bullet-string indicating that there was a string at the coordinate point corresponding to the string struck) Data).

In the second electronic musical instrument of the present invention, the pattern from the timing of the operation start of the operation element 13 to the timing of the operation end is regarded as the same string on the time axis, and the pattern is changed. A free pattern can be easily created based on a player's free performance as in the first electronic musical instrument of the present invention described above. Also, the first
As with the electronic musical instruments of the above, it is possible to perform a very varied arpeggio performance.

Here, in the second electronic musical instrument of the present invention, the data writing means 12 includes a plurality of strings 21_1, 21_2,.
When one or more strings out of 1_n are vibrating (ringing), the coordinate points corresponding to the current grid and the vibrating strings correspond to the previous grid in the musical tone generation mode. In addition, it is preferable that continuation data indicating that generation of a musical tone based on the string correspondence data written at the coordinate point corresponding to the same string is continued even in the current grid is written.

In this case, the first electronic musical instrument described above is provided with the manipulator 13 and, similarly to the case where the manipulator 13 is operated, a pattern having a greater degree of freedom can be generated, and the arpeggio more varied. Performance becomes possible.
In the case of the first electronic musical instrument described above, the continuation data (tie data) is written to one entire grid, but in the second electronic musical instrument, even if it is one grid, each string is Whether or not to write continuation data (tie data) can be selected for each time, and a pattern with a higher degree of freedom is created.

In the second electronic musical instrument of the present invention, similarly to the first electronic musical instrument described above, the string data indicating that the string has been struck out of the string-corresponding data also indicates the strength of the string. It is preferable that the data represents data. By generating a pattern in which the string data representing the string strength is arranged, it is possible to perform an arpeggio performance with a variety of sound intensity in accordance with the intention of the player when creating the pattern.

Next, the third electronic musical instrument of the present invention will be described. For convenience, the third electronic musical instrument of the present invention will be described with reference to the functional blocks of FIG. 1 referred to when the first and second electronic musical instruments of the present invention are described. May be different from the operation of each functional block in the above-described first and second electronic musical instruments of the present invention.

The third electronic musical instrument of the present invention has the above-described pattern generation mode and tone generation mode, and has a pattern storage unit 11 and a data writing unit 12. The pattern format and the operation of the pattern storage means 11 in the third electronic musical instrument of the present invention are the same as those of the above-described first electronic musical instrument and the second electronic musical instrument of the present invention.
Here, the overlapping description is omitted.

The data writing means 12 in the third electronic musical instrument of the present invention operates in the above-described pattern generation mode, and a plurality of strings 21_1, 21_2, 21_1, 21_2, and 21 are provided between the last time the writing pointer in the grid direction was advanced and the present. …,
The string-corresponding data including information indicating whether or not each of the strings 21_n has been struck corresponds to the current grid pointed to by the write pointer and includes a plurality of strings 21_n.
, 21 _ 2,..., 21 _n are written to the respective coordinate points, and the write pointer is advanced one by one in the grid direction at predetermined time intervals.

In the data writing means 12 of the third electronic musical instrument of the present invention, as in the data writing means 12 of the first electronic musical instrument or the second electronic musical instrument of the present invention, one grid is provided. , And each string corresponding data may be written at the same timing to all of the coordinate points respectively corresponding to the plurality of strings 21_1, 21_2,..., 21_n. As illustrated in the above, string-corresponding data indicating that there is no ringing at all coordinate points is written in advance, and when a string is actually struck, there is no string at the coordinate point corresponding to the struck string. String-corresponding data (bullet string data) indicating the effect may be written.

The third electronic musical instrument of the present invention creates a pattern by regarding the strings within a predetermined time interval as strings having the same timing on the time axis. As with the first and second electronic musical instruments, a free pattern can be easily created based on the player's free performance. Also, as in the case of the first and second electronic musical instruments, it is possible to perform a very varied arpeggio performance.

Here, in the third electronic musical instrument of the present invention, the data writing means 12 selects one of the plurality of strings 21_1, 21_2,..., 21_n at a timing when the write pointer is advanced by one in the grid direction. When one or more strings are vibrating (ringing), a coordinate point corresponding to the current grid and corresponding to the vibrating string corresponds to the same grid corresponding to the immediately preceding grid in the tone generation mode. It is preferable to write continuation data indicating that generation of a musical tone based on the string corresponding data written at the coordinate point corresponding to the current grid is continued in the current grid.

In this case, the first electronic musical instrument is provided with the operator 13 and a pattern having a greater degree of freedom is generated in the same manner as when the operator 13 is operated or in the same manner as in the second electronic musical instrument. Arpeggio performance can be more varied. In the third electronic musical instrument, as in the above-described second electronic musical instrument, it is possible to select whether or not to write continuation data (tie data) for each string even with one grid. A more flexible pattern is created.

Further, in the third electronic musical instrument of the present invention, similarly to the first and second electronic musical instruments described above, the string data representing the string of the string-corresponding data in the string-corresponding data is the string data of the string. It is preferable that the data also indicates the strength. By generating a pattern in which the string data representing the string strength is arranged, it is possible to perform an arpeggio performance with a variety of sound intensity in accordance with the intention of the player when creating the pattern.

A fourth electronic musical instrument among the electronic musical instruments of the present invention is an electronic musical instrument having a function corresponding to at least the tone generation mode of the pattern generation mode and the tone generation mode, that is, a plurality of strings. 21_1, 21_
, 21_n, and a plurality of sensors 22_1, 22 provided corresponding to each of the plurality of strings and picking up vibration of each corresponding string and outputting a ringing signal.
_2,..., 22_n, and generates a tone signal based on a ringing signal corresponding to each of the plurality of strings and a pattern representing the transition of the string of the stringed instrument 20 over time. The electronic musical instrument includes a pattern storage unit 11, a data reading unit 14, a correspondence unit 15, and a musical sound generation unit 16.

The pattern storage means 11 of the fourth electronic musical instrument of the present invention is the same as the pattern storage means 11 of the first to third electronic musical instruments after the pattern is inputted. That is, the pattern having the above-described arrangement is already stored in the pattern storage unit 11 in the fourth electronic musical instrument of the present invention. The data reading means 14 in the fourth electronic musical instrument of the present invention reads out a pattern stored in the pattern storage means 11.

The associating means 15 includes a plurality of strings 21_1, 21_2,
,..., 21_n, the string data representing that the corresponding string has been struck, and the vibrating strings of the plurality of strings 21_1, 21_2,. Irrespective of whether the string corresponding to the string data and the vibrating string match.

Further, the musical sound generating means 16 outputs a plurality of strings 21_1, 21_ read by the data reading means 14.
It generates a tone signal of the pitch of the vibrating string associated with the string data of the string corresponding data corresponding to 2,..., 21_n. Since the fourth electronic musical instrument of the present invention includes the associating means 15, the string corresponding to the string data and the string played for the instruction of the pitch (pitch) do not match. Also, the missing of the musical sound is prevented, and the musical discomfort is eliminated.

The tone signal generated by the tone generating means 16 is input to the sound system 30, amplified by the amplifier 31 constituting the sound system 30, and emitted to the space as a tone by the speaker 32. In FIG. 1, the sound system 30 is shown as being separate from the electronic musical instrument 10 of the present invention, but the electronic musical instrument of the present invention may have a built-in sound system.

Here, in the fourth electronic musical instrument of the present invention, the string data is data indicating that the string has been struck and the string strength, and It is preferable to generate a tone signal having a sounding intensity corresponding to the pitch of the vibrating (ringing) string associated with the string and the string strength indicated by the string data.

As a result, it is possible to perform arpeggio performances that vary in sound intensity. Further, in the fourth electronic musical instrument of the present invention, the associating means 15 includes the string data corresponding to the lowest note string among the string data read by the data reading means 14, and the vibration (ringing). It is preferable to associate a string corresponding to the lowest note string among the strings being played.

In the arpeggio performance of a guitar which is the main object of the present invention, a root sound (root sound) having musical significance is often played as the lowest note, and this lowest note is used for other strings. Often played with a string pattern that is independent of the string pattern of the first string, therefore, by associating the string data corresponding to the lowest string with the lowest string that is ringing, Even when the strings do not match, it is possible to perform an arpeggio with almost no musical discomfort.

Further, in the fourth electronic musical instrument of the present invention, the associating means 15 associates the string data read out by the data reading means 14 with the vibrating string and the string data. It is preferable that the strings are associated with each other so that the maximum number of vibrating strings which are the same as the strings corresponding to the string data or vibrate on the higher pitch side than the strings are combined.

With such a correspondence, the arpeggio (dispersion chord) to be pronounced has a tendency to transition at least partially to the higher note side, and a clear dispersion chord is pronounced. Also, in the arpeggio performance, the possibility that the tone corresponding to the high pitch string, which is important in a different sense from the root tone (root tone), will not be wasted despite being struck and is wasted, This results in a more favorable arpeggio performance.

Alternatively, in the fourth electronic musical instrument of the present invention, the associating means 15 associates the string data read out by the data reading means 14 with the vibrating string. It is also a preferable embodiment that the strings corresponding to the string data and the same vibrating (ringing) strings are combined in a maximum number.

According to this associating method, a musical tone signal corresponding to a string defined by a pattern is generated as much as possible. Therefore, it is effective when it is desired to perform as faithfully as possible in a pattern.

[0044]

Embodiments of the present invention will be described below. FIG. 2 is a block diagram showing an embodiment of an electronic musical instrument obtained by integrating the first to fourth electronic musical instruments of the present invention.
A guitar 200 and a sound system 300 are connected to the electronic musical instrument 100 shown in FIG.

The guitar 200 corresponds to the stringed musical instrument 20 shown in FIG. 1, and the guitar 200 has a plurality of strings 21_1, 21_2,..., 21_n of the stringed musical instrument 20 shown in FIG.
, 200_6 and a plurality of sensors 22_1, 22_ of the stringed musical instrument 20 shown in FIG.
, 22_n, six sensors 210_1, 210_1 that pick up the ringing of each string and output a ringing signal.
10_2,..., 210_6.
A string signal obtained by the sensors is input to the electronic musical instrument 100.

In the detecting section 101 of the electronic musical instrument 100, based on the input string signal, the numbers of the strings (1-1)
6) (string number detection), detection of the pitch (pitch) of each struck string (pitch detection), detection of the timing of each string struck (trigger detection), and bullet of each string String strength detection (string strength detection) is performed, and performance information including string number information, pitch information, trigger information, and string strength information is generated based on these detection results.

The performance information generated by the detection unit 101 is input to the hold unit 102 and the sound source unit 105. Sound source section 1
At 05, a tone signal based on the input performance information of the current string is generated. The hold unit 102 includes two hold pedals, that is, a [Hold1] pedal 10
2a and [Hold2] pedal 102b are connected.

When neither the [Hold1] pedal 102a nor the [Hold2] pedal 102b is acting, the hold section 102 passes the input performance information directly to the arpeggiator 103. Hold unit 10
2 holds (temporarily stores) the performance information input to the hold unit 102 when the [Hold 1] pedal 102a is depressed, and outputs the stored performance information to the arpeggiator 103. After that, even if the performance information changes as the performance of the guitar 200 progresses, the changed performance information is not transmitted to the arpeggiator 103. [Hold 1] The electronic musical instrument 100 has two modes for holding the performance information in the hold unit 102 by the pedal 102a. That is, in one of the modes, the performance information is held only while the [Hold 1] pedal 102a is depressed,
[Hold1] When the foot is released from the pedal 102a, the hold is released. Another mode is [Hold
1] When the pedal 102a is depressed once, the performance information is held. When the [Hold1] pedal 102a is once released and then depressed again, the hold is released.

When the [Hold 1] pedal 102a is operated to cause the hold section 102 to hold the performance information,
In the arpeggiator 103, the arpeggio performance based on the performance information is continued, the performance information of the current string is input only to the sound source 105, and the tone generator 105 generates a tone signal based on the performance information. That is, in this case, it is possible to perform a performance in which the arpeggio performance sound based on the performance information held by the hold unit 102 and the performance sound of the guitar 200 are superimposed.

When the [Hold2] pedal 102b, which is the other hold pedal connected to the hold section 102, is depressed, the input performance information is output for each string while the pedal is depressed. After that, when new performance information on the string is input, the newly input performance information is held instead of the performance information previously held on the string.

The electronic musical instrument 100 of the present embodiment
The peggiator creates an arpeggio when the strings are struck.
As soon as the performance starts, the sound stops and the string stops.
Stop) is considered the end of the arpeggio performance
I have. Thus, for example, C _major After playing g
_major When you play_major Once before the string_major 
Stops the arpeggio at that point
Result. In such a case, [Hold
2] Arpeggio performance is not performed when pedal 102b is depressed.
It is possible to avoid a situation in which it stops easily, and G
_major G is played when_major Arpeggio performance of pitch
It will transition to a performance.

In this embodiment, the [Hold2] pedal 102b works effectively even when the performance information is held in the hold section 102 by the operation of the [Hold1] pedal 102a.
When a new string is performed by stepping on 02b, the performance information generated for the new string is stored in the hold section 102 in place of the performance information previously held in the hold section 102.

As described above, the electronic musical instrument 1 of the present embodiment
In the case of 00, the arpeggio performance can be changed by holding the new performance information in the hold unit 102, and the performance in which the arpeggio performance and the performance of the guitar 200 are superimposed can be performed. The arpeggiator 103 generates performance information corresponding to the arpeggio performance, and
04, the tone generator 104 generates a tone signal corresponding to the input performance information. The tone signal generated by the sound source 104 is superimposed on the tone signal generated by the sound source 105, output from the electronic musical instrument 100, and emitted from the sound system 300 to the space as a tone.

FIG. 3 is a functional block diagram of the arpeggiator 103 shown by one block in FIG. The arpeggiator 103 shown in FIG. 3 includes a pattern storage unit 1031 and a pattern rearrangement unit 1032. The pattern storage unit 1031 includes five pedals, that is, an [input start / end] pedal 1031a and a [Tie] pedal. 103
1b, [Res] pedal 1031c, [ToTop]
Pedal 1031d and [Enter] pedal 103
1e is provided. These five pedals 1031a
The operation of to 1031e will be described later. In the pattern storage mode, the pattern storage unit 1031 generates and stores an arpeggio pattern based on string number information, trigger information, and string strength information. Details will be described later.

The pattern rearrangement section 1032 selects the tick setting operator 1033f in the tone generation mode.
And the arpeggio pattern read from the pattern storage unit 1031 in accordance with the scanning speed set by the grid setting operator 1033g and the current guitar 200
Is associated with the string number in the arpeggio pattern based on the string number information and the trigger information ("Remap" described later). Performance information including the result of this association and pitch information of the current performance is sent to the sound source 104 (see FIG. 2), and the sound source 104 generates a string for each string based on the sent performance information. A tone signal for an arpeggio performance is generated according to the pitch information and the arpeggio pattern associated with the string. The operation of the pattern rearrangement unit 1032 will also be described later in detail. The arpeggiator 103 is further provided with an operation panel 1033. The operation panel 1033 has a pattern generation mode for generating an arpeggio pattern and a tone generation mode for generating a tone signal based on the generated pattern. Mode switching operation for switching the type of arpeggio pattern input method (to be described later) when the pattern generation mode is designated by the first mode switching operation element 1033a for switching the mode and the first mode switching operation element 1033a. In the case where the tone generation mode is designated by the operator 1033b and the first mode switching operator 1033a, the type of the reproducing method, that is, the single reproduction mode in which the arpeggio pattern is reproduced once and the reproduction is terminated, and the arpeggio Loop playback to repeat the pattern The third mode switching 換操 Sakuko 1033 for switching and over de
c is provided with a group of mode switching operators. Further, the operation panel 1033 has a tick setting operator 1033 for setting the actual time of “tick”, which is the minimum time unit for scanning the arpeggio pattern.
d, a grid setting operator 1033e for setting the number of ticks at one array point (grid) in the time axis direction of the arpeggio pattern,
A duration setting operator 1033f for setting a "duration" indicating a ratio (%) of the number of ticks for actually generating a sound, a pattern length setting operator 1033g for setting a grid number of an arpeggio pattern, and other various operators. Is provided.

Various operation information generated by operating various operators provided on the operation panel 1033 is input to the pattern storage unit 1031 and the pattern rearrangement unit 1032 as necessary. FIG. 4 is a diagram illustrating an example of an arpeggio pattern generated by the pattern storage unit 1031 illustrated in FIG.

This arpeggio pattern is a pattern having a two-dimensional arrangement of an arrangement in the string number direction and an arrangement in the time axis direction (grid), and has a variable length (here, length n + 1) in the grid direction. Has a length. Any number from 0 to 129 is written in each coordinate point designated by the grid and the string number. Of these numbers 0 to 129, 0 indicates that the string was not struck in the grid, and 1 to 127
Indicates that the string has been struck in the grid, and the larger the number, the stronger the string has been struck, that is, the string strength, which corresponds to the string data referred to in the present invention. Also, 128 is Thailand (Tie)
This tie data is a performance based on the data of the coordinate point of the same grid and the same chord immediately before the coordinate point where the tie data is arranged. This is data indicating that tie data is continued up to the grid of coordinate points where the tie data is arranged.
For example, the tie data (numerical value 128) arranged at the coordinate point corresponding to the grid 2 and the first string is the data (numerical 6) of the same string (the first string) of the immediately preceding grid (grid 1).
This indicates that the tone generation generated based on 4) is to be continued even in the time zone corresponding to the grid 2.

Further, the numeral 129 is the grid n +
This is end data indicating that up to grid n immediately before 1 is a valid arpeggio pattern. In the following, the description of the method of generating an arpeggio pattern as shown in FIG. 3 will be given later. Here, the effectiveness of having an arpeggio pattern as shown in FIG. The case where the pattern has a one-dimensional array in the grid direction) will be described as an example.

When performing an arpeggio performance based on an arpeggio pattern, each grid is scanned, for example, at fixed time intervals. The case where the time is changed for each grid will be described later. When any one of the numbers 1 to 127 is written in the scanned grid, the musical tone of the pitch of the sounding string by the performance at that time is pronounced with the sounding intensity corresponding to the number. When the numerical value 128 (tie data) is read, the sound generation of the immediately preceding grid continues. When the number 0 is written on the scanned grid, no sound is generated. The arpeggio performance is performed by sequentially performing these operations, and the arpeggio performance ends when the ringing (vibration of the strings) stops (when there are a plurality of strings, when all the strings do not sound). In the present embodiment, a single playback mode in which the arpeggio performance ends when the number 129 (end data) is read from the arpeggio pattern, and the number 129 from the arpeggio pattern
There is a loop playback mode that returns to the beginning of the arpeggio pattern and repeats the arpeggio performance when (end data) is read out.
When 9 (end data) is read out, the arpeggio performance ends or returns to the beginning and is continued according to the mode set at that time.

Here, the minimum unit time for scanning the arpeggio pattern is called a "tick". The real time per tick is the tick setting operator 1033d
Is set by Each grid is set with a predetermined number of ticks by the grid setting operator 1033e, and stays on the grid for a time corresponding to the number of techs, and when the time elapses, the performance of the next grid is started. The scanning speed of the arpeggio pattern (the arpeggio playing speed) is determined by setting the time interval (for example, how many seconds) the real time of one tick is set. The number of ticks set for each grid may be the same for each grid, or, for example, a different number of ticks may be set for even and odd grids.
The grid setting operator 1033e also has a function of setting a different number of ticks for each grid.

In performing an arpeggio performance,
By operating the duration setting operator 1033f,
"Duration" can be set. "Duration" refers to the ratio (%) of the number of ticks that actually sound to the number of ticks that one grid has. If this duration is set to a small value, a crisp (staccato) arpeggio performance can be performed. If the duration is set large, a smooth (tenuto) arpeggio performance can be performed.

For example, if one tick = 0.2 second, one grid = 20 ticks, duration = 70%, and there is a sounding instruction for the grid, then 20 (ticks) × 0.7 (70%) × 0.2
(Seconds) = pronounce for 2.8 seconds, 20 (ticks) x 0.2
(Second)-2.8 (Second) = Rest for 1.2 seconds, and shift to the sound generation of the next grid.

Hereinafter, some arpeggio performance patterns will be exemplified. FIG. 5 is a diagram showing a first example of a performance pattern. In this drawing, each drawing to be referred to later, and the description of each drawing, “grid” may be abbreviated as “G”. 1 grid = 20 ticks Duration = 70% Scanning speed (tempo) = 10 ticks / sec When [0, 64, 32,
Arpeggio performance based on the arpeggio pattern of [0]
The performance pattern is as shown in FIG. That is, 1G
Then, the data is 0, resting, and 2 seconds later, the program shifts to 2G. At a performance intensity of 64, 70% of the entire time interval of 2G, 2%, that is, sounding for 1.4 seconds, that is, resting for 0.6 seconds, resting. Move to 3G, 7G for 2 seconds at a playing intensity of 32 for 3G
The sound is emitted for 1.4 seconds, which is 0%, and the rest is continued for 0.6 seconds before moving to 4G. In 4G, since the data is 0, no sound is emitted for 2 seconds, and the 4G rests. After 8 seconds, the arpeggio performance ends in the case of the single playback mode, and returns to the top of 1G in the case of the loop playback mode.

FIG. 6 is a diagram showing a second example of a performance pattern. Number 128 written in the arpeggio pattern
Is referred to as “tie data” as described above, and means that the grid on which the tie data is written continues the sound generation of the immediately preceding grid. FIG. 6 shows the arpeggio pattern [0, 64, 32, 0] of FIG.
Instead of the arpeggio pattern [0, 64, 128,
0], and the data is 0 for 1G.
Rest, and after 2 seconds, move to 2G and play strength 64
However, since the next grid, 3G, is tie data (numerical value 128), 2G is sounded for the entire time (2 seconds), the sound is shifted to 3G, and sounding is continued. In 3G, sound is generated for a predetermined time based on a preset duration, and the sound is paused for a predetermined time. 4
The processing shifts to G, and 4G rests because the data is 0. As described above, when the tie data exists, the immediately preceding sound generation is continued as it is. That is, even if the duration is set to a value other than 100%, for example, 70% as in the example shown in FIG. 5, when tie data exists, the duration of the grid immediately before it is 1
Treated as 00%. As for the grid in which the tie data is written, the tone generation time may be determined based on the preset duration as in the above-described example, or the grid may be continued after the previous grid that sounds at 100% duration. May also be configured to sound at a duration of 100%.

FIG. 7 is a diagram showing a third example of a performance pattern. By setting the duration to a small value, staccato can be expressed. For example, when 1 grid = 20 ticks, duration = 30%, scanning speed (tempo) = 10 ticks / sec, [0, 64, 32,
Arpeggio performance based on the arpeggio pattern of [0]
As shown in FIG. 7, for 2G and 3G, 30% (0.6 seconds) of each of the total time widths (2 seconds) is pronounced,
There is a break for 1.4 seconds, and crisp staccato is expressed.

FIG. 8 is a diagram showing a fourth example of a performance pattern. By setting the duration to a large value, tenuto can be expressed. For example, when 1 grid = 20 ticks Duration = 100% Scanning speed (tempo) = 10 ticks / sec [0,64,32,
Arpeggio performance based on the arpeggio pattern of [0]
As shown in FIG. 8, the sound is connected from the beginning of 2G to the end of 3G, and a tenuto that is a smooth performance is expressed.

FIG. 9 is a diagram showing a fifth example of a performance pattern. By making the number of ticks of the odd-numbered grid different from the number of ticks of the even-numbered grid, shuffle can be expressed. For example, when the odd grid = 25 ticks, the even grid = 15 ticks, the duration = 100%, and the scanning speed (tempo) = 10 ticks / sec, four grids [64, 64, 64,
64], an arpeggio performance based on an arpeggio pattern of 1G is 2.5 seconds, and 2G is 1.5 seconds, as shown in FIG.
Second, 3G becomes 2.5 seconds, and 4G becomes 1.5 seconds, and a long sound and a short sound are alternately repeated to express a shuffle.

As described above, in the case of the configuration having the arpeggio pattern in which the string strength (playing strength) is arranged on each grid as in the present embodiment, the scanning speed is changed to change the reproduction tempo or the tick. It is possible to perform arpeggio performances with various musical changes such as changing the feeling of beats. Also, it is possible to easily realize an arpeggio performance synchronized with the external device by inputting a clock for determining the scanning speed from the external device.

In the following, an arpeggio pattern input method as shown in FIG. 3 and a guitar 200 (see FIG. 2) are input to the arpeggio pattern input during the arpeggio performance.
The following describes a fitting method (referred to as "remapping") for applying the performance of "." FIG. 10 is a flowchart showing an arpeggio pattern input method. In the electronic musical instrument of the present embodiment, 3 is used as an arpeggio pattern input method.
There are three modes, and the flowchart shown in FIG. 10 shows one of the three modes. In this mode, when the pattern generation mode is designated by the first mode switching operator 1033a shown in FIG. 3, the second mode switching operator 1033b
Is specified by operating.

In the mode shown in FIG. 10, the five pedals ([input start / end] pedal 1031a,
[Tie] pedal 1031b, [Res] pedal 10
31c, [ToTop] pedal 1031d, and [E
nter] pedal 1031e), [input start / end] pedal 1031a, [Tie] pedal 1031b,
Four pedals, a [Res] pedal 1031c and a [ToTop] pedal 1031d, are used.

[Input Start / End] The pedal 1031a is
A [Tie] pedal 1031b is a pedal for instructing input start and input end of an arpeggio pattern. Data), and [Re]
st] The pedal 1031c proceeds to the next grid without writing anything (in the present embodiment, the rest (numerical value 0) is written in advance, which corresponds to writing a rest (numerical value 0)). It is a pedal for instructing, [To
[Top] Pedal 1031d is a pedal for returning to the top grid and instructing to continue inputting over the previous input.

Here, as described above, in the present embodiment, when the [ToTop] pedal 1031d is depressed, the grid returns to the top grid, and the input can be continued while superimposing the previous input. [Tie] Pedal 1
"The immediately preceding grid input stage" in the description of 031b
Figure 4 shows the current grid entry.
[ToTop] pedal 1031d in the input stage of the immediately preceding grid on the arpeggio pattern shown in FIG.
Means that the input stage is the immediately preceding input stage when the input is repeatedly and cyclically performed by stepping on. That is, the “input stage of the immediately preceding grid” is “the input position at a plurality of different points in time for the immediately preceding grid,
It means "the immediately preceding input stage in terms of time."

When the mode is switched to the mode shown in FIG. 10, the [input start / end] pedal 1031
When a is stepped on, execution of the flow shown in FIG. 10 is started,
First, in step 10_1, initialization for creating a new arpeggio pattern is performed. In this initialization step, a variable n representing the current grid to which data (numerical value) is to be written is initialized to n = 1, and a numerical value 0 (rest) is written to all areas where an arpeggio pattern is created (G (All) = 0).

After such initialization is performed, an input standby state is set (step 10_2). If there is any input, the process exits from step 10_2 and returns to each step 10_
In each of 3, 10_4, 10_5, 10_6, and 10_7, whether or not the input end is instructed by depressing the [input start / end] pedal 1031a again,
[ToTop] Whether the pedal 1031d is depressed, whether the strings of the guitar 200 are struck, and [Tie] pedal 1
[Res] pedal 103 whether 031b is depressed or not
It is determined whether or not 1c is stepped on.

Here, first, the case where the string of the guitar 200 is played and it is determined in step 10_5 that the string has been played will be described. In this case, step 10_
Proceeding to 8, the numerical value of any one of 1 to 127 representing the string strength of the string is written in a column (coordinate point) of the current grid G (n) corresponding to the string where the string was struck.

In steps 10_9 and 10_10, it is monitored whether or not there is a new string of another string before the ringing signal stops. If there is a new string, step 1 is executed.
Returning to 0_8, any numerical value of 1 to 127 representing the string strength is written in the column (coordinate point) corresponding to the string where the new string is formed in the current grid G (n). . In step 10_9, it is determined whether or not all strings have stopped ringing. If at least one string is ringing, the process proceeds to step 10_10. When the ringing signals of all the strings are stopped without a new string, the process proceeds to step 10_11, the grid is updated, and the process proceeds to step 10_2 to be in an input standby state. According to this method, for a plurality of strings struck before all the strings stop sounding, a numerical value representing the string strength is input to the same grid, so that chord data can be easily input. can do.

[Tie] When the pedal 1031b is depressed, the process proceeds to step 10_12, where a string is input in the immediately preceding input stage with respect to the immediately preceding grid and 1 to 128 (including the Tie data 128 for convenience). )
It is determined whether or not the numerical value has been input.
Only for the strings in which any numerical value of 8 is written, the corresponding column (coordinate point) G of the current grid
In (n), 128 (Tie data) is written (step 10_13). Even if the data input immediately before is a rest (numerical value 0) or numerical data of 1 to 128 is input in the immediately preceding column (coordinate point), it is not the data input immediately before. If so, step 10_1
Since the determination of No is made in step 2,
The process goes directly to step 10_11 without updating the grid, and the grid is updated.

[Resto] When the pedal 1031c is depressed, the process directly proceeds to step 10_11 to update the grid. In the present embodiment, rest data (numerical value 0) is written in advance in the initial state of the grid.
Depressing the [Res] pedal 1031c on the grid in which the numerical value 0 is written corresponds to generating a rest grid. Of course, when the [Res] pedal 1031c is depressed with respect to the grid in which the string strengths (including Tie) of 1 to 128 are already written, the grid number to which data is to be input is simply updated without changing the numerical value. Will do.

When the [ToTop] pedal 1031d is depressed, the process proceeds to step 10_14, and [ToTo] is performed in the past.
p] Pedal 1031d is depressed or not (that is, [ToTop] pedal 1031d is depressed this time by 2
If the [ToTop] pedal 1031d is depressed for the first time after the creation of this arpeggio pattern is started, the process proceeds to step 10_15, and the end data indicating the end of the arpeggio pattern. (Numerical value 129) is written, and step 10_
Proceed to 16 to return to the first grid (n = 1).

If the [ToTop] pedal has been depressed in the past, since the end data has already been written, no new writing of the end data is performed and step 10 is executed.
Go to _16 and return to the top grid (n = 1). [Input start / end] pedal 1 while creating arpeggio pattern
When 031a is depressed, the process proceeds to step 10_17, and it is determined whether or not the [ToTop] pedal has been depressed in the past.
[ToTop] When the pedal 1031d is not depressed, the end data has not been written yet, so the process proceeds to step 10_18, where the end data is written, and the creation of the arpeggio pattern ends.

In the case of the input method shown in FIG. 10, an arpeggio pattern can be easily created simply by playing a string, and a more complex pattern can be input by using a pedal together. FIG. 11 is a flowchart showing another input method of the arpeggio pattern.

The mode setting method shown in FIG. 11 is the same as the mode specifying method shown in FIG. 10, and includes a first mode switching operator 1033a and a second mode switching operator 1033.
The mode shown in FIG. 11 is designated by the operation of 33b.
In the mode shown in FIG. 11, among the five pedals shown in FIG. 3, [input start / end] pedals 1031a, [To
[Top] pedal 1031d and [Enter] pedal 1031e are used. In FIG. 3, [Ente
r] pedal 1031e is provided independently of other pedals, but physically [Enter] pedal 1031e
And [Tie] pedal 1031b or [Res]
The mode shown in FIG. 10 and the mode shown in FIG.
The role may be switched with the mode switching shown in FIG.

The role of the [input start / end] pedal 1031a and the [ToTop] pedal 1031d is described in FIG.
Is the same as in the mode shown in FIG. [Enter] pedal 1031e writes data to the current grid based on the state of the strings while the pedal is depressed,
This is a pedal for updating the grid when the [Enter] pedal 1031e is released.

In the state where the mode is switched to the mode shown in FIG. 11, the [input start / end] pedal 1031
When a is stepped on, execution of the flow shown in FIG. 11 is started,
First, initialization is performed in step 11_1, and the process proceeds to step 11_2 to enter an input standby state. Step 1
The initialization in 1_1 is the same as that in step 10_1, and a duplicate description will be omitted.

If there is any input, step 11_2
Through each of the steps 11_3, 11_4, 11_5
[Input start / end] pedal 1031
It is determined whether input termination has been instructed by a stepping on “a” again, whether the [ToTop] pedal 1031d has been depressed, and whether the [Enter] pedal 1031e has been depressed.

[Enter] When the pedal 1031e is depressed, the process proceeds to step 11_6, and the [E]
[enter] pedal 1031e is determined to be in a depressed state. If the [Enter] pedal 1031e is still depressed, the process proceeds to step 11_7, and it is determined whether a string is sounding. You. Step 11
If it is determined in step 11_6 that the [Enter] pedal 11_6 has been released while repeating step # 6 and step 11_7, the process proceeds to step 11_12, and the grid is updated. That is, when the [Enter] pedal 1031e is depressed at the timing when the vibration of the strings is stopped and the [Enter] pedal 1031e is released without the string, a rest is written on the grid. Become.

[Enter] If the pedal 1031e is depressed and the string is sounding, the flow advances to step 11_8. In step 11_8, the [Enter] pedal 1031e
After the is stepped on, it is determined whether or not there is a new string. That is, in Step 11_8, Step 11
_7 was determined to be ringing because [Ent
[er] pedal 1031e, or due to a string generated after stepping on pedal 1031e, or [Enter] pedal 1031e.
It is determined whether or not the sounding string that becomes the bullet string before the pedal was depressed continued until after the [Enter] pedal 1031e was depressed.

[Enter] If there is a new string after stepping on the pedal 1031e, the flow advances to step 11_9 to write the string strength of the new string in the current grid G (n). On the other hand, [Enter] pedal 103
[Enter] pedal 1 by the string before step 1e is depressed
If the ringing continues even after the step 031e is stepped on, the process proceeds to step 11_10, where 128 is added to the grid G (n).
(Tie data) is written. When the numerical value is written in step 11_9 or step 11_10, the process proceeds to step 11_11, and the [Enter] pedal 103e
Is released, the process proceeds to step 11_12, and the grid is updated. That is, [Enter] pedal 1
When the string is played after stepping on 03e, the string strength is written to the grid G (n), and 128 (Tie data) is written when the string from the immediately preceding grid continues.

Although the case where there is one string is described here, when there are a plurality of strings, it is determined whether or not there is a string after each step of the [Enter] pedal 1031e. , And whether or not the strings continue to be sounded before the [Enter] pedal 1031e is depressed, or whether or not the strings are stopped while the [Enter] pedal 1031e is depressed. String strength (1-127), Tie data (128)
Alternatively, rest data (0) is written.

In FIG. 11, each step 11_3,
11_4, 11_13, 11_14, 11_16, 11
_17 are steps 10_3, 10_4, 1 in FIG.
These are the same as 0_14, 10_15, 10_17, and 10_18, respectively, and redundant description will be omitted. FIG.
FIG. 4 is an explanatory diagram showing an input example using the input method shown in FIG.

The arpeggio patterns shown in FIG. 12, that is, 1G and 2G are strings, 3G and 4G are rests, 5G are strings, 6G and 7G are Tie and 8G, respectively.
When G tries to input an arpeggio pattern of a string, the following operation is performed. 1G: [Enter] pedal 103 with the strings stopped
1e, strum the string, and press the [Enter] pedal 1031e.
Release.

2G: The same operation as in 1G is repeated. 3G: [Enter] pedal 103 with the strings stopped
Step on 1e and release [Enter] pedal 1031e without playing the strings. 4G: The same operation as 3G is repeated. 5G: [Enter] pedal 103 with the strings stopped
1e, step on the string and release the [Enter] pedal.

6G: With the string struck at 5G still ringing, depress and release the [Enter] pedal 1031e. 7G: Press and release the [Enter] pedal 1031e while the string struck at 5G is still ringing. 8G: After the string stops playing, [Enter] pedal 103
1e, step on the string and enter the [Enter] pedal 103
Release 1e.

In the case of the input method shown in FIG. 11, [En
By repeatedly stepping on the [ter] pedal 1031e, it is possible to input [Tie] or [Res] without being conscious of the tone, and thus it is possible to input a more natural arpeggio pattern of a stringed instrument. When an arpeggio is played on a stringed instrument, there are musical tones having various sounding timings and sounding lengths for each string in the arpeggio playing pattern. For this reason, in the case of the input method shown in FIG. 10 described above, a natural arpeggio pattern cannot be input unless a pattern to be played is analyzed in advance and where [Tie] or [Res] is to be inserted is determined in advance. Although it is difficult, the input method shown in FIG. 11 requires a little more skill than the input method shown in FIG. 10, but inputs a natural arpeggio pattern without being conscious of the insertion location of [Tie] or [Res]. be able to. FIG. 13 is a flowchart showing yet another input method of an arpeggio pattern. This figure 1
The method of designating the mode shown in FIG. 3 is the same as the method of designating each mode shown in FIGS. 10 and 11, and by operating the first mode switching operator 1033a and the second mode switching operator 1033b, the mode shown in FIG. Is specified.

In the embodiment described with reference to FIG. 11, the [Enter] pedal 1031e is operated by the player.
The arpeggio pattern is input while stepping on the keyboard. However, the input method described here performs a process corresponding to pressing the [Enter] pedal in accordance with a predetermined tempo inside the electronic musical instrument, and the player performs This is an input method in which an arpeggio pattern is also input.

In the mode shown in FIG. 13, of the five pedals shown in FIG.
Only 1a is used. The role of the [input start / end] pedal 1031a is the same as that in each mode shown in FIGS. In the mode shown in FIG.
[Input Start / End] Before depressing the pedal 1031a, FIG.
By operating the grid setting operator 1033e shown in FIG.
The time (number of ticks) T per grid is set, and further, by operating the pattern length setting operator 1033g,
The number of grids _{Nmax of the} entire arpeggio pattern to be input is set. The setting of the number of ticks T replaces the operation cycle of the [Enter] pedal in the input method described with reference to FIG. 11, and the setting of the number of grids N _max is performed in the input method described with reference to FIG. [To Top] This is an alternative to the operation cycle of the pedal.

After the time T and the number of grids _Nmax are set, when the [input start / end] pedal 1031a is depressed,
In step 13_1, initialization is performed. Steps 13_4 to 13_7 are executed once every predetermined short unit time (the above-mentioned number of ticks per grid, where t is a variable representing the number of ticks). First, in step 13_2, it is determined whether or not t = T, that is, whether or not the time to update the grid has been reached. When t ≠ T, the number of ticks t is incremented (step 13_3),
Proceed directly to step 13_8. On the other hand, step 13_
If it is determined in step 2 that t = T, that is, the timing of the grid update, the number of dicks t is returned to t = 0 to measure the timing of the next grid update (step 13_4), and the current grid is updated. The variable n to be represented is incremented (step 13_5), and when the variable n exceeds the grid number _Nmax (step 13_5).
6) Return to the top grid (step 13_7).

In step 13_8, it is determined whether or not input termination has been instructed by depressing the [input start / end] pedal 1031a again. If the input has not been terminated, the flow proceeds to step 13_9. In step 13_9, it is determined whether or not the string is being played. If not, the process returns to step 13_2. If a string is being played, the process proceeds to step 13_10, where it is determined whether or not there is a new string after proceeding to the current grid. If there is a new string, the bullet is placed on the current grid G (n). The string strength is written (step 13_11), and the process returns to step 13_2. On the other hand, instead of having a new string, step 1
If the string that has passed through 3_9 and 13_10 last time is still in a state of continuing, the process proceeds to step 13_12, and it is determined whether or not a numerical value of any of 1 to 127 is written in the current grid G (n). Is determined. In step 13_12, since the same grid is repeatedly passed through the paths of steps 13_9 and 13_10 for each tick, it is determined that there is a string in step 13_10, and the current grid G is determined in step 13_11.
This is a step to avoid rewriting the written string strength even though the string strength is written in (n). If any numerical value from 1 to 127 has been written to G (n) in step 13_12, the process directly returns to step 13_2,
If G (n) = 0 or G (n) = 128, the process proceeds to step 13_13, where 128 (Tie data) is written to G (n), and returns to step 13_2. If the ringing has continued from the immediately preceding grid at the time of transition to the current grid, the process proceeds to step 13_13, where 128 (Tie data) is added to the current grid G (n).
Is written once, and then if there is a string in the current grid, then the string strength for that string is written in step 13_13.

Note that, as in the case of FIG. 11, the case where only one string is used is described here. However, when there are a plurality of strings, each of the strings is provided before the current grid is updated to the current grid. Whether the string continues, or if there is a string after the current grid is updated, and the string stops after the current grid is updated until the next grid is updated. It is determined whether or not each string is struck, and the string strength (1-127), Tie data (128), or rest data (0) is written for each string.

[Input start / end] When the input end is instructed by depressing the pedal 1031a again, it is determined in step 13_8 that the input is ended, and the input processing of the arpeggio pattern is ended there. According to this configuration, the player does not need to operate the pedal,
Since it becomes possible to concentrate on operations such as a bullet string, an arpeggio pattern can be input more easily.

In the mode shown in FIG. 13, a metronome sound is emitted in synchronization with the grid update.
It is preferable to inform the user when the grid is updated. Therefore, for example, step 1
At 3_2, a metronome sound may be emitted when it is determined that t = T and the time to update the grid has come.

In the method of inputting an arpeggio pattern in the two modes described with reference to FIGS.
For the grid to which the IE data 128 was input, the pronunciation from the immediately preceding grid simply continued.
In the arpeggio pattern input method in the mode described with reference to FIG. 13, the string input data of 1 to 127 can be overwritten on the grid to which the Tie data has been input. Regarding the pronunciation corresponding to the grid on which the string strength data of 127 is overwritten, not just continuation from the grid immediately before being pronounced at a duration of 100%, but a new trigger
In addition, the sound is generated with the string strength corresponding to the overwritten string strength data, and according to this configuration, it is possible to input more various arpeggio patterns. FIG.
In the modes 0 and 11, the string strength may be overwritten on the Tie data.

FIG. 14 is a diagram showing a remapping flow. The flow shown in FIG. 14 operates when the tone generation mode is designated by operating the first mode switching operator 1033a. Third mode switching operator 1033c
Thus, the process proceeds in common even if the single playback mode or the loop playback mode is specified, unless otherwise specified.

When an electronic musical instrument is to actually perform an arpeggio, it is necessary to provide pitch information to an arpeggio pattern input in advance, and a guitar 200 (see FIG. 2) is played to provide the pitch information. You. At this time, a problem arises when the strings of the arpeggio pattern do not match the strings of the guitar playing for giving pitch information. For example, suppose that there are six strings, and [1st, 2nd, 3rd, 4th, 5th, 6th,
The data of each string of [String] is [0, 0, 64, 32, 72,
0], when a guitar performance is performed to give a pitch to this data, the first to third strings are played and the fourth to fourth strings are played.
When the 6th string is not played, 3 in the arpeggio pattern
When generating the musical tones corresponding to the strings 4, 4 and 5, it is important to determine which pitch to generate for each of the 3rd, 4th and 5th strings. In the flow of FIG. 13, even if the string played for pitch designation does not match the string in the arpeggio pattern, they are forcibly associated with each other, that is, remapping is performed. This eliminates the inconvenience that a tone is not generated when a musical tone is not generated when a mismatch occurs, thereby realizing a musically natural arpeggio performance.

In the following, a description will be given assuming that remapping is performed on an arpeggio pattern input by adopting any of the above-described methods. However, the remapping described is irrelevant to the method of creating an arpeggio pattern. The arpeggio pattern to be remapped may be fixedly incorporated in advance on the electronic musical instrument manufacturer, for example.

Before describing the flow of FIG. 14, FIG. 1 necessary for the description of the flow of FIG.
5 to 17 will be described, and then the flow of FIG. 14 will be described with reference to those drawings. FIG.
FIG. 9 is a diagram showing a storage area for data of each string of the current grid read from the arpeggio pattern, and a work area for storing the number of strings having a bullet string strength (1 to 128) in the current grid pattern. is there. The data of each string i is P
(I), and the number of strings is represented by A. FIG.
FIG. 7 is a diagram showing a storage area of pitch data indicating a current performance pattern for specifying a pitch, and a work area in which the number of strings struck is stored. The pitch data of each string is represented by S (i), and the number of strings is represented by B. Note that S (i) = 0 is i
Indicates that the th string was not played.

FIG. 17 is a diagram showing the string strength of each string after the remapping. Data associated with each string i is represented by U (i). Here, a plurality of string strengths U (i) are allowed to correspond to the same string, and at the maximum, both strings are stringed on a certain grid in the arpeggio pattern (both strings are shown). If any one string (for example, only one string) for giving a pitch is used, all pieces of string information for six strings are provided. It will be associated with that one string.

Hereinafter, the flow of FIG. 14 will be described. First, the flow of FIG. 14 will be described generally.
After that, description will be given along the specific examples shown in the drawings after FIG. In step 14_1 of FIG. 14, the current grid pattern of the arpeggio pattern (hereinafter, the current grid pattern may be referred to as an arpeggio pattern or simply a pattern) is read out, and P shown in FIG. (1) to P (6).

The flow shown in FIG. 14 is a remapping flow for the current grid. Each grid is scanned at predetermined time intervals by a flow (not shown) higher than this flow according to the set tempo. The grid pattern is read. In the flow shown in FIG. 14, the remapping process is performed on the current grid pattern read by the upper-level flow.
When the end data (numerical value 129) is read out, the remapping is terminated according to the set mode (single playback mode or loop playback mode), or the remapping is continued by returning to the beginning of the arpeggio pattern. However, in the flow shown in FIG. 14, the update of the grid is not considered.

In step 14_2, P (1) to P (1)
In (6), the number of strings and strings in which numerical values other than rests (numerical value 0) are written are counted and written to A. In this case, the Tie data (numerical value 128) is also included in the number of strings and strings. In step 14_3, pitch (pitch) data of each string is extracted from the current string signal of the guitar 200 (see FIG. 2) and stored in S (1) to S (6) shown in FIG. Note that S (i) = 0 is stored for a string that is not ringing at that timing. In the following, a string according to the current guitar performance for pitch designation is referred to as an “input string”, and a string that is currently sounding in the input strings is referred to as a “ringing string”.

In step 14_4, S (1) to S (S)
In (6), the number of data other than 0, that is, the number of ringing strings is counted and written to B. In step 14_5, 0 is written to all of U (1) to U (6) shown in FIG.

In step 14_6, the string number of the lowest note in the ringing is input to Smax, and the string number of the lowest note in the arpeggio pattern is input to Pmax. In step 14_7, each pointer Sn, Pn is set to Sn = Sma, respectively.
x, Pn = Pmax. In step 14_8, P
(Pmax) is written to U (Smax). That is,
Assign the lowest string in the arpeggio pattern to the lowest string in the ringing.

In step 14_9, the count value of the number of strings is counted down (A = A-1, B = B-1), and each pointer is updated (Pn = Pn-1, Sn = Sn-1). However, although not explicitly shown in FIG. 14, updating of the pointer Sn is performed only when B> 0. Hereinafter, the same applies to the updating of the pointer Sn. Step 14_
In 10, it is determined whether or not A> 0, that is, whether or not there is a pattern that has not been assigned yet.

In step 14_11, P (Pn) = 0
That is, it is determined whether or not the string Pn in the arpeggio pattern is a rest. In step 14_12, S
It is determined whether (Sn) = 0, that is, whether or not the string Sn in the input string is stopped. In step 14_13, each pointer is updated (Pn = Pn-1, Sn =
Sn-1).

In step 14_14, (B> A and
It is determined whether Sn ≧ Pn). Step 14_15
Then, each pointer is updated (Pn = Pn-1, Sn =
Sn-1), B is counted down (B = B−
1). In step 14_16, the pointer Pn is updated (Pn = Pn-1). In step 14_17, S
It is determined whether or not (Sn) = 0, that is, whether or not the vibration of the string Sn in the input string has stopped.

In step 14_18, the pointer Sn is updated (Sn = Sn-1). In step 14_19, P (Pn) is written to U (Sn). At this time,
If data other than the initial value 0 has already been written to U (Sn), the data is written next to the data while leaving the data (see FIG. 17). Step 14_20
Then, the pointers Pn and Sn are updated (Pn = Pn−
1, Sn = Sn-1), and A and B are respectively counted down (A = A-1, B = B-1).

Since the flow of FIG. 13 is difficult to understand as it is, the flow of FIG. 13 will be described again according to a specific example. 17 to 29 are explanatory diagrams sequentially showing remapping of a certain pattern. FIG.
As shown in FIG. 8, i = 6, 5, 4, 3, 2, 1 represents a string number, a mark represents a ringing string (a currently sounding string) in an input string, and a mark represents a string. 1 to the area (coordinate point) corresponding to the string i in the arpeggio pattern (current grid)
It indicates that any numerical value of 128 is stored.

As shown in FIG. 19, Sn, Pn
Indicates the respective pointers of the input string and the arpeggio pattern that are currently focused on. Further, the crosses indicate the assigned strings. However, there is a case where the assignment is duplicated even after the assignment is completed. The numbers shown in the column of the pattern P (i) indicate the numbers of the assigned strings.

It is assumed that the data as shown in FIG. 18 has been obtained by the steps 14_1 and 14_3.
Here, first, the lowest string of both is searched for (step 14).
_6), and they are assigned to each other (FIG. 19, step 14_8). Next, the number of unassigned strings is counted (FIG. 20), the pointer Pn of the pattern is advanced, and if there is a remaining string (B> 0), the pointer Sn is advanced (FIG. 2).
1: Step 14_9).

When the data pointed to by the pointer Pn in the arpeggio pattern is empty (rest) (step 14)
_11) and (B> A and Sn ≧ Pn) (step 14_14), the pointers Pn and Sn of both are advanced. However, since this is not the case, only the pointer Pn of the arpeggio pattern is advanced (FIG. 22). Step 1
4_16).

In FIG. 22, the pointer Sn is also used as the pointer P.
n (Step 14_1)
1, 14_17), and allocation is performed (FIG. 23; step 14_19). Next, the pointer Pn is advanced, and B> 0
At this time, Sn is advanced (FIG. 24; step 14_20).

Here, since the input string is empty, the pointer Sn of the input string is advanced to a position where it is not empty (step 14_18) and assigned (FIG. 25; step 14_1).
9). The pointer Pn is further advanced, and if B> 0, the pointer Sn is updated (FIG. 26; step 14_2).
0).

The data pointed to by both pointers Pn and Sn is not vacant and is therefore allocated (FIG. 27; step 14_19). The pointers Pn and Sn are updated. However, Sn is updated only when there is a remainder (when B> 0). Here, since B = 0, Sn is not updated (FIG. 28; step 14_20).

Further, allocation is performed (FIG. 29; step 14_19), and allocation for this grid is completed (step 14_10). Next, another example of the remapping will be described. 30 to 38 are explanatory diagrams sequentially showing remapping of a pattern of one grid.

It is assumed that the data shown in FIG. 30 has been read (steps 14_1 and 14_3. First, the lowest strings are assigned (FIG. 31; steps 14_6 and 14).
_8). The pointers Pn and Sn are advanced (Sn is advanced only when B> 0) (FIG. 32; step 14_9).

Only the pointer Pn is advanced (FIG. 33; steps 14_14, 14_16). The pointers Pn and Sn are advanced (FIG. 34; steps 14_14 and 14_15).
Note that an asterisk indicates an extra string that has no assignment. Assignment is performed (FIG. 35; step 14_19). The pointer is advanced (FIG. 36; step 14_20).

The pointer is advanced (FIG. 37; steps 14_14, 14_15). Assignment is performed (FIG. 38; step 14_19). Thus, the assignment ends. This is the end of the description of the flow in FIG. While the above remapping is performed, the input string pitch data shown in FIG. 16 and the remap data shown in FIG.
The performance information is input to the sound source 104 (see FIG. 2), and the arpeggio performance based on the remapping is performed.

It should be noted that a plurality of string strengths U
When (i) is correlated, the tone generator 104 may generate tone signals in accordance with the respective string strengths U (i) (in this case, these tone signals have pitches of the same string) (The pitch is the same because the information is based on the information.) Therefore, any one of the string strengths U (i) may be selected and a tone signal may be generated accordingly. In this case, it is conceivable to select the string strength U (i) of the pattern on the treble side or the bass side from the plurality of string strengths U (i) corresponding to the same string. Alternatively, the string strength U
It is also conceivable to select the largest value of the string strength in (i) or to calculate the average value of a plurality of string strengths U (i) and select the average value.

[0129] Here, no matter how the strings are struck, the sound is always ensured, the omission of the sound is prevented, and the arpeggio performance with less musical discomfort is performed. FIG.
According to the remapping method shown in (1), the lowest string in the pattern is assigned to the lowest string in the ringing. In the case of an arpeggio of a stringed instrument, only the lowest note string behaves independently of other strings in many cases, and thus such an assignment method is effective.

Further, according to the remapping method shown in FIG. 14, when the arpeggio pattern is used as a reference, the tones to be produced correspond to the same string or a higher string. For example, in the case of a three-string pattern, musical tones of the first to third strings tend to be generated. That is, when the guitar 200 is played by striking a string different from the arpeggio pattern,
It tends to be an arpeggio performance that transitions to the treble side, whereby clear dispersed chords are produced, and musical notes corresponding to the treble side that is important for arpeggio performance are not produced despite being struck It is also possible to reduce the possibility of becoming.

FIGS. 39 to 41 are explanatory diagrams of an assignment method different from the assignment method in the flow of FIG. It is assumed that the data shown in FIG. 39 has been read. At this time, first, strings matching each other are assigned. That is, in the example shown here, four strings are assigned, two strings are assigned, and one string is assigned (FIG. 40).

For the strings that do not match, the assignment method described with reference to FIG. 14 is used. That is, the lowest note strings of the two are assigned as much as possible, and the string number closest to the arpeggio pattern is assigned as much as possible. The high string that is being struck is assigned (FIG. 41). FIG. 42 is a diagram showing a partial flow added to the flow of FIG. 14 for realizing the allocation method described with reference to FIGS.

The partial flow shown in FIG.
Steps 14_5 and 14_6 of the flow shown
Inserted between. First, in step 42_1, the string number
Pointer D indicating_n Is set to 6. Step 42
In _2, D_n = 0 is determined, and D_n $ 0 place
If S (D_n) = 0 or P (D_n ) = 0 or
Or S (D_n ) ≠ 0 and P (D_n) ≠ 0
It is determined (steps 42_3, 42_4). S (D
_n ) ≠ 0 and P (D_n ) ≠ D if 0_n Concerning both
, P (D_n ) To U (D_n Write to)
(Step 42_5). In step 42_6,
Count down the count value (A = A-1), and step 4
In 2_7, the assigned string (D_n )about,
String strength P (D_n ) Is P (D_n ) = 0
You. Pointer D indicating the string number_n Is decremented
(Step 42_8), and returns to Step 42_2.
At 42_3, S (D_n ) = 0, or
In step 42_4, P (D_n ) = 0
Goes directly to step 42_8 where D_n Is decremen
And the process returns to step 42_2. Each string number (D_n )
The above is repeated for 6, 5,...
_8 and (D _n ) Is set to 0 and the process proceeds to step 42_2.
Back, D_n = 0, and the step 1 shown in FIG.
Proceed to 4_6.

The following processing has already been described with reference to FIG. As described above, by adopting a method of preferentially assigning matching strings, an arpeggio performance as faithful as possible to the original arpeggio pattern is performed. FIG. 43 is a flowchart showing still another method of assigning an arpeggio pattern. Differences from the flowchart shown in FIG. 14 will be described.

Before describing the individual steps in this flowchart, an assignment method (remapping process) to be realized in this flowchart will be described. In the remapping process shown in FIG. 14, since the remapping process is performed for each grid and the lowest string in the pattern is always associated with the lowest string in the ringing, the sixth string (sixth string) in the first grid is used. Only the lowest note in the middle)
In an arpeggio pattern in which only the strings sound and only the fourth string sounds on the third grid, when all strings are struck on all grids, a tone is always generated at the pitch of the sixth string. In other words, the arpeggio pattern always produces a musical tone corresponding to the lowest string even though it is trying to play a string of successively higher pitches. Could be done.

The flowchart shown in FIG. 43 performs remapping processing to cope with this. Rather than performing remapping processing independently for each grid, all the grids are collectively considered in consideration of all the patterns of all the grids. Performs remapping. Specifically, when a certain string pattern is correlated, when the string strength (1 to 128) is written in the string pattern in any one of the grids, Assume that a bullet string is associated with the string pattern. While playing an arpeggio based on an arpeggio pattern, the grid is updated each time the grid is updated so that new strings can be played during the performance, and the vibration of the bounced strings can be naturally attenuated or forcibly muted. The remapping process is performed on all grids, but the remapping is performed in consideration of the entire pattern of all grids, so that there is no new damped string, no natural attenuation or forced silence of the vibration of the struck string. As far as possible, the correspondence between the string numbers in the arpeggio pattern and the string numbers by performance is the same in any grid.

The description now turns to the flow chart of FIG. In the flow shown in FIG. 43, as in the case of the flow shown in FIG. 14, the current grid is sequentially updated at predetermined time intervals by a higher-order flow (not shown). Here, as shown in step 43_1, an area for storing the string-string strength data of each string of each grid of the arpeggio pattern is defined as two-dimensional P (i, j). i indicates a string number as in the embodiment shown in FIG. 14, and j indicates a grid number. That is, in step 43_1, all grid patterns of all strings are stored in P (i, j).

Step 43_2 is the same as step 14_2 shown in FIG. 14 in FIG.
In 3_2, with reference to P (i, j), it is determined whether or not any numerical value other than the numerical value 0 representing a rest is written for each of the six strings even in any one grid. It is determined, and the number of strings other than the strings for which rests are written on all grids is written to A as the number of bullet strings.

Steps 43_3 to 43_5 are the same as steps 14_3 to 14_5 shown in FIG. 14, and redundant description will be omitted. Step 43_6 corresponds to FIG.
Is the same as step 14_6 shown in FIG. 14, but in this step 43_6, except for the strings in which rests are written in all the grids, the lowest tone among strings in which numerical values other than rests are written in at least one grid. Side strings (six strings 200_1, 20 provided in the guitar 200 shown in FIG. 2).
Of 0_2,..., 200_6, 200_6 is the lowest string, and 200_1 is the highest string. ) Is written to P _max as the lowest string. Also, the string number of the lowest note string among the strings currently being played is written in S _max . Step 43_7 is equivalent to step 14 shown in FIG.
_7, and the description is omitted.

In step 43_8, the string strength P (P _max , G) of the lowest string in the pattern on the current grid G specified in the upper flow is written in U (S _max ). Steps 43_9 and 43_10 are the same as steps 14_9 and 14_10 shown in FIG. 14, and a description thereof will be omitted.

At step 43_11, all the grids P (Pn, a) corresponding to the string number Pn in the arpeggio pattern are set.
11) are all rests (numerical value 0). Steps 43_12 to 43_18 correspond to step 1 shown in FIG.
4_12 to 14_18, and the description is omitted.
In step 43_19, the string strength P (Pn, G) of the current grid G of the string number Pn is written in U (Sn).

Step 43_20 is the same as step 14_20 shown in FIG. 14, and a description thereof will be omitted. In addition,
In the flowchart shown in FIG. 43, the association between the string number in the arpeggio pattern and the string number by performance is performed every time the grid is updated. This is performed only when the natural attenuation or forced silence of the vibration is performed. At the update timing of each grid, the string strength P of the current grid in the pattern is determined based on the result of the association, and the tone signal of the corresponding string is generated. May be set to the string strength U to be used.

In each of the above-described embodiments, an arpeggio pattern (an arpeggio pattern as a whole for a series of grids instead of a single grid pattern) is created, and the created arpeggio patterns are stored in association with timbres. Is preferred. In this way, the arpeggio patterns and the timbres are stored in association with each other, and the timbres are recalled and the arpeggio performance is performed with the timbres based on the arpeggio patterns associated with the timbres. Can be added with variations (special effects).

Among the timbres, there are timbres that are characterized by sounding timing. For example, taking marimba as an example, there is a tremolo playing method of the marimba. The tremolo playing technique is generally a playing technique in which the same sound is finely and regularly repeated. This means that in actual performances, the sound of "Tatata ..." is obtained by tapping the marimba finely. Conventionally, to obtain such a tone from a PCM sound source, a method of "sampling a tone played in tremolo as it is" has been generally used.

However, in this conventional method, the data amount of the waveform corresponding to the timbre to be stored becomes larger than that of the normal timbre, and when the pitch is changed, the tremolo timing itself changes. In short, it was far from actual tremolo playing. In each of the above-described embodiments, for example, in order to express the tremolo playing method, the sounding timing of “Tatata ...” is stored as an arpeggio pattern, and the timbre of “Tremolo marimba” is associated with the timbre of “Marimba”. ,
Arpeggio pattern "Tatata ..."
Call up the tone and arpeggio pattern together. As a result, tremolo performance of the marimba can be realized without increasing the amount of stored waveforms. Even if the pitch is changed, the tremolo timing determined by the arpeggio pattern is constant,
A performance faithfully simulating the actual marimba tremolo performance can be performed.

[0146]

As described above, according to the first electronic musical instrument, the second electronic musical instrument and the third electronic musical instrument of the present invention, a desired arpeggio pattern can be freely and easily created. it can. Further, according to the fourth electronic musical instrument of the present invention, when performing an arpeggio performance in accordance with a predetermined arpeggio pattern, a sound may be dropped even when a string that should be played for the arpeggio performance is not played. Is prevented, and an arpeggio performance with less musical discomfort is performed.

[Brief description of the drawings]

FIG. 1 is a block diagram showing the principle of an electronic musical instrument having the functions of the first to third electronic musical instruments according to the present invention.

FIG. 2 is a block diagram showing an embodiment of an electronic musical instrument obtained by integrating first to third electronic musical instruments of the present invention.

FIG. 3 is a functional block diagram of an arpeggiator shown by one block in FIG. 2;

FIG. 4 is a diagram illustrating an example of an arpeggio pattern generated by a pattern storage unit illustrated in FIG. 3;

FIG. 5 is a diagram showing a first example of a sounding pattern.

FIG. 6 is a diagram showing a second example of a sounding pattern.

FIG. 7 is a diagram showing a third example of a performance pattern.

FIG. 8 is a diagram showing a fourth example of a performance pattern.

FIG. 9 is a diagram showing a fifth example of a performance pattern.

FIG. 10 is a flowchart illustrating an input method of an arpeggio pattern.

FIG. 11 is a flowchart showing another input method of an arpeggio pattern.

12 is an explanatory diagram showing an input example using the input method shown in FIG.

FIG. 13 is a flowchart showing yet another input method of an arpeggio pattern.

FIG. 14 is a diagram showing a remapping flow.

FIG. 15 is a diagram showing a storage area for data of each string of the current grid read from the arpeggio pattern and a work area for storing the number of strings struck;

FIG. 16 is a diagram showing a storage area for pitch data indicating a current performance pattern for pitch designation and a work area for storing the number of strings struck;

FIG. 17 is a diagram showing the string strength of each string after being remapped.

FIG. 18 is an explanatory diagram showing remapping of one pattern in order.

FIG. 19 is an explanatory diagram showing remapping of a certain pattern in order.

FIG. 20 is an explanatory diagram showing remapping of a certain pattern in order.

FIG. 21 is an explanatory diagram showing remapping of a certain pattern in order.

FIG. 22 is an explanatory diagram showing remapping of a certain pattern in order.

FIG. 23 is an explanatory diagram showing a remapping of a certain pattern in order.

FIG. 24 is an explanatory diagram showing remapping of a certain pattern in order.

FIG. 25 is an explanatory diagram showing remapping of a certain pattern in order.

FIG. 26 is an explanatory diagram showing remapping of a certain pattern in order.

FIG. 27 is an explanatory diagram showing remapping of a certain pattern in order.

FIG. 28 is an explanatory view showing remapping of a certain pattern in order.

FIG. 29 is an explanatory diagram showing remapping of one pattern in order.

FIG. 30 is an explanatory diagram showing remapping of one pattern in order.

FIG. 31 is an explanatory diagram showing remapping of one pattern in order.

FIG. 32 is an explanatory diagram showing remapping of one pattern in order.

FIG. 33 is an explanatory diagram showing remapping of one pattern in order.

FIG. 34 is an explanatory diagram showing remapping of one pattern in order.

FIG. 35 is an explanatory diagram showing remapping of one pattern in order.

FIG. 36 is an explanatory diagram showing remapping of one pattern in order.

FIG. 37 is an explanatory diagram showing remapping of one pattern in order.

FIG. 38 is an explanatory diagram showing remapping of one pattern in order.

FIG. 39 is an explanatory diagram of an assignment method different from the assignment method in the flow of FIG. 14;

40 is an explanatory diagram of an assignment method different from the assignment method in the flow of FIG.

FIG. 41 is an explanatory diagram of an assignment method different from the assignment method in the flow of FIG. 14;

FIG. 42 is a diagram showing a partial flow added to the flow of FIG. 14 for realizing the allocation method described with reference to FIGS. 39 to 41;

FIG. 43 is a flowchart showing still another method of assigning an arpeggio pattern.

[Explanation of symbols]

 DESCRIPTION OF SYMBOLS 10 Electronic musical instrument 11 Pattern storage means 12 Data writing means 13 Operator 14 Data reading means 15 Correspondence means 16 Musical sound generation means 20 Stringed instruments 21_1, 21_2, ..., 21_n Strings 22_1, 22_2, ..., 22_n Sensor 30 Sound system 31 Amplifier 32 Speaker 100 Electronic musical instrument 101 Detecting unit 102 Hold unit 102a [Hold1] pedal 102b [Hold2] pedal 103 Arpeggiator 104, 105 Sound source 200 Guitar 300 Sound system 1031 Pattern storage unit 1032 Pattern rearrangement unit

Claims (12)

[Claims] 1. A stringed musical instrument having a plurality of strings and a plurality of sensors provided corresponding to the plurality of strings and each of which picks up vibration of each corresponding string and outputs a ringing signal. A pattern generation mode for generating a pattern representing a change over time of a string of the stringed instrument based on a ringing signal corresponding to each of the plurality of strings; and a ringing signal corresponding to each of the plurality of strings. A tone generation mode for generating a tone signal based on the pattern generated in the pattern generation mode, wherein the pattern is an array corresponding to the plurality of strings and represents a direction over time. An array corresponding to the grid, wherein each coordinate point specified by the chord and the grid has a string corresponding to the coordinate point in the grid corresponding to the coordinate point; A pattern storing means for storing string corresponding data including information indicating whether or not the strings are stored, wherein the pattern is stored in the pattern generation mode; and Information indicating whether or not each of the plurality of strings has been struck before the timing at which all of the plurality of strings vibrate after the timing at which any of the strings is struck in a state where all the vibrations have stopped. The string-corresponding data including, corresponding to the current grid pointed by the writing pointer in the grid direction and writing at each coordinate point corresponding to each of the plurality of strings, in response to the stop of the vibration of all of the plurality of strings An electronic musical instrument comprising: data writing means for advancing the write pointer by one in the grid direction. 2. A method according to claim 1, further comprising a predetermined first operation element, wherein the data writing means receives the operation of the first operation element and outputs a plurality of coordinate points corresponding to a current grid. ,
In the tone generation mode, the coordinate point corresponding to the coordinate point in which the string data indicating that there was a string among the plurality of coordinate points corresponding to the immediately preceding grid is the same as the coordinate point corresponding to the immediately preceding grid. And continuation data indicating that the generation of a musical tone based on the string correspondence data written at the coordinate point corresponding to the string is continued in the current grid, and the write pointer is advanced by one in the grid direction. The electronic musical instrument according to claim 1, wherein: 3. A stringed musical instrument having a plurality of strings and a plurality of sensors provided corresponding to the plurality of strings and each of which picks up vibration of each corresponding string and outputs a ringing signal. A pattern generation mode for generating a pattern representing a change over time of a string of the stringed instrument based on a ringing signal corresponding to each of the plurality of strings; and a ringing signal corresponding to each of the plurality of strings. A tone generation mode for generating a tone signal based on the pattern generated in the pattern generation mode, wherein the pattern is an array corresponding to the plurality of strings and represents a direction over time. An array corresponding to the grid, wherein each coordinate point specified by the chord and the grid has a string corresponding to the coordinate point in the grid corresponding to the coordinate point; A pattern storing means for storing string-corresponding data including information indicating whether or not the pattern is generated, wherein the pattern is stored in the pattern generation mode, a predetermined second operator, Operating in the mode, string corresponding data including information indicating whether or not each of the plurality of strings has been struck before the operation end timing of the second operator after the operation start timing of the second operator, The writing pointer corresponding to the current grid pointed by the writing pointer in the grid direction and writing to each coordinate point corresponding to each of the plurality of strings is written, and in response to the completion of the operation of the second operator, the writing pointer is changed to the grid. An electronic musical instrument, comprising: a data writing unit that advances one direction. 4. The apparatus according to claim 1, wherein said data writing means corresponds to a current grid when at least one of said plurality of strings vibrates at an operation start timing of said second operating element. At the coordinate point corresponding to the vibrating string,
In the tone generation mode, continuation data indicating that generation of a tone based on string correspondence data written at a coordinate point corresponding to the same string and corresponding to the immediately preceding string is continued in the current grid is written. 4. The electronic musical instrument according to claim 3, wherein: 5. A stringed musical instrument having a plurality of strings and a plurality of sensors provided corresponding to the plurality of strings and each of which picks up vibration of each corresponding string and outputs a ringing signal. A pattern generation mode for generating a pattern representing a change over time of a string of the stringed instrument based on a ringing signal corresponding to each of the plurality of strings; and a ringing signal corresponding to each of the plurality of strings. A tone generation mode for generating a tone signal based on the pattern generated in the pattern generation mode, wherein the pattern is an array corresponding to the plurality of strings and represents a direction over time. An array corresponding to the grid, wherein each coordinate point specified by the chord and the grid has a string corresponding to the coordinate point in the grid corresponding to the coordinate point; A pattern storing means for storing string corresponding data including information indicating whether or not the pattern has been recorded, and a pattern storing means for storing the pattern in the pattern generating mode; String corresponding data including information indicating whether or not each of the plurality of strings has been struck during the period from when the pointer was advanced to the present time corresponds to the current grid pointed by the write pointer. An electronic musical instrument comprising: data writing means for writing at each coordinate point corresponding to each of the plurality of strings, and for advancing the write pointer one by one in a grid direction at predetermined time intervals. 6. The data writing means according to claim 1, wherein at least one of said plurality of strings vibrates at a timing when said write pointer is advanced by one in a grid direction, said data pointer corresponding to a current grid. At the same time, the generation of a musical tone based on the string corresponding data written at the coordinate point corresponding to the immediately preceding grid and corresponding to the same string in the tone generating mode is performed at the coordinate point corresponding to the vibrating string. 6. The electronic musical instrument according to claim 5, wherein continuation data representing continuation is written in a grid. 7. The electronic musical instrument according to claim 1, wherein the string data indicating that a string is struck out of the string-corresponding data is data indicating a string strength. . 8. A stringed musical instrument having a plurality of strings and a plurality of sensors provided corresponding to the plurality of strings and each of which picks up vibration of each corresponding string and outputs a ringing signal. An electronic musical instrument that generates a tone signal based on a ringing signal corresponding to each of the plurality of strings and a pattern representing a change over time of a string of the stringed instrument, wherein the pattern includes the plurality of strings. And an array corresponding to a plurality of grids indicating the direction over time, wherein each coordinate point specified by a chord and a grid is assigned to each coordinate point in the grid corresponding to each coordinate point. A pattern storing means in which string-corresponding data including information indicating whether or not a string corresponding to the string is struck is stored, and the pattern storing means storing the pattern; Data reading means for reading a pattern stored in a row; and a string of strings corresponding to the string corresponding to each of the plurality of strings read by the data reading means. Associating means for associating the data with the vibrating string of the plurality of strings, regardless of whether the string corresponding to the bullet string data and the vibrating string match. Musical tone generating means for generating a musical tone signal of a pitch of a vibrating string associated with string data of the string corresponding data read by the data reading means. An electronic musical instrument characterized by that: 9. The sound data generating means, which indicates that the string data has been struck and also indicates the strength of the string, wherein the musical sound generating means generates a string of vibrating strings associated with the string data. 9. The electronic musical instrument according to claim 8, wherein the musical instrument generates a tone signal having a pitch and a sounding intensity according to the strength of the string represented by the string data. 10. The associating means corresponds to the string data corresponding to the lowest string of the string data read by the data reading means, and corresponds to the lowest string of the vibrating string. 9. The electronic musical instrument according to claim 8, wherein the electronic musical instrument is associated with a string to be played. 11. The associating means, when associating the string data read by the data reading means with the vibrating string, uses the same string data as the string corresponding to the string data. 9. The electronic musical instrument according to claim 8, wherein a maximum number of vibrating strings on the treble side of the string are combined with each other. 12. The associating means, when associating the string data read by the data reading means with the vibrating string, uses the same string data as the string corresponding to the string data. 9. The electronic musical instrument according to claim 8, wherein the electronic musical instrument is associated with the vibrating strings such that the maximum number of strings are combined.