JPS58132279A - Automatic performer - Google Patents

Abstract

(57) [Summary] This bulletin contains application data before electronic filing, so abstract data is not recorded.

Description

DETAILED DESCRIPTION OF THE INVENTION The present invention relates to an automatic performance device suitable for performance practice by beginners, etc., which performs the first melody or the second melody based on pre-type control data read from a memory. This is a book that allows you to control changes completely automatically.

As an automatic performance device that has been proposed in the past, there is a Kamo, which automatically generates a melody f based on note data read from a memory.

In such a device, an obbligato itt can be generated by the same means as the melody sound generating means, but the f of the obligato sound must be adjusted as appropriate as the melody progresses, and this is difficult for beginners etc. It is not easy to do it manually.

Therefore, the object of this invention is to
An object of the present invention is to provide a new automatic performance device that can automatically change and control food.

The automatic performance device according to the present invention stores volume control data together with note data in a storage device, and automatically adjusts the volume of the first melody or the second melody based on the fk control data read from the play TM device. It is characterized by the fact that it is controlled, and the embodiment shown in the cold ladle diagram will be described in detail below.

Figures 1 to 3 show -*m? of this invention. ! The first diagram mainly shows the musical score data processing section and the melody data processing section, the second diagram mainly shows the opligato data processing section, and the third diagram mainly shows the start/stop circuit of an electronic musical instrument. The control section and autorhythm section are both skipped.

In FIG. 1, the musical score sheet 10 has music written on its narrow side according to the music symbol system, and there is iron tape, etc. in the remaining area near the lower end of the sheet surface. A data recording section 12 is provided which is used for pasting and pasting.

The data recording section 12 records musical score data for automatically playing the music written on the surface of the sheet.

The reading device 14 is a data recording section 12 of the musical score sheet 10.
This device reads musical score data from a computer, and stores the read data in bit-serial form in RAM (random access memory).
The signal is supplied to the write control circuit 16.

The RAM write control circuit 16 converts the bit-serial score data from the reading device 14 into pit-parallel score data D as shown in the format of FIG. Honokomikan Ordinance No. 16 Ml, M,
is starting to occur.

In Fig. 4, R8 rhythm data, MEP is melody pitch data, MELtI'i melody note length data, OBP#'i, opligato note data, 0BLFi
Opligato note length data, MK,.

MK, ,MK, ,MK, ,MK, are data RB, MF2P, MIICL, OBP, 0BLili, respectively.
This is a mark code for distinguishing between ils.

Rhythm data R8Vi Consists of codes that indicate the type of rhythm (for example, waltz) that matches the music on the front of the sheet, and other data M! eP.

MEL, OBF, and OBI are as shown in FIG. 5, for example. In other words, melody pitch data MB
p includes rest data and pitch data corresponding to the note progression of the melody part of the score, each rest data is a chord of all bits %Ql9, and each pitch data is an octave code and a note code. It consists of a combination of In this example, only rest data is included in the four measures of the prelude and the interlude, and rest data is included as appropriate in other parts, mainly pitch data. The melody note length data MEL includes note length data corresponding to the note progression of the melody part, and each note length data consists of a chord corresponding to the length of a rest or note.

The opligato pitch data OBF includes rest data and pitch data similar to the melody pitch data above, corresponding to the note progression of the obbligato part of the score, as well as chord data 0HDl, 0HDk, 0HD for the auto bass chord.
volume control data VOL1 (Hl, VOLk (L), y o Lt (E
), VOLm (contains Ll, etc. and 1.The chord data consists of a root base and a code indicating the chord type (for example, major, minor, seventh, etc.), and if it is a rest, all bits are %.
It is assumed to be Ql.

Regarding volume control, for example, the volume of the opligato is increased by the volume control data VOL1 (to HJ and VOLt) in the prelude and interlude parts, and the volume control data VOLk (to Ll and VOLm) is used in other parts. L
l allows you to lower the volume of the opligato. Incidentally, the last part of the opligato v high data OBF includes an end code indicating the end of the automatic performance.

The opligato note length data OBL includes note length data similar to the above-mentioned melody note length data corresponding to the note progression of the obbligato section, and also includes rhythm control data RM C1, RM.
Contains Ck, RM Cm '4f. The rhythm control data RMCtt1' of the prelude section is the ninth one that initially matches all rhythm patterns and bass chord patterns,
Rhythm control data other than the prelude section, such as RMOk%RM Cm, instructs rhythm change (change of rhythm pattern and/or pace code pattern) or rhythm off (stopping of automatic rhythm sound generation).

In FIG. 1, when the RAM write control circuit 16 detects the mark code MK1'i, it generates a write command signal M1. This write command signal Ms Fi is supplied to the rhythm ts class register 18 in FIG. When the rhythm pattern R8 is sent from the RAM write control circuit 16 as the musical score data DA, the core data R8 is written into the register 18.

Next, RAM write control circuit 16L mark code MK! i
It detects this and generates a write command signal Ms.

This write command signal M is supplied to the write/read control circuit and sets it to the write mode, so that this circuit supplies all write address signals to the melody pitch RAM 22. Then, when the melody pitch data MKP is sequentially sent out as a musical score data ROM from the RAM write control circuit 16, the data Mip is sequentially written into the RAM 22 in accordance with the write address signal from the circuit I.

Next, the RAM1l control circuit 16 has a mark code MK,
i is detected and a convolution command signal Ms is generated.

This write command signal MsL is supplied to the incorporation/continuation control circuit to set the t-convolution mode, so that this circuit supplies a convolution address signal to the melody note length RAM 26. Then, the melody note length data] tlCL is transferred from the RAM sogo control 4i (b) path 16 as musical score data DA.
When the data MKL is sent out sequentially, the data MKL is sequentially folded into the RAM 26 in response to a folding address signal from the circuit section.

Next, the RAM write control circuit 16 uses the mark code MK4)
i is detected and generates an order signal M4.

This convolution command signal M4 is supplied to the convolution control circuit 4 shown in FIG. It becomes like this. And, Rmu MW included control circuit 1
6 to offrigger as score data DA) tA data O
When BP is first sent out iL, the data OBF is sequentially loaded into the RAM 30 according to the convolution address signal from the circuit section t'L.

Next, the RAM write control circuit 16Fi mark code MK,
i is detected and a write command signal M is generated.

This write command signal MiB is supplied to the write/read control circuit 32 shown in FIG. Then, when offligato note length data OBL is sequentially sent out as musical score data Dm from the RM M write control circuit 16, the data OBL is transferred to the circuit!
The data are sequentially written into the RAM 34 in accordance with write address signals from.

After the data reading/writing process is completed as described above,
By turning on the start switch 36 shown in FIG. 3, automatic performance operation and key press instruction operation can be started. FIG. 6 shows an outline of such an operation. When the start switch 36 is turned on, the tempo is set by blinking the tempo lamp or playing the tempo sound from the time ts when the start switch 36 is turned on to tp, which corresponds to one measure. The beating is done. and,
The period from time tp to tm, which corresponds to 4 bars, includes autopace chords, autorhythm, high-volume ``17 gato'' prelude, etc.After this, the period from time tm to end time tei includes a melody. The main part of the performance (including interludes) and key press instructions related to the melody are performed.In the performance based on this melody, accompaniment such as autopaced chords, autorhythm, and low-volume offrigato are used as appropriate rhythms. It is performed either off or with a change in rhythm, and the opligato is played at high volume during the interlude.

Next, referring to FIG. 7, the operation of the start control section shown in FIG. 3 will be explained. When the start switch 36 is activated, the R-8 flip-flop is set in response to its on signal, and its output outputs an operation signal 0Pffi consisting of Q=&l#.
R is generated. Further, the on signal from the switch A is supplied to a differentiating circuit (DIF) 4 (J), and is converted into a start pulse signal F8TRTK.

The operation signal 0FJeRi is supplied to the MD gate 42, and resets and releases the R-8 flip 70 and the counter via the inverter 44.

The output Q = %Ol of the flip-flop mallet is the inverter 52
Since the MUMD gate 42 is made conductive through the MUH
The D gate 42 outputs the output signal %I in response to the operation signal 0PIH.
I is supplied to the fD gate 54. For this reason, M
A start pulse Δ87R'r from the FiOR gate group is sent out between the D gates and supplied to the tempo lamp 60 via the OR gate 58 as a lamp drive signal TICMP. Therefore, the tempo ramp ω is as shown in FIG.
It lights up momentarily depending on the situation.

Start pulse number 8 from counter 62aOR gate 6
It is reset by TRTK, and at the same time, the tempo oscillator 6 is also reset by start pulse JJiTRT. After the counter area is reset, it counts the tempo clock II TOL from the tempo oscillator 6, and generates a quarter note pulse PPI every time the length of a quarter note ends, and a measure every time the length of one measure ends. Pulse MP
I occur. The quarter note pulse PPa is supplied to the counter group, while the quarter note pulse is supplied to the MD gate via the OR gate 56.

When the counter group counts quarter note pulse PPf4,
Since the output signal Chi4 is generated and the flip-flop is set, the flip-flop generates a performance mode signal PL, which has an output of GL=%11, as shown in FIG. PL Yf: Play mode pulse ΔPLAY from the input differential circuit
is sent out.

7.Performance mode signal PLm from RipFlo Tap invitation! Since the AND gate 42 is made non-conductive via the L inverter 52, the AND gate 54 becomes non-conductive in accordance with the output signal %Ql of the AND gate 42 at this time, and the subsequent transmission of quarter note pulses pp becomes non-conductive. It will be corrected. That is, up to the third quarter note pulse pp is sent out via the AND gate 54, and these three quarter note pulses are output as the lamp drive signal TKMP via OR gate b8e as shown in FIG. is supplied to the lamp ω.

When the counter group generates the four-power signal ON, the AND gate 54/Ii becomes non-conductive as described above, but the AND gate 70 becomes conductive due to the performance mode signals PI and AYK. Therefore, the first bar pulse MP generated from the counter 62 in synchronization with the fourth quarter note pulse is
It is supplied to the tempo lamp ω via the ID gate 70 and further via the OR gate 58 as a lamp drive signal TKMP. Then, after the counter axis is reset to -H by the performance mode pulse no. PLAY from the OR gate 6,
A bar pulse MP is generated for each bar, and these bar pulses MPFiA N D gate group and OR gate 581
Tempo ramp ω as lamp drive signal TBMP via r
supplied to

Therefore, as shown in FIG. 7, the tempo lamp group is lit by the start pulse IBTRT, then lit in response to each of the three quarter note pulses PP, and thereafter by the bar pulse MP.
It will light up every time it occurs.

As the tempo instruction means before the start of the performance, not only the visual means using the tempo lamp ω as described above but also the auditory means using the tempo sound may be used. That is,
In the rhythm sound source (b) path 72, a specific rhythm sound source is driven according to the output signal of the tiAND gate, and the output signal from this rhythm sound source is supplied to the speaker 7fy via the RO1-first output amplifier 74. A tempo sound may also be generated.

Next, the operations of the off-rigato data processing section and the third autorhythm section shown in FIG. 2 will be explained.

When the start pulse BTRT is generated, this pulse is supplied as the first read command signal to the write/output control @ circuit through the OR gate (source) and 82 in FIG. ) Path 28 supplies the first read address signal to the obbligato pitch RAM 3Q.

Therefore, the first pitch data 1 in the off-rigato pitch data OBP shown in FIG. 5 is successively outputted from the RAM 3o, and is latched into the latch circuit word in response to the start pulse ΔbTRT. In addition, since the first f data 1 is also supplied to the discrimination circuit %, the circuits discriminate the data type and tiI
IIl data detection signal PC is generated, AND game) 1%
supply to.

- Since the start pulse Δ8TRT is supplied as the first read command signal to the write/continuation control signal via the OR gate (a) and 92, the first read address signal in the -path 32Fi is sent to the offset code length RAM 34. supply to. Therefore, the first code length data 1 in the off-rigato code length data OBL shown in FIG. In addition, the first note length data iFi discrimination circuit 96
Since the data type is determined by the circuit, the code length data detection signal LN is generated and supplied to the ND gate.

Thereafter, the performance mode signal PLAY and the performance mode pulse ΔPLAY are generated as described above. Since the performance mode pulses PI and AY are supplied to the AND game 88 as a successive control signal 0NJCXT via the OR gate 1001i, the output signal of the ND gate becomes sll accordingly. This output signal 11g is latched by the latch circuit 102, while the pitch data lt from the latch circuit is supplied to the write/read control circuit 28 as the second read command signal via the OR gate (source) and 82. Ru. Therefore, the first chord data 0HD1 in the obbligato pitch data OBP shown in FIG. 5 is read out from the RAMI. This chord data 0HDIFi discrimination circuit% and latch (b)
When the discrimination circuit % generates the chord data detection signal OBf, it is latched by the latch circuit 104 in response.

The detection signal OH is supplied as the 31st read command signal to the 1st readout control circuit section via the OR game (OR game) 81, so the obbligato pitch data O shown in FIG.
The first sound 1 control data VOLl (EI) during BP is read out and supplied to the discrimination (b) path.

Therefore, the discrimination circuit 86#i high volume data detection signal HI
is generated and the R-87 lip-flop 106 is set.

Since the detection signal R is supplied as the fourth read command signal to the write/read control circuit section via the OR gate 82, the off-rigato pitch data O shown in FIG.
Pitch data 2 in BP is output one after another. This sound data 2
The signal is supplied to the Fi latch circuit and the discrimination circuit, and when the discrimination circuit generates the pitch data detection signal pc, it is latched into the latch circuit 84 in response.

At this time, the output signal s1g of the ND gate corresponding to the detection signal pc is sent to the latch circuit 108 and the MUMD gate) 11
0 and 112. Therefore, latch circuit 1
08 Chord data 0HD1 from Fi latch circuit 104
'I latch. Also, R-87 lip-flop 114
Fim nd game) 110 t-7 supplied via
It is set by the output of lip-flop 106, Q=%llK. Therefore, the flip-flop 114 output Q=
=:111 is sent as the volume control signal VC.

On the other hand, since the read control signal 0NKXTij generated in response to the performance mode pulses PT and Y is also supplied to the MD gate, the output signal of the MD gate becomes %11. The output signal %lj from the latch circuit % is latched by the latch circuit 116, and is supplied to the write/read control circuit as the second read command signal via the OR gate 92. . Therefore, the obbligato note length data O shown in FIG.
The first rhythm I control data RMO1 during BL is read out. This rhythm IIIJ control data RMO is supplied to the discrimination circuit % and the latch circuit 118, and when the discrimination circuit % generates the rhythm control data detection signal RYf:, it is latched into the latch path 118 in response.

The detection signal RY is supplied to the Toyomime readout control circuit as the third successive command signal via the OR gate 92, so the off-rigato note length data O shown in FIG.
The note length data 2 in BI is outputted. This code length data 2 is supplied to the discrimination circuit % and the latch circuit 2, and when the discrimination circuit % generates the note length data detection signal LNt-, it is launched to the latch circuit % in response.

The output signal 111 of the AND gate corresponding to the detection signal LM at this time is supplied to the latch circuit 120 and the D-flip-flop 122. Therefore, the rhythm movement control data RMO1f from the latch circuit 120 and the latch circuit 118
The latch circuit 118 is then reset by the output signal of the flip-flop 122.

The rhythm control data RMO from the latch circuit 120 is
The first rhythm control data RMO, is supplied to the rhythm selection control circuit 124 shown in the figure.
24. The rhythm selection # circuit 124 is supplied with the rhythm pattern RB from the register 18, and the inner path 124 is Fi data RMO.

and R8, a selection fr number BEL f pattern memory 126 is supplied for selecting a specific rhythm pattern and pace code pattern. Pattern memory 126F
i It becomes possible to read when the performance mode signal PLAY is received as the enable signal RM, and the selection signal EEL from the rhythm selection control circuit 124 and the counting output ONT of the counter cooperative [accordingly, nine rhythm pattern signals corresponding to the rhythm of % foot] While generating PH, the pace and pace that match the rhythm are
Generate chord timing signal BOT.

Since the rhythm pattern signal P8 drives an appropriate rhythm sound source in the rhythm sound source circuit 72, a rhythm sound signal RO corresponding to the selected rhythm is sent from (b) path n.

This rhythm sound signal RO is supplied to the speaker 16 via the output amplifier 74t- shown in FIG. 1, and is acoustically converted. Therefore, the performance mode signal PLm! is output from the speaker 16! is %II
An autorhythm sound is produced immediately after the time (ie, approximately at the same time as the 6th WJ and the time tp in FIG. 7).

The bass/chord timing signal BOTFi is supplied to the bass/chord formation path 128 in FIG. Bass sound/
The chord forming circuit 128 forms a bass 1 signal and a chord signal according to the first chord data CHD from the butterfly latch circuit 108, and at the timing indicated by the pace/chord timing signal BOT (that is, at the timing linked to the rhythm). It is sent as an output signal M01. This output signal
1 is supplied to the speaker 76 via the output amplifier 74t in FIG. Therefore, at the same time as the autorhythm sound is generated, the bass sound and the chord are outputted from the speaker 76 with a delay to the rhythm.

Further, the off-rigato sound forming circuit 130 is connected to the latch circuit 10.
Opligato sound signal AO according to pitch data 1 from 2
,l is sent. In this case, since the output Q=Kame I' of the flip-flop 114 is supplied to the off-rigato sound forming circuit 130 as the volume control signal VC, the volume level of the off-rigato sound signal M03 is compared to the case of a low volume level described later. For example, it is set 3 dB higher. The off-rigato sound signal 08 is sent to the speaker 76 via the output amplifier 74t shown in FIG.
is supplied to Ao-tatami transform. Therefore, the obbligato sound is produced from the speaker 76 at a high volume almost simultaneously with the generation of the autorhythm sound.

As the offligato, autopace chord, and autorhythm play as the prelude begins as described above, the comparator 132 [9-bit note length data 1 from the latch circuit 116 and Qm to Q1e of the counter 134] Comparison with the 9-bit count output of t-start. Counter 134L
When the performance mode signal PLAY reaches %II, the reset is released via the inverter 136 and the OR gate 138', or the OR gate 100 and 138'i
After being set once by the performance mode pulse ΔPLAY supplied through the tempo oscillator 6, the tempo clock signal TOL from the tempo oscillator 6 shown in FIG. 3 is counted. Then, the count output of Q~q1 of the counter 134 is sent to the latch circuit 11.
6, the comparator 132
1k (l-IQ) is generated. In this case, the counter 1k (l-IQ) is generated.
Since the count output of 34 fiQs -Qlo is provided comparatively, the ii value is four times that of the case where the count output of Q.about.Q8 is provided for comparison.

Coincidence signal IQ causes counter 134 to be reset via OR gates 100 and 138'fc, and after this reset, counter 134 again counts temble clock signal TOL. The coincidence signal KQ is also supplied to the AND gates A and G as a readout signal oNgx'r via an OR gate 100. 1. In the same manner as described above, the latch circuit 102 receives the pitch data 2 from the latch circuit.
The latch circuit 116 receives the note length data 2 from the latch circuit %, and the volume data after the pitch data 2 is read from the RAM 30, and the note length data next to the note length data 2 is read from the RAM 34. and latched into latch circuits and 94, respectively. As a result, the second offligato tone is played from the speaker 76.The comparator 132 compares the note length data 2 with the count output of the counter 134 Q, ~'LSI in the same manner as described above. When the action is performed and the note length reaches the end]K, -
iui issue! ! 8q is generated.

Then, the above-described off-rigato data reading operation is repeated in the same manner, thereby performing automatic performance of off-rigato and performance of auto-paced chords and auto-rhythm.

Here, offligato is the volume data t-1 of the 5th wA.
and note length data up to -1 are played at a high volume as a prelude, but from the pitch data K and note length data K, as an accompaniment to the melody described later, the volume control data VOLk (L) is played at a low volume of 9. Ru. That is, in FIG. 2, when the discrimination circuit % receives the volume control data VOLk (IJ), it generates a low volume signal LO and outputs the flip-flop 1061.
Reset. Output Q of this flip 70 tube 106
,, %lI is mND game when reading +l in pitch data)
Since the flip-flop 114 is reset via the flip-flop 112i, the volume control signal VO consisting of the output 4 of the flip-flop 114 acts on the 101 to set the off-rigato volume low.

Furthermore, when performing an off-rigato at such a low volume, if the rhythm control data RMOk that follows the note length data in FIG. The control #1 path 124 sends a selection signal 5BL-ii to the pattern memory 126 so as to deform the rhythm pattern and/or bass chord pattern ti during the prelude if the rhythm is changed, and not to generate the rhythm pattern signal pst if the rhythm is off. supply Therefore, if the rhythm is changed, the pattern memory 126 generates a rhythm pattern signal I'8 corresponding to a modified rhythm (fill-in rhythm) pattern and/or a pace/chord timing signal BOT corresponding to a modified pace code pattern. If it is off, the harism pattern signal P8 is not generated. Therefore, in the case of a rhythm change, the autorhythm and/or autobass chord pattern is slightly changed, and in the case of a rhythm off, the sounding of the autorhythm is stopped.

This change or stop state continues for one bar, and is canceled in response to the bar pulse MPK generated from the counter axis at the end of one bar, and as a result, the autopace chord and autorhythm are changed during the prelude. Back to the stuff. Note that in the case of rhythm off, the timing at which the auto bass chord is generated is determined according to the bass chord pattern control signal in the rhythm control data RMOk.

Next, an interlude starts from the pitch data L and note length data L in FIG. 5, and at this time, the volume of the offligato is set high by the volume control data 'l0LI-However). and,
After the interlude ends with the pitch data M-1 and the note length data M-1, the volume control data VOIam (Ll lowers the volume of the geopligato) from the pitch data M and the note length data Rei as before the interlude. Set.

During such a low-volume on-rigato performance after an interlude, the rhythm control data R following the note length data Mal shown in FIG.
If MCm instructs rhythm change or rhythm off, the rhythm selection control circuit 124 in FIG. 3 allows rhythm change or rhythm off for one bar, as in the case before the interlude described above.

Finally, the end code data is read from the RAM 30 in FIG. 2 and supplied to each end detection circuit via the latch circuit 102. When the end detection circuit 140 detects the end code data, it outputs the performance end signal FNt-
This signal FM is generated by the 7 lip-flop 38 in FIG.
Let it reset. As a result, as shown in FIG. 7, the operation signal 0PKR and the performance mode signal PL become %Ol, and the series of automatic performance operations ends.

Next, the operation of the melody data processing section shown in FIG. 1 will be explained.

Since the start pulse 5TRTFi is supplied as the first read command signal to the write/read control circuit via the OR gate 142, the circuit supplies the first read address signal to the melody pitch RAM 22.

Therefore, the first rest data 1 in the media sound data MIIiP shown in FIG. Also, start pulse ΔE? TRTFiO
R game) 146 t- is supplied to the write/read control circuit as the first read command signal, so (b) path 2
4II'i The first read address signal is set to the melody note length R.
Supply to AM26. Therefore, the first note length data 1 corresponding to the whole note in the melody note length data MICL of FIG.

After this, when the performance mode pulse ΔPLAY is generated,
This pulse is sent out as a read control signal MNKXT via the FiOR gate 150 . This read control signal M
Rest data 1 and note length data 1f from latch circuits 144 and 148 are latched by MKXTfi latch circuits 152 and 154, respectively;
It is supplied to the write/continuation control circuits 142 and 146t. This rounding, same as last time, RA
The second and first rest data 2 are read from the M22, and the second note length data 2 corresponding to the whole rest are read from the RAM 26 and latched by the latch circuits 144 and 1N, respectively.

The 9-bit code length data 1 from the latch circuit 154 is supplied to the ratio converter 156, and the Q! ~Ql(I
is compared with the 9-bit count output of Here, counter 1
When the 58 Fi performance mode signal PL+AY becomes tly, the reset is released via the inverter 160 and the OR gate 162, but the OR gates 150 and 1
After being reset to -H by the playing mode pulse signal PLAY supplied through the counter 158, the ten-clock clock (1τch'2) from the tempo oscillator shown in FIG. When the value of the count output matches the value of note length data 1 (corresponding to a whole rest) from the latch circuit 154, the comparator 156 Fi match signal IQ
All occur.

Coincidence signal IQ causes counter 158t- to be reset via OR gates 150 and 162, and counter 15B again counts tempo clock signal TOL after this reset. The match signal IQ is also connected to the read control signal Mlill? via an OR gate 150. Therefore, in the same way as described above, the a latch circuit 144 is sent to the latch circuit 152.
Rest data 2 corresponding to a whole rest is fetched from the latch 1 path 154, note length data 2 corresponding to a whole rest is fetched from the latch circuit 148, and rest data 3 is fetched from the RAM 22.
Code length data 3 is read from AM26 and latched by latch circuits 144 and 148K, respectively. Therefore, the comparator 156 compares the note length data 2 with the counting outputs of q3 to Q1 of the counter 158 in the same manner as described above, and when the note length (whole rest) reaches the final 9, A match signal IQ is generated.

Then, the melody data reading operation as described above is repeated in the same manner, and from the latch circuit 152 to the Fi fifth
The melody pitch data MAP middle rest data 3 and subsequent data shown in the figure are sequentially sent out, and the melody note length data MI [a shown in FIG. . Note that the note length data 3.4 also corresponds to a whole rest.

The melody foreshadow 1fca path 1- is for electronically forming a melody sound signal MOt- based on the melody pitch data sequentially sent from the two-touch circuit 152.
is supplied to the speaker 76 via the output amplifier 74t,
Ao-tatami conversion is performed.

As shown in FIG. 5, only rest data is supplied to the melody sound forming circuit 164 in the prelude section, so no melody sound is required from the speaker 16 during the four measures of the prelude. Then, when the prelude ends, melody sounds are required from the pitch data 5 and note length data 5. Thereafter, when the interlude begins, the rounded melody tone corresponding to the rest data N-N+3 is not required, and the melody tone is required again after the end of the interlude. Note that the automatic performance of the melody usually ends before the automatic performance of the obbligato ends, and ends at the latest at time tθ in FIG.

The melody sound forming circuit 164 can also form a melody sound signal Mol based on the w dial performance data from the key switch circuit 168, which includes a large number of key switches respectively linked to a large number of keys on the keyboard 166. Therefore, when a manual performance is performed on the keyboard 166, a manual performance sound is required from the speaker 6.

The keyboard 166 has a light emitting diode-like press for each key! A key press display control circuit 17! is provided with a display element 170, and receives the melody pitch data 1llP' from the display element control circuit 144 as input. ! The lighting is selectively controlled by the button to indicate which key to press.

In the above embodiment, offrigato volume control was exemplified as an example of volume control for the first melody and the second melody, but this invention can also be applied to volume control for counter melodies and the like. Also, when the first melody such as this volume control melody is not sounded (
(during prelude or interlude) The volume of the second melody, such as the K offrigato, is too large to stand out, so even if you include timbre control data in the note data of the v41 melody and control the volume of the second melody. good. Further, when volume control data is included in the note data of the first melody, the volume of the first melody can also be controlled based on the volume control data. Furthermore, it is effective to control the tone color and the like in addition to the volume control based on the stored data.

As described above, according to the present invention, since the volume of the first melody or the second melody is automatically changed and controlled, beginners can concentrate on performance practice without having to worry about adjusting the line volume. This will improve your practice efficiency.

[Brief explanation of the drawing]

FIGS. 1, 2, and 3 are schematic diagrams of different parts of an electronic musical instrument according to an embodiment of the present invention. Diagram showing the 7-ohmat, 61st turn, diagram to explain the operation of the above electronic musical instrument, 71st turn, the operation of the above electronic musical instrument #! FIG. 2 is a signal waveform diagram for clarity. 10... Musical score, 12... Data recording section, 14...
Reading device, ρ...Melody pitch RAM, 26.-Melody note length Rm, 3)...Offligato pitch RAM,
34... Offrigato note length RAM, 65... Tempo oscillator, 106, 114... R-87 lip-flop for volume control, 130... Offrigato sound forming circuit,
164...medi sound forming circuit. Applicant Nippon Joki Manufacturing Co., Ltd. Agent Patent Attorney Toshiaki Izawa

Claims (1)

[Scope of Claims] 1. A storage device that stores a first series of note data, volume control data, and a second series of note data, a tempo oscillator that generates a tempo clock signal, and a tempo oscillator that generates a tempo clock signal based on the tempo clock signal. a reading circuit that sequentially reads out the first and second series of note data from the storage device; and a 19th musical tone is generated based on the first series of note data from the storage device. a first sound collection generating means;
a second musical tone generation means for generating a second type of musical tone based on a second series of musical note data from the recording device; and a second musical tone generating means for generating the first type or second type of musical tone based on the volume control data from the storage device. An automatic performance device comprising a control circuit for controlling the volume of the music. 2. In the automatic performance device according to claim 1, the first series of note data and the second series of note data correspond to an eleventh temperament and a second melody, respectively; The automatic performance device fl is characterized in that the volume control data is such that the volume of the second musical tone is increased by t% during a pause period of the first melody. 3. Push! I! a keyboard device that generates a first series of note data based on an operation; a storage device that stores a second series of note data including volume control data; a tempo oscillator that generates a tempo clock signal; a readout circuit for sequentially reading out the second series of note data from the storage device; and a first note data 1 from the keyboard device.
The first orange music it generates based on the + note data.
2nd fl! based on the musical tone generating means of , and the second series of note data from the previous Hr 2nd generation memory! the second that generates the musical tone of
An automatic performance device # characterized in that it is equipped with a musical tone generating means and a control circuit for controlling the volume of the musical tone of the first or second strain based on the volume control data from the storage device. 46% allowance In the automatic performance device according to claim 3, the volume control data is such that the tone t of the second melody is increased during a pause period of the first melody;
An automatic performance device characterized in that the series of note data corresponds to the second melody. 5. a storage device that stores the first series of note data, volume control data, and second series of Tari note data; a te/bo expander that generates a tempo clock signal; a readout circuit that reads out the first and second series of note data from the storage device in parallel and sequentially;
a key press instruction means for instructing - to press on a negative key based on a first series of note data from the storage device; and a musical tone generator for generating a musical tone based on a second series of note data from the previous day's storage device. and (b) control for controlling f'Ik of the musical tone based on the volume control data from the storage device.
An automatic performance device characterized by having a path. 6. In the automatic performance device according to claim 5, the first series of note data and the second series of note data correspond to a first melody and a second melody, respectively, and the volume An automatic performance device characterized in that the control data is configured to increase the volume of the second melody during a pause period of the first melody.