JP5104415B2 - Automatic performance device and program - Google Patents

Description

  The present invention relates to an automatic performance apparatus such as a sequencer having an automatic accompaniment function and a program. More particularly, the present invention relates to an automatic performance apparatus and program for performing note conversion of automatic performance sounds based on accompaniment chords (chords) when performing automatic accompaniment.

In some conventional automatic performance devices, some performance parts such as rhythm parts, bass parts, and chord parts are automatically based on accompaniment pattern data (automatic accompaniment data) stored separately from sequential performance data. What performs accompaniment is known. In the accompaniment pattern data of the base part and chord part other than the rhythm part, “chord conversion information” called CTAB (Channel Table), for example, is used as a parameter for determining a note conversion method such as a predetermined note conversion rule or note conversion table. Each channel is associated with each other. In an automatic performance device, note conversion is performed to convert the sound into a tone (pitch name) suitable for it based on accompaniment chords (chords) appropriately specified by the chord progression data stored separately or according to the progress of the song. The processing is performed according to a note conversion method according to the chord conversion information. An example of a technique related to such automatic performance is the invention described in Patent Document 1 shown below.
JP-A-8-248954

  By the way, the chord conversion information (CTAB) described above includes parameters such as “Low limit” and “High limit” that determine the limit value of the pitch for each of the low tone side and the high tone side in advance. The limit value is a value that limits a range in which a musical tone should be generated in order to produce a musical tone in a range appropriate for the tone color or part to be applied. In the note conversion process, the limit value is within the range according to the limit value. It is used to convert the pitch to one of the pitches (pitch names). For example, if the pitch after conversion based on chords is lower than the “Low limit”, the converted pitch is octave-turned until the pitch exceeds the “Low limit”. On the other hand, if the pitch after conversion based on the chord becomes higher than “High limit”, the pitch will be lower than this “High limit”. The pitch after conversion is gradually lowered octave by step so that it falls within the range restriction (pitch conversion processing for raising and lowering the pitch in octave units is called octave wrapping). Specifically, as shown in FIG. 9A, when “A4” is defined as “High limit”, for example, if the pitch (pitch name) after conversion based on the chord is “B4” The pitch of the sound “B4” is further converted to “B3” by being octave-down (indicated by an arrow in the figure).

  However, in the conventional apparatus, for example, when performing automatic accompaniment of the same instrument part (that is, the same timbre) using automatic accompaniment data that simultaneously generates a plurality of octave-shifted musical sounds at the same performance timing, A problem may occur when the automatic accompaniment data is pitch-converted based on the chord and the musical tone is generated after the restriction. More specifically, as shown in FIG. 9A, the data after the pitch conversion for the upper octave is “C4, E4, G4, B4”, while the pitch conversion for the lower octave is performed. Assuming that the data of “C3, E3, G3, B3” is “C4, E3, G3, B3”, only “B4” of the upper octave data exceeds the “High limit” (A4), which is the limit value on the high sound side. Therefore, only the sound “B4” is octave-down to “B3”. Accordingly, “B3” after octave wrapping, which is the data for the upper octave, and “B3”, which is the data for the lower octave, have the same pitch (pitch name), and these are the same performance. It will overlap at the timing. Such duplication of the same tone with the same timbre is very inconvenient because it causes annoying musical sounds such as beating called flanging. As described above, in the conventional apparatus, there is a case in which a problem such as sound fuzzing (flanging) caused by the duplicated sound may occur due to the above-described pitch conversion by octave folding accompanying the range restriction. Met.

  The present invention has been made in view of the above points, and when a musical sound is generated by performing note conversion of an automatic performance sound based on a chord (chord), a musical sound that should be generated without causing problems such as flanging. It is an object of the present invention to provide an automatic performance apparatus and program capable of limiting the range of sound.

Automatic performance device according to the present invention, corresponding to a plurality of channels and storing the plurality of performance pattern data, and a storage means for storing information about the note conversion for each said channel corresponding to said plurality of channels each The information related to note conversion indicates either a process for generating a musical tone of pitch information obtained by further octave shifting the pitch information after the note conversion or a process for generating no musical tone of the pitch information after the note conversion. Including at least designation information to be obtained, acquisition means for acquiring chord information, identification means for identifying information related to the note conversion associated with the plurality of performance pattern data stored in the storage means, Based on the acquired chord information and the information on the specified note conversion, the performance pattern data is sequentially read out. A note conversion means for converting the pitch information notes, and acquires the range to be generated a tone, and determining means for determining the pitch information after the note conversion is whether or not the range that the acquired, the If the pitch information after the note conversion is not within range that the acquired, on the basis of the designation information included in the information related to the identified note conversion, pitch information further octave shifts the pitch information after the note conversion and instruction means for instructing one of the process does not generate a tone processing or pitch information after the note conversion generates tone, a musical tone generating means for controlling the generation of the musical tone based on the performance pattern data, the tone generating means, said by performing said one of processing according to the instruction by the instruction means, the pitch information after the note conversion corresponding to the read pitch information is the sound Comprising the controls so as not to generate a musical tone of a tone not within the pitch information after that or the note conversion occurs at pitch in the range.

According to the present invention, the pitch information sequentially read out from the performance pattern data is converted into notes based on the chord information and the information related to note conversion. Further, the pitch information after the note conversion is a sound that should generate a musical tone. If not within the range, instruct the processing of generating a musical tone of the pitch information obtained by further octave shifting the pitch information after the note conversion or processing not generating a musical tone of the pitch information after the note conversion It executes selectively according to the instruction by the means. The instruction means, when the pitch information after note conversion is not within the range, pitch information obtained by further octave shifting the pitch information after note conversion based on the designation information included in the information related to note conversion Or a process that does not generate a musical tone of the pitch information after the note conversion. That is, if the pitch information after note conversion is not in the range where the musical sound should be generated, if the processing not generating the musical tone is instructed , the musical tone of the pitch information after the note conversion is not generated. On the other hand, when an instruction to generate a musical tone of pitch information that has been octave shifted is instructed, the pitch information after the note conversion is further converted into a note to generate a musical tone of the pitch information that has been octave shifted. As described above, since the pitch information after the note conversion exceeds the range where the musical sound should be generated, the processing that does not generate the musical sound can be instructed other than the octave shift processing. It becomes possible to selectively limit the sound range without causing problems such as flanging in the musical sound.

  The present invention can be constructed and implemented not only as a device invention but also as a method invention. Further, the present invention can be implemented in the form of a program of a processor such as a computer or a DSP, or can be implemented in the form of a storage medium storing such a program.

  According to this invention, when the pitch information after the pitch conversion based on the acquired chord exceeds the range where the musical tone should be generated, the musical tone is generated after the pitch conversion is further performed by the octave shift, or Since it is executed in response to an instruction whether or not to generate a musical sound, the user can selectively limit the sound range without causing problems such as flanging in the generated musical sound. The effect of becoming.

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

  FIG. 1 is a hardware configuration block diagram showing an embodiment of the overall configuration of an electronic musical instrument to which an automatic performance apparatus according to the present invention is applied. The electronic musical instrument shown in this embodiment is controlled by a microcomputer including a microprocessor unit (CPU) 1, a read only memory (ROM) 2, and a random access memory (RAM) 3. It should be noted that the electronic musical instrument shown in this embodiment can simultaneously generate sound for, for example, 16 channels as channels for automatic performance. That is, 16 types of performance data can be reproduced simultaneously.

  The CPU 1 controls the operation of the entire electronic musical instrument. For this CPU 1, a ROM 2, RAM 3, detection circuits 4 and 5, display circuit 6, sound source circuit 7, effect circuit 8, external storage device 9, external storage device 9, MIDI interface (I) via a communication bus 1D (for example, a data and address bus). / F) 10 and a communication interface (I / F) 11 are connected to each other. The ROM 2 stores various control programs executed by or referred to by the CPU 1, various data, and the like. For example, 99 style accompaniment style data with numbers “01” to “99” (see FIG. 2 described later), a plurality of “Note Transposition Tables (NTT)” 3), a plurality of “Note Transposition Rules (NTR)” (not shown), and various parameters and data relating to other musical sounds. The RAM 3 is used as a working memory for temporarily storing various data generated when the CPU 1 executes a predetermined program, or as a memory for temporarily storing a currently executing program and related data. The A predetermined address area of the RAM 3 is assigned to each function and used as a register, flag, table, memory, or the like.

  Of course, various automatic performance data other than the style data (for example, song data, melody sequence, chord sequence, etc.) may be stored in the ROM 2 and / or the RAM 3. Although these will not be described in detail, the present invention can be applied to any type of automatic performance according to the embodiment described below and in a form appropriately modified as necessary. In the chord performance, simultaneously with the automatic accompaniment performance, the performance operator 4A is pressed in real time to input the performance, or the desired chord sequence performance is stored in a chord sequencer (not shown). May be performed as appropriate by reproducing and reading.

  The performance operator 4A is, for example, a keyboard or the like having a plurality of keys for selecting the pitch of a musical tone, and has a key switch corresponding to each key. (Keyboard, etc.) can be used for manual performance by the user's hand-playing and chord designation (input) for automatic accompaniment performance, as well as automatic accompaniment style data and automatic accompaniment target sections (for example, intro, Main, fill-in, ending) or the like, or a means for setting a tone color or an effect can be used. The panel operator 5A includes a style selection switch for selecting style data for automatic accompaniment, a section selection button for designating a section to be automatically accompaniment, and an “automatic performance start / stop” switch for instructing start / stop of automatic performance. And the like. Of course, in addition to the above, the panel operator 5A includes various operators such as a numeric data input numeric keypad and a character data input keyboard for selecting, setting and controlling the pitch, timbre, effect, and the like. May be. The detection circuit 5 detects the operation state of the panel operation element 5A, and outputs switch information or the like corresponding to the operation state to the CPU 1 via the data and address bus 1D.

  The display circuit 6 displays various screens according to the operation of the panel operation element 5A on the display 6A composed of, for example, a liquid crystal display panel (LCD), a CRT, or the like. Various data stored in the storage device 9 or the control state of the CPU 1 is displayed. By referring to these various types of information displayed on the display 6A, the user can easily select style data and set various performance parameters.

  The tone generator circuit 7 can simultaneously generate musical tone signals on a plurality of channels (16 channels in this embodiment), and according to the operation of the performance operator 4A given by the user via the data and address bus 1D. The generated performance data or performance data based on the style data is input, and a musical sound signal is generated based on the performance data. And, it corresponds to 16 channels for automatic performance (for example, MIDI channel), and at the same time, it is possible to generate musical sounds with 16 kinds of timbres (parts). The musical sound signal generated from the sound source circuit 7 is given an effect through the effect circuit 8 and is generated from the sound system 8A including an amplifier, a speaker and the like. Any conventional configuration may be used for the sound source circuit 7, the effect circuit 8, and the sound system 8A. For example, the tone generator circuit 7 may employ any of various tone synthesis methods such as FM, PCM, physical model, formant synthesis, etc., or may be configured with dedicated hardware, or configured with software processing by the CPU 1. May be.

  The external storage device 9 stores various data such as automatic accompaniment style data (see FIG. 2) or “note conversion table (NTT)” (see FIG. 3), various control programs executed by the CPU 1, and the like. When no control program is stored in the ROM 2, the control program is stored in the ROM 2 by storing the control program in the external storage device 9 (for example, a hard disk) and reading it into the RAM 3. The CPU 1 can be operated in the same manner as in the case. In this way, control programs can be easily added and upgraded. The external storage device 9 is not limited to a hard disk (HD), but may be a flexible disk (FD), a compact disk (CD-ROM / CD-RAM), a magneto-optical disk (MO), or a DVD (Digital Versatile Disk). Any storage device that uses a storage medium of any form may be used. Alternatively, a semiconductor memory such as a flash memory may be used.

  The MIDI interface (I / F) 10 inputs performance data (MIDI data) in MIDI format from another externally connected MIDI device 10A or the like to the electronic musical instrument, or transmits MIDI data from the electronic musical instrument to other MIDI instruments. This is an interface for outputting to the device 10A or the like. The other MIDI device 10A may be any device that generates MIDI data in response to a user's operation, and includes any type of operator such as a keyboard type, a guitar type, a wind instrument type, a percussion instrument type, and a gesture type ( Alternatively, it may be a device).

  The communication interface (I / F) 11 is connected to a wired or wireless communication network X such as a LAN, the Internet, or a telephone line, and is connected to the server computer 11A via the communication network X, and the server computer 11A. This is an interface for taking control programs or various data from the electronic musical instrument side. That is, when the control program and various data are not stored in the ROM 2 or the external storage device 9 (for example, hard disk), it is used for downloading the control program and various data from the server computer 11A. Such a communication interface 11 may be both wired and wireless and may include both.

When the automatic performance apparatus according to the present embodiment is applied to an electronic musical instrument, the performance operator 4A is not limited to a keyboard musical instrument, and may be any type such as a stringed musical instrument or a wind instrument. In addition, the performance operator 4A, the display 6A, the tone generator circuit 7 and the like are not limited to those built in one apparatus body, but each is configured separately, and each apparatus is connected using communication means such as a communication interface or various networks. Needless to say, the present invention can be similarly applied to the structure configured as described above.
The automatic musical instrument according to the present invention is not limited to the electronic musical instrument as described above, but can be any electronic musical instrument such as a karaoke device, a game device, a portable communication terminal such as a cellular phone, and an automatic musical piano. -You may apply to equipment. Moreover, the structure of a personal computer and application software may be sufficient.

  Next, style data employed in the electronic musical instrument described above will be described with reference to FIG. FIG. 2 is a conceptual diagram showing an embodiment of the data structure of style data. As shown in FIG. 2A, style data (file) is provided for each performance style (for example, accompaniment styles corresponding to rhythm types such as pops, rock, jazz, and waltz).

  As shown in FIG. 2B, one style data is composed of a header chunk, a track chunk, and a CTAB group. The header chunk stores, for example, the data format, the number of tracks in the style data, the time resolution of time information, and the like. As shown in FIG. 2C, the track chunk includes “Initial Setup event group” that is initial setting data and “Source pattern event group” that is accompaniment pattern data of each section (intro, main, fill-in, and ending). And timing information thereof. The initial setting data includes data such as the tone color of each channel, performance part name, and initial tempo. The intro pattern data is an accompaniment pattern of an intro performance (intro section). The main pattern data is an accompaniment pattern of a main section that is repeatedly played, for example, data having a short performance section for one phrase. Although not shown, the fill-in pattern data is an accompaniment pattern for a fill-in performance (fill-in section), and the ending pattern data is an accompaniment pattern for an ending performance (ending section). Of course, it goes without saying that there may be other accompaniment sections. Each of the initial setting data and the accompaniment pattern data for each section is provided with a “marker” including marker data indicating a delimiter of each data in the memory. This “marker” includes type information indicating whether each data stored subsequent to the “marker” is initial setting data or which section is intro, main, fill-in, ending, etc. It is.

  As shown in FIG. 2D, the pattern data of each section is sequence data in which event data (source pattern event group) and delta time data (timing information) are arranged in the order of performance. Event data can be divided into a plurality of types depending on the content, but here, it is mainly data for instructing automatic performance such as note-on, note-off, program change, volume, and effect. For example, the note event includes note on / off, channel numbers “1” to “16”, note number, velocity, and the like. Other event data is also composed of data indicating the event, channel number, and the like. The delta time data is data indicating the time between events.

  As shown in Fig. 2 (e), the CTAB group consists of multiple CTABs (Channel Tables) corresponding to the channels "1" to "16" for each section (intro, main, fill-in, ending). Composed. The information set in each CTAB corresponding to the channels “1” to “16” is information relating to note conversion. As shown in FIG. 2 (f), the channel number (Channel #), the source code route (Source Chord Root), source code type (Source Chord Type), NTR split point lower limit (LS: Lower Split point) and upper limit (US: Upper Split point), NTR information and NTT information, note limit lower limit (Low Limit) and The upper limit (High Limit), part information, and other information. A specific setting example of these pieces of information will be described later (see FIG. 5 or FIG. 8 described later).

  The channel number is one of “1” to “16” corresponding to the MIDI channel, and each channel number is defined by a different fixed number in a plurality of CTABs in one section. The source chord root indicates which chord root (chord root) the sequence data (accompaniment pattern data) of the channel is created, and the default value is, for example, “C”. The source chord type indicates which chord type (chord type) the sequence data (accompaniment pattern data) of the channel is created, and the default value is, for example, major 7th (maj7). As is known in the art, based on these source code roots and source code types, the sequence data is generated in C major 7th, regardless of the code root and code type created by the sequence data. Sound (reference sound for note conversion) can be converted.

  The lower limit and upper limit (division information) of the NTR split point are for defining a plurality of pitch ranges (called zones), and are defined by pitches (pitch names). The pitch at the boundary of the zone is called an NTR split point, and here, by defining two lower and upper NTR split points, all pitch ranges that can be produced by the electronic musical instrument (for example, C-2 ~ G8) can be divided into up to three zones (zone1 ~ zone3). Of course, NTR split points (dividing information) may be defined so as to be divided into more zones. Although details will be described later (see FIG. 7 described later), the zone (zone1 to zone3) is a note conversion to be applied according to the note number before conversion when converting the note number by note conversion during automatic performance. In order to apply different methods, it is used to classify note numbers before note conversion (specifically, pitches corresponding to note numbers) into any of a plurality of predetermined pitch ranges. .

  The NTR information specifies which rule is used for note conversion from a plurality of known note conversion rules (for example, “Root Transposition Rule”, “Root Fixed Rule”, “Other Rule”, etc.). Information. NTT information is information that specifies which table is used for note conversion from among a plurality of note conversion tables. One note conversion method (conversion mode) is determined from a plurality of different types of note conversion methods according to the combination of the note conversion rule and the note conversion table specified according to the NTR information and the NTT information. The lower limit and upper limit of the note limit are specified so that when the note number is converted by note conversion, the range of the converted note number falls within a certain range. To do. In the embodiment shown here, CTR of each channel includes NTR information and NTT information (and lower and upper limits of note limits) for each of a plurality of zones. That is, a plurality of “code conversion information” capable of performing note conversion with different settings is associated with one channel.

  As shown in FIG. 2 (g), the parameters of the lower limit (Low Limit) and upper limit (High Limit) of the range that limit the range in which the musical sound should be generated in each zone (zone1 to zone3) are “limit”. "Value information" and "octave shift or non-sounding designation information". As described above, the “limit value information” is used to set the lower or upper limit of the range to be used according to the pitch (eg MIDI note number) in order to produce a musical sound in the range appropriate for the tone or part to be applied. It is a parameter to specify. During the note conversion process, the pitch is converted into one of the pitches (pitch names) within the range according to the limit value. The “octave shift or non-sounding designation information” is used when data having a pitch lower than the upper limit or higher than the upper limit based on the limit value information is generated (in this embodiment, the data after note conversion based on chords is generated). When the pitch is lower than the lower limit or higher than the upper limit of the range based on the limit value information), this is a parameter that specifies the processing mode of the data. The designation information designates “octave shift” or “no sound” as a data processing mode. When “octave shift” is specified, the pitch is converted by octave-up for pitches below the lower limit and octave-down for pitches above the upper limit. A musical tone is generated based on the later data. On the other hand, when “no sound” is designated, tone conversion by octave shift (octave return) is not performed, and tone generation based on the data after pitch conversion is not performed. Details will be described later.

  Here, FIG. 3 shows an example of the note conversion table specified in accordance with the NTT information. As shown in FIG. 3A, NTT (note conversion table) is classified into one of three types: “bass”, “chord”, and “melody”. As for the kind of NTT, it is desirable to prepare only the number corresponding to the number of zones described above, but it is not limited to this. Here, an example is shown in which three types of NTT corresponding to the above three zones (zone 1 to zone 3) are prepared in advance. Each of the above three types of NTT has a note conversion table whose attribute is “chord sound” as shown in FIG. 3B, a note conversion table whose attribute is “scale sound” as shown in FIG. The attribute conversion table shown in FIG. 3D includes a “non-scale sound” note conversion table. As is well known, each NTT has an index according to the attribute, and the table contents store shift data (0, -1, -2, ...) of note numbers according to the type of chord. is doing.

  Further, a classification table (Applicable Scale Table) for classifying the note numbers of accompaniment pattern data into any of the above attributes corresponding to chords is conventionally known. Although well known, an example of this classification table is shown in FIG. This classification table is also categorized into one of three types: “Bass”, “Chord”, “Melody”, and each chord type (Maj, Maj6, Maj7, etc.) Each note name (C, C #, D, D #, ...) has one of the attributes "chord sound (c)", "scale sound (s)", and "non-scale sound (n)" It is classified whether it has. At the time of automatic accompaniment, the note number is classified by the note number read from the accompaniment pattern data into one of chord sound, scale sound and non-scale sound according to the type of chord. And note conversion is performed with reference to each note conversion table corresponding to this classification.

  Returning to the description of FIG. 2, the part information is a part number indicating which performance part the data relates to, and corresponds to the output part of the style. For example, if the part number is “1, 2”, it will be in the rhythm parts 1 and 2, if it is “3”, it will be in the bass part, and if it is “4, 5”, it will be in the chord parts 1 and 2. , "6, 7" corresponds to phrase melody parts 1 and 2. Of course, the performance part (output part) is not limited to this. Other information includes, for example, a so-called “channel switch” (for example, “0”) for setting the sound generation of the channel when the currently pressed chord root and chord type are of a specific type. In some cases, the device is set not to sound the channel).

  Here, a specific setting example is shown in FIG. 5 for information relating to note conversion set in the CTAB of each channel. FIG. 5 is a conceptual diagram for explaining a specific example of data contents set in CTAB. In this embodiment, when a special tone “Mega Guitar tone” is used, in the pitch ranges divided into two as shown in FIG. 5 (b), the bass side from “C-2” to “B5” When you want to set the zone (zone2) as the range for generating the chord part's musical tone with normal instrument sounds, and the zone (zone3) as the high-frequency zone (zone3) from "C6" to "G8" An example of setting will be described. For convenience, the channel number is MIDI channel “1”, the source code root is the default value “C”, and the source code type is the default value major 7th (maj7).

  As shown in Fig. 5 (b), when dividing the pitch range into “zone2” and “zone3”, the lower limit of the NTR split point is “C-2”, and the upper limit of the NTR split point is “C6”. Set each. In this case, the pitch range is divided into two by setting “C-2”, which is the lowest tone of the pitch range that can be produced by the electronic musical instrument, as the lower limit of the NTR split point. Here, assuming that zone 1 is not used, NTR information, NTT information, the lower limit (Llim) and the upper limit (Hlim) of the note limit are set to “ignored” for zone 1. The range “zone 2” is set to perform note conversion because it is a range in which a musical tone of a chord part is generated with a normal instrument tone. That is, “Root Transposition Rule” is set in the NTR information, and “Chord” is set in the NTT information. Here, “C-2” and “C6” (that is, the entire zone 2) are set as the lower and upper limits of the note limit. On the other hand, the range “zone3” is set not to perform note conversion because it is desired to be a range in which a sound effect (performance style-dependent timbre) is generated. That is, “Root Fixed Rule” is set in the NTR information, and “Bypass (Do not refer to NTT)” is set in the NTT information.

  Next, a process for performing automatic accompaniment while converting the pitch in accordance with the accompaniment pattern data and the input chord in the electronic musical instrument shown in the present embodiment will be described with reference to FIGS. FIG. 6 is a flowchart illustrating an example of “main processing”. This process is a process executed by the CPU 1 and starts when the electronic musical instrument main body is turned on, and ends when the electronic musical instrument main body is turned off.

  Step S1 executes initial setting. Initial settings include clearing registers and initial setting of the current setting state when the power is turned on. Specifically, the accompaniment flag indicating whether or not automatic accompaniment is possible is set to “FALSE (false: automatic accompaniment is not possible)” or designated as default data in advance. For example, device settings are made so that accompaniment pattern data and sections can be used. In step S2, a musical tone is generated according to performance information (MIDI data) generated in response to a performance operation by a user's hand-playing or acquired from an external device. In step S3, the corresponding style data (file) is read in response to the user's operation of the style selection switch, etc., and is prepared to be temporarily stored in the RAM 3 and reflected in the performance. In step S4, it is determined whether or not the accompaniment flag is “TRUE (correct: automatic accompaniment possible state)”.

  If it is determined that the accompaniment flag is not “TRUE” (no in step S4), it is determined whether or not an automatic accompaniment start operation (operation of an automatic performance start / stop switch or the like by the user) has been performed (step S5). ). If it is determined that the automatic accompaniment start operation has not been performed (no in step S5), it is not necessary to reflect the automatic accompaniment in the performance, so that execution of processing relating to automatic accompaniment (interrupt processing described later) is not particularly permitted. Then, the process returns to step S2. On the other hand, if it is determined that the automatic accompaniment start operation has been performed (yes in step S5), the performance target section is initialized to “Intro A” (step S6), and the section in the style data designated by the user is set. The performance position is initially set at the head position of “IntroA” (step S7). In step S8, setting is performed according to “Initial Setup” in the track chunk in the style data designated by the user. In step S9, the accompaniment flag is set to “TRUE”. In step S10, the timer interrupt execution to the “main process” by the “interrupt process” for realizing the automatic accompaniment is permitted. A series of processes from step S6 to step S10 is a preparation process for performing an automatic accompaniment process.

  If it is determined in step S4 that the accompaniment flag is "TRUE" (no in step S4), whether or not an automatic accompaniment stop operation (operation of an automatic performance start / stop switch or the like by the user) has been performed. Is determined (step S11). When it is determined that the automatic accompaniment stop operation has been performed (Yes in step S11), the accompaniment flag is set to “FALSE” (step S12), and the timer interrupt execution to the “main process” is performed by the “interrupt process”. It is prohibited (step S13). On the other hand, if it is determined that the automatic accompaniment stop operation has not been performed (no in step S11), the style data specified according to the style selection by the user is stored in the ROM 2 or the like while maintaining the timer interrupt enabled state. Is read out and held in the buffer (step S14). Then, in accordance with the section designation by the user, only the accompaniment pattern data of the designated section is held in the buffer as the next performance target (step S15). After the process of step S13 or step S15 is completed, the process returns to step S2.

  Next, “interrupt processing” for realizing automatic accompaniment will be described with reference to FIG. FIG. 7 is a flowchart showing an example of “interrupt processing”. The process is preferentially processed even during execution of the “main process” in accordance with the timer interrupt permission (step S10 in FIG. 6) in the “main process”.

  In step S21, an accompaniment chord to be output (specifically, chord type and root (root tone)) is determined according to the performance operation of the chord key range by the user (or according to chord progression data stored separately). To do. The step S22 refers to the track chunk of the designated data, and determines whether or not there is an event corresponding to the current performance position in the “source pattern event group and its timing information”. If it is determined that there is an event corresponding to the current performance position (step S22: yes), “CTAB” is specified by the section designation and the channel number defined in the note event (step S23). On the other hand, if it is determined that there is no event corresponding to the current performance position (no in step S22), it is determined whether automatic accompaniment stop processing has been performed (step S37). If it is determined that the automatic accompaniment stop processing has been performed (yes in step S37), the automatic accompaniment need not be continued any more, and thus the processing is terminated. If it is determined that the automatic accompaniment stop process has not been performed (no in step S37), the process returns to the process in step S22 to continue the present process.

  In step S24, it is determined whether or not the event corresponding to the current performance position is the “note event” in the “source pattern event group and its timing information” of the track chunk of the designated data. If it is determined that it is not a “note event” (No in step S24), the process proceeds to step S36. If it is determined that it is a “note event” (yes in step S24), the note number of the note event is compared with the lower limit “LS” of the NTR split point of “CTAB” and the upper limit “US”, and the note ( A zone which is a predetermined pitch range to which the pitch according to the note number) belongs is determined (step S25). Based on the note number of the note event and the source code information (Source Chord Root and Source Chord Type) of “CTAB”, the determined zone (Applicable Scale Table) shown in FIG. Referring to the table corresponding to the NTT information of zone), the note attribute is determined as one of chord sound (c), scale sound (s) and non-scale sound (n) (step S26), and the determined zone From the NTT information of “CTAB” corresponding to (zone) and the determined note attributes, “NTT” to be used in the note conversion process is determined (step S27).

  In step S28, the process is distributed for each NTR information so that different types of note conversion processes are executed in accordance with the NTR information in the "CTAB" corresponding to the zone.

  Here, when the NTR information is set as “Root Transposition Rule”, note conversion processing is performed according to the corresponding note conversion rule “Root Transposition Rule” and referring to NTT by the chord type and root. Execute (Step S29). If the NTR information is set as “Root Fixed Rule”, note conversion processing is executed while referring to NTT by code type and root according to the corresponding note conversion rule “Root Fixed Rule” (step S30). If the NTR information is set to “Other Rule” other than “Root Transposition Rule” and “Root Fixed Rule” (for example, simple octave shift), the corresponding note conversion rule “Other Rule” The note conversion process is executed according to the rules (step S31). In this case, NTT need not be referred to. Since the note conversion processing according to each conversion rule (NTR) or conversion table (NTT) may be any known method, description thereof is omitted here.

  In step S32, each of the limit values of the lower limit (Low Limit) or the upper limit (High Limit) of the tone range of “CTAB” corresponding to the determined zone (zone) is the pitch after note conversion by the note conversion process ( 2 (see FIG. 2 (g)), that is, when a lower limit value is specified, whether the lower limit value is exceeded, or when an upper limit value is specified, the upper limit value. It is determined whether or not each exceeds. If the pitch after note conversion exceeds the limit value, that is, falls below the lower limit value or exceeds the upper limit value (yes in step S32), the lower limit (Low Limit) or the pitch range of the “CTAB” It is determined whether or not the designation information of the upper limit (High Limit) is set to “octave shift” (step S33). If it is determined that the designation information is set to “octave shift” (yes in step S33), the pitch after note conversion by the note conversion process is further shifted octave (step S34). In this case, octave up is performed when the lower limit value is exceeded, and octave down is performed when the upper limit value is exceeded, but the pitch after note conversion by the note conversion process is within the range based on the limit value. The octave shift is executed one or more times. Specifically, as shown in FIG. 9A, when “High limit” is defined as “A4”, for example, if the pitch after conversion based on the chord is “B4”, the sound The pitch of “B4” is further converted to “B3” by being octave-down (indicated by an arrow in the figure). However, the example shown in FIG. 9 (a) is the same as the conventional example, and problems such as sound beat (flanging) occur in the generated musical sound.

  On the other hand, if it is determined that the designation information is not set to “octave shift” (no in step S33), the note that is the subject of the note conversion process is processed so as not to sound (step S35). Of course, as a method of processing so as not to sound the note, the note (event) is not sent to the sound source circuit 7, the device is set to ignore the note, or data related to the note is deleted and moved back and forth. Any method may be used, such as updating the data related to the notebook. In step S 36, the sound source channel designated by the part information in “CTAB” is designated, and an event is sent to the sound source circuit 7. The tone generator circuit 7 to which the event has been sent merges the event for each channel and reflects it in the musical tone generation. Thereafter, the process returns to step S22. However, no event is sent to the tone generator circuit 7 for a note that has been processed so as not to sound. In this case, as shown in FIG. 9B, when “High limit” is defined as “A4”, for example, if the pitch after conversion based on the chord is “B4”, the sound “B4” is not further octave-down and is simply not pronounced (indicated by a cross in the figure). In this way, when the same sound overlap occurs due to the pitch conversion, any one of the different octabrines is not sounded but is made a single sound, which is musically natural. There is no problem because it is a transition of sound. In addition, the generated musical sound does not suffer from problems such as sound beats (flanging).

  As described above, according to the present embodiment, information related to a plurality of different note conversions is associated with one channel for each predetermined pitch range, and note information is determined in advance during automatic accompaniment. It is classified into a plurality of pitch ranges, and note conversion processing is performed in accordance with information relating to note conversion associated with each pitch range. Thereby, when performing note conversion of an automatic performance sound based on a chord, a plurality of different types (conversion modes) of note conversion can be performed in one channel, and special effects including sound effects (performance style-dependent timbres) are included. Even a simple timbre can be controlled by one channel, so the channel is not wasted. In addition, the user does not have to prepare the accompaniment pattern data for musical instrument tone color and the accompaniment pattern data for sound effects as separate data, so there is an advantage that data creation is facilitated.

  In addition, when the pitch after note conversion is out of the range based on a predetermined limit value, whether or not the note is further converted by octave shift (octave wrapping) or the note is not sounded is plural. Enabled to selectively run according to the information about different note conversions. As a result, it is possible to limit the range of the musical sound to be generated without causing flanging, or to restrict the range even if flanging is caused, and to make the pitch range different for each of the plurality of pitch ranges. Since different processing can be specified for the upper limit and the lower limit, the user can easily create automatic accompaniment data that realizes more various musical expressions according to his / her intention.

  In the above-described embodiment, a case where a special tone color (Mega Guitar tone color) including a sound effect (performance style dependent tone color) or the like is used in addition to a normal musical instrument tone color has been described. The present invention can also be applied to an automatic performance in a normal tone color according to the above-described embodiment and in a form appropriately modified as necessary. For example, in the case of a piano timbre composed of only normal timbres, the present invention can also be applied to a case where a bass part is generated in the low range, a chord part in the intermediate range, and a phrase melody in the high range. FIG. 8 shows a specific setting example for information regarding note conversion set in the CTAB of each channel in such a case. In the embodiment shown in FIG. 8A, when a normal instrument tone “piano tone” is used, “C-2” to “F” in each pitch range divided into three as shown in FIG. 8B. The bass side zone (zone1) up to ♯2 is the range where bass part musical sounds are generated, the zone from zone F2 to C4 (zone2) where the chord part musical sounds are generated, C4 This is a setting example in the case where the high-tone zone (zone3) up to “G8” is set as a range for generating a phrase melody.

Although not shown in the figure, when using the special tone (Mega Guitar tone) described above, the zone (zone1) is based on the zone (zone2) that generates the bass phrase melody that operates in the base part and unison. It goes without saying that the CTAB of the corresponding channel can also be set so that the range in which the musical sound of the part is generated and the zone (zone 3) are in the range in which the sound effect (performance style-dependent timbre) is generated. That is, when generating a musical tone based on original automatic performance data (accompaniment pattern data, phrase melody data, etc.) created based on some chord, note conversion is performed according to the chord progression. Regardless of the form, the present invention can be applied in accordance with the embodiment described above and in a form appropriately modified as necessary. Furthermore, by changing the NTR split point (divided information) as appropriate, the information related to note conversion is associated with each of the bass, middle, treble, and many other finer ranges. The present invention can be applied to many different timbres and uses.
Note that the user may arbitrarily set the value of CTAB (NTR information, NTT information, lower limit and upper limit of note limit). Needless to say, when the CTAB value is arbitrarily input by the user, the input value is processed in preference to the CTAB value set in the style data in advance.

1 is a block diagram of a hardware configuration showing an embodiment of an overall configuration of an electronic musical instrument to which an automatic performance device according to the present invention is applied. It is a conceptual diagram which shows one Example of the data structure of style data. It is a conceptual diagram which shows one Example of a note conversion table. It is a flowchart which shows one Example of a classification table. It is a conceptual diagram for demonstrating the specific example of the data content set to CTAB. It is a flowchart which shows one Example of a main process. It is a flowchart which shows one Example of an interruption process. It is a conceptual diagram for demonstrating another specific example of the data content set to CTAB. It is a figure for demonstrating the process performed when a pitch exceeds the upper limit limit value.

Explanation of symbols

DESCRIPTION OF SYMBOLS 1 ... CPU, 2 ... ROM, 3 ... RAM, 4,5 ... Detection circuit, 4A ... Performance operator, 5A ... Panel operator, 6 ... Display circuit, 6A ... Display, 7 ... Sound source circuit, 8 ... Effect circuit, 8A ... Sound system, 9 ... External storage device, 10 ... MIDI interface, 10A ... MIDI device, 11 ... Communication interface, 11A ... Server device, X ... Communication network, 1D ... Communication bus

Claims (4)

Storage means for storing a plurality of performance pattern data corresponding to a plurality of channels, and storing information relating to note conversion for each of the plurality of channels , wherein the information relating to note conversion is , Including at least designation information for instructing either a process for generating a musical tone of pitch information obtained by further octave shifting the pitch information after note conversion or a process for not generating a musical tone of pitch information after note conversion When,
Acquisition means for acquiring chord information;
Specifying means for specifying information relating to the note conversion associated with the plurality of performance pattern data stored in the storage means;
Note conversion means for note-converting pitch information sequentially read out from the performance pattern data based on the acquired chord information and the specified note conversion information;
A determination means for acquiring a range in which a musical sound is to be generated, and determining whether the pitch information after the note conversion is within the acquired range;
If the pitch information after the note conversion is not within range that the acquired, on the basis of the designation information included in the information related to the identified note conversion, pitch was further octave shifts the pitch information after the note conversion and instructing means for instructing either a process which does not generate a tone processing or pitch information after the note conversion generates tone information,
Musical tone generating means for controlling the generation of musical sounds based on performance pattern data, the musical sound generating means corresponding to the read pitch information by performing any one of the processes according to an instruction from the instruction means Automatic musical performance comprising controlling a musical tone whose pitch information after note conversion is not within the range to be generated at a pitch within the range or not generating musical tone of the pitch information after the note conversion. apparatus. The storage means stores information related to note conversion for each channel for each of a plurality of pitch ranges,
The automatic performance device according to claim 1 is:
Determining means for determining any one of the plurality of pitch ranges as a pitch range to which pitch information sequentially read out from predetermined performance pattern data belongs ;
The specifying means specifies information related to note conversion in a channel associated with the predetermined performance pattern data based on the determined pitch range ,
The note conversion means, a tone pitch information successively read out from the predetermined performance pattern data when note conversion, and performing based on the information about any of the note conversion described above specified. The storage means includes information for determining a musical range in which a musical sound should be generated, and processing for generating a musical tone of pitch information obtained by further octave shifting the pitch information after note conversion or musical tone of pitch information after note conversion. 3. The automatic performance apparatus according to claim 2, wherein designation information for instructing any of the processes that do not occur is stored for each of a plurality of pitch ranges. On the computer,
A procedure for storing a plurality of performance pattern data corresponding to a plurality of channels and storing information relating to note conversion for each channel in a predetermined storage means corresponding to each of the plurality of channels. The information related to the conversion includes at least designation information indicating either a process for generating a musical tone of pitch information obtained by further octave shifting the pitch information after note conversion or a process for generating no musical tone of the pitch information after note conversion. Including
To get chord information,
A procedure for identifying information relating to the note conversion associated with the plurality of performance pattern data stored in the storage means;
Based on the acquired chord information and the information related to the specified note conversion, a procedure for note conversion of pitch information sequentially read from the performance pattern data;
A procedure for acquiring a range in which a musical sound should be generated and determining whether the pitch information after the note conversion is within the acquired range;
If the pitch information after the note conversion is not within range that the acquired, on the basis of the designation information included in the information related to the identified note conversion, pitch was further octave shifts the pitch information after the note conversion a step of instructing one of the process does not generate a tone processing or pitch information after the note conversion generates tone information,
In controlling the generation of the musical tone based on the performance pattern data, before Symbol wherein by performing any of the processing corresponding to the instruction, the pitch information after the note conversion corresponding to the read pitch information is the sound A program for executing a procedure for controlling a musical tone that is not within a range to be generated at a pitch within the range or not to generate a musical tone of pitch information after the note conversion .

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