JPH02135496A - Electronic musical instrument with harp effect - Google Patents

Abstract

PURPOSE:To give a harp effect with which a musical performance similar to that obtained with a harp can be played to an electronic musical instrument by providing a playing pitch name designating means and sound production controlling means which makes the pitch of the sound of a specific pitch name of playing pitch names designated by the above-mentioned means higher or lower by a semitone or inhibit the production of the sound. CONSTITUTION:This electronic musical instrument with harp effect is provided with a playing pitch name designating means 1 and a sound production controlling means 2 which makes the sound of a specific pitch name of the pitch names designated by the means 1 higher or lower by a semitone or inhibit the production of the sound. The means 1 is, for example, a keyboard. The specific pitch name is designated out of the pitch names of the white keys of the keyboard by means of a switching means provided with a harp pedal function and a semitone operation designating means makes the sounds higher or lower by a semitone. The means 2 makes the sound of the designated specific pitch name higher or lower by a semitone based on the designation of the semitone operation designating means. Thus a harp-like musical performance including a harp arpeggio performance can be performed by means of the white keys only.

Description

[Detailed description of the invention] The invention will be explained in the following order.

Industrial Field of Application Conventional Technology Problems to be Solved by the Invention Means for Solving the Problems Actions and Effects Embodiments Explanation of the Structure of the Embodiments Description of the Operations of the Embodiments First Embodiment 1-1. Main processing (Figure 4) 1-2. Key-on processing (Fig. 5) l-3, Key-off processing (Fig. 6) Second embodiment 2-1. Main processing (Figure 8) 2-2. Key-on processing (Figure 9) 2-3. Key-off processing (Fig. 10) Operation explanation of the third embodiment 3-1. Main processing (Figure 12) 3-2. Key-on processing (Figure 13) 3-3. Key-off processing (Fig. 14) Operation explanation of the fourth embodiment 4-1. Main processing (Figure 16) 4-2. Key-on processing (FIG. 17) Modification of the embodiment [Industrial field of application] The present invention relates to an electronic musical instrument with a harp effect that can be played in the same way as a harp with the same feeling as a harp, and in particular, in an electronic keyboard instrument. , the arpeggio performance function has been improved, and the keyboard can be used to play glib sand (
This relates to an electronic musical instrument with a harp effect that enables the performance of harp arpeggios.

[Prior Art] As a conventional electronic musical instrument, one is known that has a transposition switch means and a transposition control means for sliding the pitch of a series of musical tones according to the number of operations of the transposition switch means (
For example, see Utility Model Application No. 59-25597).

In such electronic musical instruments, it is possible to play diatonic tones in eight keys using only the white keys. Therefore, by glib-sanding the white keys, it is possible to play glib-sand (harp arpeggio) using only diatonic tones regardless of the key. It is possible to perform performances similar to harp performances, such as being able to perform

[Problems to be Solved by the Invention] However, such electronic musical instruments only change (slide) the overall pitch in the key of G, and in keys other than C, they only change the note name of the key and the pitch to be pronounced. There was an inconvenience that the name of the note became completely unrelated.

The present invention has been made in view of the problems in the conventional example, and an object of the present invention is to provide an electronic musical instrument with a harp effect that can be played similarly to a harp.

[Means for Solving the Problems] As shown in FIG. 1, the electronic musical instrument with a harp effect of the present invention has a performance note name designation means 1 and a performance note name designation means 1 that specifies a specific note name from among the performance note name designation means 1. The apparatus is equipped with a pronunciation control means 2 for raising the pitch of the pitch name by a semitone, lowering it by a semitone, or prohibiting the pronunciation.

[Operation] In the present invention, the performance note name designating means 1 is, for example, a keyboard.

In the first aspect of the present invention, the specific note name is specified from among the note names of the white keys of the keyboard by a switch means having a harp pedal function, and a semitone operation specifying means specifies raising or lowering a semitone. Based on these specifications, the pronunciation control means 2 raises or lowers the designated specific pitch name by a semitone (semitone operation).

In this case, each white key of the keyboard or each string of the pedal harp and the switch means correspond to a pedal, and the operator or performer can use the switch means to operate the pedal in exactly the same manner as the pedal harp. It is possible to perform semitone operations, and it is possible to perform harp-like performances including harp arpeggio performances using only the white keys.

In the second aspect of the invention, a key determining means is provided, and when the key is determined by the key determining means, the pronunciation control means 2 specifies the note name of a white key that deviates from the diatonic scale notes of this key. The semitone operation is performed on the pitch of this specific pitch name as a pitch name so that the pitch becomes a diatonic tone. In this case, when the operator or performer operates the key determining means to determine a key, each white key on the keyboard is automatically set to the pitch of a diatonic tone of that key. Therefore, similarly to the first aspect, harp-like performances including diatonic harp arpeggio performances can be performed using only the white keys.

In a third aspect of the invention, a key determining means similar to the above is provided, and the sound generation controlling means 2 is configured to produce sounds constituting a diatonic scale tone of a key determined from among the white keys and black keys of the keyboard. Prohibiting the pronunciation of pitch names other than first names. In this case, when the operator or performer operates the key determining means to determine a key, only the note names constituting the diatonic scale notes of that key can be sounded out of the eight keys of the keyboard. Therefore, by glib-sanding the white keys and black keys indiscriminately, it is possible to perform a diatonic harp arpeggio performance.

In a fourth aspect of the invention, an accompaniment key is provided,
The pronunciation control means 2 allows the pronunciation of only the note name specified by this accompaniment key or the constituent note names of the chord specified by this accompaniment key, and prohibits the pronunciation of the others. In this case, the operator or performer can perform a harp-like performance by operating the performance keys while specifying the name of the note to be sounded using the accompaniment keys.

In this way, in this invention, by specifying a chord or scale by an appropriate means, and then playing a large number of manual keys at the same time with the palm of the hand, the pre-specified chord among the pressed keys can be played. Only musical tones that correspond to the scale or scale are produced.

Examples of methods for specifying chords and scales include: ■ Pressing the multiple keys on the accompaniment keyboard (lower keyboard or low-range keyboard) with your left hand; and ■ Pressing the 11! key on the accompaniment keyboard with your left hand. There is a so-called ABC (auto bass chord) method in which a bass keyboard (pedal keyboard) is pressed at the same time as a bass keyboard (pedal keyboard), and both may indicate a chord tone or a scale.

[Effects] As mentioned above, according to this invention, ■ It is possible to perform like a harp, and at the same time ■ When controlling the pitch of the white keys by a semitone, you can use diatonic scales without being aware of the key signature while playing. It is possible to play by sound, and if non-diatonic notes are prohibited from being produced, an arpeggio performance similar to that of a harp can be performed without being aware of which keys to press.

[Example] Hereinafter, the present invention will be explained in detail with reference to the drawings.

(Description of Configuration of Embodiments) FIG. 2 shows a hardware configuration common to each embodiment of the present invention.

The electronic musical instrument with harp effect shown in the figure uses a central processing unit (CPU).
) 10 to control its overall operation. A program memory 14, a register group 16, and a keyboard circuit 18 are connected to the CPU10 via a bidirectional path line 12.
, a switch group 20, and a tone generator 22 are connected. A sound system consisting of an amplifier, speakers, etc. (not shown) is connected to the tone generator 22.

The program memory 14 is a read-only memory (ROM).
), etc., and stores a control program for the CPU 10.

The register group 16 is for temporarily storing various data generated when the CPU10 executes the control program, and if necessary, for example, the following registers can be stored in a random access memory (RAM). ) is provided in a predetermined area. In the following description, each register and its contents (data) will be represented by the same label unless otherwise specified.

KC: Key code The key code where the key event occurred on the keyboard (36~
96) KCBUF: Key code buffer Stores each key code being pressed on the keyboard ASS: Key-on channel number The number of the tone forming channel of the tone generator 22 assigned to form the key-on musical tone CHBUF (ASS): By channel OFF n key off channel number for storing the key code KC of the musical tone to be formed for each musical tone forming channel of the buffer tone generator 22 Number NT of the musical tone forming channel to be keyed off in the tone generator 22: note coat register key code KC sound UD (NT): Semitone operation register Stores data indicating the amount of semitone operation for each note name "+1": Raise a semitone "0": No semitone upper or lower r+IJ: Lower a semitone HP: Harp effect flag Indicates operation mode “0” Normal (normal performance) mode “1” Harp effect mode KEY: Key signature register Stores the note name of the key pressed in the key determining key area as the key signature DIS: Disk Disable data Data representing the note name whose pronunciation should be prohibited IDl5: Initial disable data Data DIS
Initial value ENB: Enable data Data representing the name of the note to be enabled for pronunciation TYP: Chord type ROOT: Root note name The keyboard circuit 18 sets each 1! of the keyboard. The keyboard includes a large number of key switches (not shown) each corresponding to a key (key), and detects a pressed key on the keyboard and generates key information (key code) representing the pressed key. The keyboard has 5 octaves from C2 to C7 (6
It has a key range of 1&l, and the key code of 8 keys is as shown in Fig. 3, the key name of each pressed key is C2, C#2, B2.
,...,B2°C3,...,C7, each C note has a multiple of 12 (in decimal notation) 36.48. ..., 96
, and the other keys are assigned numerical values that increase by 1 for each semitone. The (key) code representing a rest, that is, a state in which no key is pressed, is O. In the following, unless otherwise specified, numerical data such as key codes will be expressed in decimal numbers.

The switch group 20 includes various operation switches such as a tone selection switch and a harp effect switch arranged on an operation panel (not shown), and generates switch information indicating the on/off state of each of these switches. The harp effect switch allows you to change the operation mode of this electronic musical instrument between normal mode as a regular keyboard instrument and raising or lowering the pitch of the 8 keys by a semitone as desired (semitone operation).
This is a switch for switching to a harp effect mode in which the harp effect is realized by disabling sound or by prohibiting sound generation. Each time this harp effect switch is turned on, the harp effect mode is switched between on (harp effect mode) and off (normal mode). Note that the harp effect mode may be turned on/off automatically depending on the tone color selection, such that, for example, when a harp tone is selected, the harp effect mode is set, and otherwise the mode is the normal mode.

The tone generator 22 is provided with a plurality of musical tone forming channels, for example eight, for forming key press tones, and a key press (key-on) signal given from the CPU10 for each channel. !
! H! A musical tone signal is formed based on data such as (key off), tone color (or instrument type), pitch (key name), etc., and is sent to the sound system equipped with an amplifier, speaker, etc. (not shown). The sound system converts the musical tone signal supplied from the tone generator 22 into tones and produces sounds.

(Explanation of Operation of Embodiment) Next, the operation of each embodiment of the present invention will be described with reference to FIGS. 4 to 17. In the flowcharts corresponding to the operations of each embodiment, the same step numbers are assigned to common or corresponding processes.

(First Embodiment) FIGS. 4 to 6 show flowcharts corresponding to the operation of the first embodiment. In this first embodiment, in the normal mode, the entire keyboard range (C2 to C7) is set as the performance range, and in the harp effect mode, the keyboard is set to the harp pedal range (C2 to C3) and the performance range ( C#3
~C7) are used by dividing the key range. The semitone operation is the white 1 that is turned on (pressed all) in the harp pedal key range.
! (C2-C3) specifies the name of the note (note name of the pressed key) to be manipulated by a semitone, but at this time, if only the white key is turned on, from then on the keys in the performance range of the note name of the pressed key will be natural as per the note name. If you turn on the white key and the black key on the treble side, the performance key of the note name pressed on the white key will become the key of the sharp (#) pitch, which is a semitone higher, and the white key will become the key of the pitch (#). When the black key on the lower pitch side is turned on, the performance key range key corresponding to the note name of the white key pressed becomes the key of the flat (b) pitch, which is a semitone below.

For example, if you turn on the C2 key and C#2 key, the pitch of C# will be produced by turning on the C key, and the %F2 key and E#2 key will be turned on.
When the F key is turned on, the pitch of E, that is, Fb, is produced when the F key is turned on.

In the electronic musical instrument shown in FIG. 2, when a power switch (not shown) is turned on, the CPU 10 starts operating according to a control program stored in the program memory 14. First, the main processing from step 100 in FIG. 4 is executed.

Referring to FIG. 4, in the initialization routine of step 102, each channel buffer CHBUF and each key code buffer KCBUF set in the registers 16 are all cleared, the harp effect flag HP is reset, and each sound 12 corresponding to the name
semitone operation register UD (NT) (however, NT=O~
11), perform initialization processing such as setting each to 0. Next, a circular process consisting of the determination process in steps 110, 130, and 140 and the "other process" in step 150 is executed.

In step 110, the harp effect switch is tested based on the output of switch group 20. When the on event of the harp effect switch, that is, the switching of the harp effect switch from the off state to the on state, is detected, the process branches to step 112, where all channels currently producing sound in the tone generator 22 are muted, and step After inverting the harp effect flag HP in step 114 and clearing all semitone operation registers UD (NT) in step 116, the process proceeds to step 130. Through the processing of steps 112 to 116, the operation mode is alternately switched between the harp effect mode and the normal mode each time the harp effect switch is turned on. On the other hand, if no switch-on event is detected in step 110,
Steps 112 to 116 are skipped and the process directly proceeds from step 110 to step 130.

In steps 130 and 140, the output of the keyboard circuit 18 is checked. As a result of inspecting the output of the keyboard circuit 18 in step 130, if it is detected that there is a key-on event, that is, a new key has been pressed by keyboard operation, the process branches to step 200, and the key-on process (described later) is performed.
5), the process proceeds to step 140. Also,
If a key-on event is not detected in step 130, the process of step 200 is skipped, and
From step 130, proceed directly to step 140.

As a result of inspecting the output of the keyboard circuit 18 in step 140, if it is detected that there is a key-off event, that is, a new key release due to a keyboard operation, the process branches to step 300 and a key-off process (FIG. 6), which will be described later, is performed. After execution, proceed to step 150. Further, if a key-off event is not detected in step 140, step 3
00 is skipped and the process directly proceeds from step 140 to step 150.

In step 150, switches other than the harp effect switch, such as the tone selection switch and the volume control, are scanned, and the state changes (
When an event) occurs, other processing such as processing corresponding to the operator event is executed, and then the process returns to step 110. Below, steps 110 to 150 above
Repeat the circular process.

1-2. Key-on processing When a key-on event is detected in step 130 during the cyclic processing consisting of steps 110 to 150 of the main processing (FIG. 4), the CPU 10 advances the program from step 130 to step 200, and Executes key-on processing.

Referring to FIG. 5, this key-on processing is performed at step 200.
Its execution starts at . CPU10 performs step 2
At step 02, the pitch data (key code) of the key where the key-on event occurred is fetched and stored in the key code register KC in the register group 16, and at step 204, the key code buffer KCBUF in the register group 16 is empty. After writing this key code KC to the buffer,
In step 206, it is determined whether the key in which the key-on event occurred is in the harp pedal key range. This determination is based on the harp effect flag HP and key code KC.
This is done by inspecting. If the flag HP is 1''', the current operating mode is harp effect mode,
In this case, the keys below C3 (KC=48) are set in the harp pedal key range for semitone operation. Therefore, if the flag HP is "1" and the key code KC is 48 or less, the key in the harp pedal key range has been turned on, and the process branches from step 206 to step 210, and steps 210 to 242 are executed. Executes semitone operation processing.

In this semitone operation process, in step 210 the key code KC is divided by 12 and the remainder is calculated to obtain the key-on key note name NT. After storing this note name in the note register NT, in step 220 this key-on key note name NT is calculated. Based on the pitch name NT, it is determined whether the key-on key is a white key. NT=0.2,
The keys 4, 5, 79.11 are white keys, NT=1.3,
The key at 6°8.10 is a black key. If it is a black key, there is no need to perform semitone operations, so the process returns directly from step 220 to step 140 of the main routine (FIG. 4). In this case, the key-on process ends only by storing the key code of the black key that was key-on in the harp pedal key range in the key coat buffer KCBUF. On the other hand, if the determination in step 220 is that it is a white key, the process proceeds from step 220 to step 222, where the semitone operation register U corresponding to the pitch name NT of this white key is entered.
D (NT) is cleared and the thread is sold.In step 230, the white 1! (Key code KC) It is determined whether there is a key code for a black key on the bass side. If there is, the white key and the black key on the bass side of the white key are pressed in the harp pedal key range, and this means that the pitch of the note name NT specified by the white key is lowered by a semitone as described above. Therefore, the process branches from step 230 to step 232, and the register U
After subtracting "1" from the content of D (NT), the process proceeds to step 240. On the other hand, the determination in step 230 is rNOJ
That is, if the black key on the lower pitch side than the white key is not pressed, step 232 is skipped and the process directly proceeds from step 230 to step 240.

In step 240, the key code buffer KCB is now
It is determined whether or not there is a key code of a black key on the treble side of the white key KC in the harp pedal key range during UF. If so, the white key and the black key on the treble side of the white key are being pressed in the harp pedal key range, and this means that the pitch of the note name NT specified by the white key will be raised by a semitone as described above. Therefore, the process branches from step 240 to step 242, adds "1" to the contents of register UD (NT), and then returns to step 140 of the main routine (FIG. 4).

On the other hand, if the determination in step 240 is "NO", that is, if the black key on the treble side of the white key is not pressed, step 2
The process at step 42 is skipped and the process returns directly from step 240 to step 140 of the main routine (FIG. 4).

Through the semitone manipulation processing consisting of steps 210 to 242, the pitch of the diatonic note name is manipulated by a semitone in response to a key depression in the harp pedal key range.

In other words, if only the white key is turned on (pressed ta), the pitch name NT specified by this white key will become a natural pitch (Ayana), and if the white key and the black key on the treble side are turned on, from then on The pitch of the note name NT specified by this white key will be a sharp (#) pitch a semitone higher, and when the white key and the lower black key are turned on, the note name specified by this white key will be used from now on. The pitch of the NT is a flat (b) pitch, which is a semitone below. Also, if a white key and two or more black keys sandwiching this white key are turned on, step 2
32 and step 242, the contents of the register UD (NT) are changed to "0" by "rO±1", and as a result, the pitch name NT specified by this white key from now on is a natural pitch (-).
becomes. Furthermore, if two or more white keys are turned on, the pitch name NT of the white key turned on later becomes the pitch name designated at that time.

If the determination in step 206 is rNOJ, that is, the key code KC is 49 (Cl3) or more, or if the flag HP is 0'' (normal mode), the turned-on key is a performance key. In this case, step 206
Branches from step 260 to steps 260 to 272
Executes key assignment processing. This key assignment processing is similar to the key assignment processing for ordinary electronic keyboard instruments.

That is, in step 260, a tone forming channel of the tone generator 22 to be assigned for forming a tone (depressed key tone) by the key-on is searched, and the number of that channel is stored in the key-on channel number register ASS. The channel to be allocated is, for example, an empty channel first, and if there is no empty channel, the oldest key-released channel, and if there is neither an empty channel nor a key-released channel, it is the oldest key-pressed channel. In the following step 262, the key code KC is stored in the channel-by-channel buffer CHBUF (ASS) corresponding to the channel number ASS, in step 264 the pitch name NT of this key code KC is obtained, and in step 268 this key code KC is stored. A semitone operated key code KC2 is obtained by adding the semitone operation data UD (NT) corresponding to the pitch name NT to the key code KC, and a second key code register KC,
Store in. Further, in step 272, the key code KC2 is generated in the tone forming channel numbered ASS of the tone generator 22, and then the process returns to the main routine (step 140 in FIG. 4).

1-3. Key-off processing When a key-off event is detected in step 140 during the cyclic processing consisting of steps 110 to 150 of the main processing (FIG. 4), the CPU 10 advances the program from step 140 to step 300, and the key-off processing of FIG. Execute.

Referring to FIG. 6, in this key-off process, the CPU
l0 starts its execution in step 300, takes in the key code of the key with the key-off event in step 302, and stores it in the key code register K in the register group 16.
Store in C. Furthermore, in step 304, among the key code buffers KCBtlF in the register group 16, the buffer KCBUF in which the same key code as this key code KC is stored is searched and cleared, and then in step 306, when a key-on event has occurred, the buffer KCBUF is searched and cleared. It is determined whether 11Kc is in the harp pedal key range. Flag HP is “1”
” and the key code KC is 48 or less, the key in which the key-off event occurred is in the harp pedal key range. In this case, no further processing is necessary, so the process is directly executed from step 306. Return to the main routine (step 150 in FIG. 4).

On the other hand, the result of the determination in step 306 is rNOJ,
That is, if the key in which the key-off event occurred is the key to be played, the process proceeds from step 306 to step 310. Then, in step 310, the channel-by-channel buffer CHBt
A search is made for a JF having the same key code as the key code KC, and the corresponding channel number OFF of the buffer CHBUF (OFF) is stored in the key-off channel register OFF. Furthermore, in step 316, the key code KC2 is muted in the OFF-th musical tone forming channel of the tone generator 22, and after clearing the buffer CHBUF (OFF) in step 318, the main routine (see FIG. 4) is performed. step 150)
Return to

(Second Embodiment) In the second embodiment, in the normal mode, the entire keyboard range (C2 to Cy) is set as the performance key range, but in the harp effect mode, the keyboard is set to the key determining range (C2 to B2).
and performance key range (C3 to C7). Note that the division points of the key range are 48 and 47, which is different from the first embodiment by one point, but this is different from the first embodiment.
This is because the C3 key is included in the harp pedal key range to specify a semitone lowering of the C note because there are no black keys on the bass side of the 2ffl alone, so it is not possible to specify a semitone lowering of the C note.

In this second embodiment, the semitone operation uses the note name of the key pressed in the key determining key range as the key signature, and each white key is set so that the diatonic scale note of this key can be played only with the white keys in the performance key range. Controls the pitch up and down (semitone operation). Figure 7 shows the key signature KEY
A semitone operation table TBL (KEY, NT) representing the relationship between the semitone operation amount and the semitone operation amount of each white key note name NT is shown. This table TBL (KEY, NT) is the program memory 14
It is set within. In the figure, "+1" of the semitone operation amount data indicates raising the pitch by a semitone, "-1" indicating lowering the pitch by a semitone, and no mark (indicating "0") indicates no halftone operation.

Further, in this embodiment, since the black keys are not operated by semitones, the semitone operation amount data for the black keys are all 0, and are not shown in FIG. Note that the black key may be operated by a semitone in accordance with the semitone operation amount of the preceding and following white keys. To do so, use the semitone operating table TBL (KEY, NT
), the semitone operation amount data may be appropriately written in the positions corresponding to the respective black keys.

8 to 10 show flowcharts corresponding to the operation of the second embodiment.

2-1. The main process consists of the same hardware configuration as shown in Figure 2.
In the electronic musical instrument of the embodiment, when a power switch (not shown) is turned on, the CPU 10 starts operating according to a control program stored in the program memory 14. First, the main processing from step 100 in FIG. 8 is executed.

Referring to FIG. 8, in the initialization routine of step 102, each channel buffer CHBUF and each key coat buffer KCBUF in the registers 16 are all cleared, the harp effect flag HP is reset, and the key signature register KEY is cleared. Perform initialization processing such as Then steps 110, 130,
A circular process consisting of a determination process in step 140 and an "other process" in step 150 is executed.

The processing in steps 110 to 114 is performed in exactly the same manner as in the first embodiment. In other words, in step 1, it is necessary to determine whether there is an on event of the harp effect switch.
10) Every time an on event of the harp effect switch occurs, the harp effect mode on/off switching process is executed, which includes silencing the tone generator 22 (step 112) and inverting the harp effect flag HP (step 114). . In this second embodiment, the semitone operation register tJD(NT) is not set, and the process corresponding to step 116 in FIG. 4 is deleted.

The processing of steps 130 to 150 is performed in exactly the same manner as in the first embodiment.

2-2゜Key-on processing When a key-on event is detected in step 130 during the cyclic processing consisting of steps 110 to 150 of the main processing (FIG. 8), the CPU 10 advances the program from step 130 to step 200, and proceeds to step 200 of FIG. Executes key-on processing.

In the key-on process shown in FIG. 9, the CPU 10 starts execution in step 200, stores the key code of the key with the key-on event in the key code register KC in step 202, and stores the key code in step 204. Write KC to the empty key code buffer to CBUF. Subsequently, in step 206, it is determined whether the key in which the key-on event occurred is in the key-determining key range.

This determination is made by checking the harp effect flag HP and key code KC. If the flag HP is 1'', the current operating mode is the harp effect mode, and in this case, the keys below B2 (KC = 47) are set to the key-determining key range for semitone operation. If the flag HP is "1" and the key code KC is 47 or less, the key-on is in the key determining key range, otherwise it is in the performance key range.

When it is determined in step 206 that the key-on detected in step 130 (FIG. 8) is a key-on in the key-determining key range, the process branches from step 206 to step 210 to obtain the note name of the key-on key. After storing it in the key signature register KEY as the key signature KEY, the process returns to the main processing (step 140 in FIG. 8).

On the other hand, the result of the determination in step 206 is rNOJ,
That is, when it is determined in step 206 that the key whose key-on is detected in step 130 (FIG. 8) is a performance key, the process branches from step 206 to step 260 and executes the key assignment processing in steps 260 to 272. do. This key assignment processing is obtained by adding the processing of steps 266 and 270 to the key assignment processing in the first embodiment.

That is, in step 260, a channel of the tone generator 22 to be assigned for forming a musical tone by the key-on is searched, and the searched channel number is stored in the key-on channel number register ASS. Next, in step 262, the key code KC is stored in the channel-by-channel buffer CHBUF (ASS) corresponding to the channel number ASS, and in step 264, the pitch name NT of this key code KC is calculated, and then in step 26
At step 6, it is determined whether the current operation mode is the eight-beam effect mode on. Then, if the harp effect mode is on (HP="1"), in step 268, the semitone operation table TBL (KEY,
The semitone operation amount TBL (KEY, NT) is obtained by referring to the key signature KEY and note name NT), and this key code KC is added by adding this to the key code KC.
Find the key code KC2 with semitone operation for the second
After storing it in the key code register KC, step 27
Proceed to step 2.

On the other hand, if the determination in step 266 is rNOJ, that is, the current operating mode is harp effect mode off (HP=
"1°°), that is, in the normal mode, the process proceeds from step 266 to step 270 and the key code KC is
is stored in the second key code register KC7 as it is without any semitone operation, and then the process proceeds to step 272.

In step 272, the tone generator 22
SS) key code K in the tone formation channel
After executing the pronunciation process of C, the process returns to the main process (step 140 in FIG. 8).

In this way, in harp effect mode, step 21
The key signature KEY is determined in step 268, and the pitch of the white keys in the performance key area is controlled to raise or lower (semitone operation) based on this key signature, and in step 272, a musical tone is formed with the pitch manipulated by this semitone. be done. Therefore, in the harp effect mode, by specifying a desired key in the key determining key range, it is possible to perform a diatonic scale performance in the desired key using only the white keys in the performance key range.

On the other hand, in the normal mode, all the keys on the keyboard are set as performance keys in step 206, and the key codes KC of these performance keys are passed from step 266 to step 270, and are transferred to step 272 without being operated by a semitone. is pronounced. Therefore, in the normal mode, it is possible to generate musical tones according to keyboard operations as a normal keyboard instrument.

2-3. Key-off processing When a key-off event is detected in step 140 during the cyclic processing consisting of steps 110 to 150 of the main processing (FIG. 8), the CPU 10 advances the program from step 140 to step 300, and executes the key-off processing of FIG. 10. Execute.

The key-off process in FIG. 10 is substantially the same as the key-off process in FIG. The only difference is the key code used as the key range determination standard in step 306, but this is because the key range differs by one note between the key determining key range for specifying semitone operation and the harp pedal key range, as described above. This is because there is.

(Third Embodiment) In the third embodiment, the keyboard specifications are exactly the same as in the second embodiment. That is, in the normal mode, the entire keyboard range (C2 to C7) is the performance key range, and in the harp effect mode, the key determining range is 02 to B2, and the performance key range is C3 to C2. Also, unlike the first and second embodiments, the semitone operation does not change the pitch of the eight keys, but prohibits the pronunciation of keys outside the play equipment that make up the diatonic scale notes of the master key. There is. As the key signature, as in the second embodiment, the note name of the pressed key in the key determining key range is used.

Figure 11 shows pitches for which pronunciation is prohibited (non-pronounced notes) for each major key.
A table representing In the figure, "x" marks indicate non-pronounced notes. In this embodiment, 12 bits are set in the register group 16 and each bit corresponds to each note name.
The bit disable data register DIS realizes the same function as the table of FIG. 11. That is, in this register DIS, each bit from bsB (fi lower bit) to MSB (most significant bit) corresponds to each note name C, C#, ..., A#, B, and all The bits corresponding to the note names that make up the scale note are 0.
°゛ (pronunciation), bits corresponding to other note names (
(corresponding to the 11th "x" mark) is set to "1°" (non-pronounced).For example, in the key of C, C#
, DI, F#, G#.

Since A# is a nondiatonic note name, that is, a non-pronounced note name, set the corresponding bit to °°1'' to prohibit pronunciation. For other note names, write °°0°°. In addition, in the key of F#, G, A, C,
D and E are unpronounced sound names (°゛1”).

Specifically, when turning on the harp effect mode or changing the key signature, C is set in the disable data register DIS in advance.
12 tot data showing pronunciation and non-pronunciation in key (
By setting the disable data (rolololoololoJ) and shifting to the right by the pitch name data area representing the key (for example, 6 for the F# key), disable data corresponding to the key signature is obtained.

12 to 14 show flowcharts corresponding to the operation of the third embodiment.

3-1. Main Processing In the electronic musical instrument of the third embodiment having the hardware configuration shown in FIG. First, the main processing starting from step 100 in FIG. 12 is executed.

Referring to FIG. 12, in the initialization routine of step 102, each channel buffer CHBUF and each key code buffer KCBUF in the registers 16 are
, reset the harp effect flag HP, clear the key signature register KEY, and set C key disable data ro10101001010J in the initial disable data register IDl5. Then step 11
A circular process consisting of the determination process of 0, 130, 140 and the "other process" of step 150 is executed.

The processing in steps 110 to 114 is performed in exactly the same manner as in the first embodiment. In other words, in step 1, it is necessary to determine whether there is an on event of the harp effect switch.
10) Every time an on event of the harp effect switch occurs, execute the harp effect mode on/off switching process, which consists of silencing the tone generator 22 (step 112) and inverting the harp effect flag HP (step 114). .

Furthermore, in the following step 118, C-key disable data is transferred from register IDl5 to register DIS.

The processing of steps 130 to 150 is performed in exactly the same manner as in the previous embodiment.

3-2. Key-on processing Steps 110 to 150 of the main processing (Fig. 12)
When a key-on event is detected in step 130 during the cycle pJIA programming, the CPU 10 advances the program from step 130 to step 200, and executes the key-on processing shown in FIG.

In the key-on process shown in FIG. 13, the CPU 10 starts execution in step 200, stores the key code of the key with the key-on event in the key code register KC in step 202, and stores the key code in step 204. Write KC to a free key code buffer KCBUF.

Subsequently, in step 206, it is determined whether the key in which the key-on event occurred is in the key-determining key range. This determination is based on the harp effect flag HP and key code K.
This is done by inspecting C. If the flag HP is "1", the harp effect mode is on, and in this case, the keys below B2 (KC=47) are within the key determining key range.

Therefore, if the flag HP is 1° and the key code KC is 47 or less, the key-on is in the key-determining key range; otherwise, the key-on is in the performance key range.

When it is determined in step 206 that the key-on detected in step 130 (Fig. i12) is a key-on in the key-determining key range, step 206 branches to step 210 to find the note name of the key-on key and enter this note name. Key signature KEY
In step 214, the C key disable data in the register IDl5 is transferred to the register DIS. Furthermore, in step 216, the data in the register DIS is rotated by an amount corresponding to the key signature KEY and converted to disable data of that (KEY) key, and then the main processing (step 1 in FIG. 12) is performed.
Return to 40).

On the other hand, the result of the determination in step 206 is rNOJ
That is, if the key whose key-on is detected in step 130 (FIG. 12) is a performance key, the process branches from step 206 to step 250, and the key assignment processing of steps 250 to 272 is executed.

In this key assignment process, first, step 25
At 0, the harp effect flag HP is checked to determine the current operating mode. If the current mode is the harp effect mode (HP="1"), the note name NT of the key code KC is calculated in step 252 and the note register N
After storing in T, the (NT)th bit of register DIS is checked in step 254. If it is “0°”, proceed to step 260. On the other hand, if it is “1”°, the pitch name NT
Since sounding is prohibited, the process directly returns to the main processing (step 140 in FIG. 12) without executing the sounding process.

If the determination in step 250 is "No", that is, the current mode is normal mode (HP="0"), step 250
Proceed directly to step 260.

In step 260, a channel of the tone generator 22 to be assigned for forming a musical tone by key-on of a performance key is searched, and the number of the searched channel is stored in the key-on channel number register ASS. Next, in step 262, the key code KC is stored in the channel-by-channel buffer CHBUF (ASS) corresponding to the channel number ASS, and in step 262, the key code KC is generated in the tone forming channel of the tone generator 22 (ASS). After executing, the process returns to the main process (step 140 in FIG. 12).

In this third embodiment, in the harp effect mode, the key signature KEY is determined by the note name of the pressed key in the key determining range (step 210), and the disabled register DIS is used for the pressed key in the performance key range. Only the note names whose pronunciation is allowed (steps 252, 254) are pronounced (steps 260 to 272). Therefore, in the harp effect mode, by specifying the desired key in the key-determining key range and randomly playing the white and black keys in the performance key range, only diatonic scale notes can be played in the desired key. be able to. For example, by playing the white keys and black keys from the low end to the high end, or in the opposite direction, it is possible to generate glissant sounds (harp arpeggio sounds) that are only diatonic scale notes, regardless of the key. Furthermore, even if a large number of keys are pressed simultaneously with the palm of the hand, only diatonic scale notes will be produced.

On the other hand, in the normal mode, all the keys on the keyboard are set as performance keys in step 206, and the key coats KC caused by pressing these performance keys are all performed in step 250 by skipping steps 252 and 254.
It is pronounced from 60 to 272. Therefore, in the normal mode, it is possible to generate musical tones according to keyboard operations as a normal keyboard instrument.

3-3. Steps 110 to 150 of key-off main processing (Figure 12)
If a key-off event is detected in step 140 during the cyclic processing, cPUlo advances the program from step 140 to step 300 and executes the key-off processing of FIG.

In the key-off process shown in FIG. 14, the CPU 10 starts execution at step 300, and at step 302 captures the key code of the key where the key-off event occurred and stores it in the key code register KC. Further, in step 304, the key code buffer KC in the register group 16 is
Among the BUFs, the buffer KCBUF in which the same key code as this key code KC is stored is searched and cleared, and in step 310, the buffer for each channel CHBUF is searched and cleared.
Among them, a search is made for one in which the same key code as key code KC is stored. Step 310
If the stored buffer CHBUF is not found, the key code KC was prohibited from being produced in step 254 (FIG. 13) and was not originally produced, so this is determined in step 312. , from this step 312 directly returns to the main routine (step 150 in FIG. 12).

On the other hand, when the buffer CHBUF storing the key code "KC" is found in step 310, step 31
2 is determined as rYEsJ, and the process proceeds from step 312 to step 314, where the discovered buffer CHBU
Store the corresponding channel number OFF of F (OFF) in the key-off channel register OFF. Further, in step 316, the tone generator 22 is turned off.
The key code KC is muted in the th tone forming channel, and in step 318 the buffer CHBUF (
OFF), the process returns to the main routine (step 15o in FIG. 12).

(Fourth Example) In the fourth example, when in the harp effect mode, the keyboard is divided into an accompaniment key area and a melody key area, and the notes are specified according to the note name or chord specified by the accompaniment key area. It is designed to pronounce only the note names (for example, chord constituent notes).

FIG. 15 shows a table showing the relationship between chord types specified in the accompaniment key range and soundable note names. This table contains 9 chord types including unsatisfied chords.
It consists of nine table data TBL(TYP) corresponding to each of (TYP=O to 8). Each data TBL
(TYP) consists of 12-bit data, MSB (
Each bit from the most significant bit) to the LSB (least significant bit) is 1 for the pitch name C, C#, ..., A#, B.
There is a one-to-one correspondence. Here, the table data location (TYP) corresponding to the chord type (TYP = O ~ 7) when the chord is formed is "1" for the chord constituent note name for each chord type TYP when the root note name is C. It is expressed as '1'' indicates that pronunciation is permitted (pronunciation possible), and °0'' (no mark) indicates that pronunciation is prohibited (non-pronunciation). Further, the contents of the table data TBL (8) corresponding to the chord not being established (TYP=8') are all 1s, indicating that all tone names can be pronounced. These table data TBL (0 to 8) are stored in program memory 1.
It is stored in 4.

16 and 17 show flowcharts corresponding to the operation of the fourth embodiment. Note that the key-off process in this fourth embodiment is exactly the same as that in the third embodiment (FIG. 14), so illustration and explanation are omitted here.

4-1. Main Processing In an electronic musical instrument consisting of the hardware shown in FIG. 2, when a power switch (not shown) is turned on, the CPU
l0 starts operating according to a control program stored in program memory 14. First, Figure 16 Step 1
Executes main processing below 00.

Referring to FIG. 16, in the initialization routine of step 102, each channel buffer CHBUF and each key code buffer KCBUF in the registers 16 are
, reset the harp effect flag HP, and set all bits of the enable data register ENB to "1" (sound generation enabled). Then steps 110, 130, 14
A circular process consisting of the determination process of 0 and the "other process" of step 150 is executed.

In step 110, the harp effect switch is tested based on the output of switch group 20. When it is detected that the harp effect switch has been switched from the off state to the on state, the process branches to step 114 and the harp effect flag HP is inverted, and the flag HP is inspected in step 120 to indicate that the harp effect switch has been switched on when the harp effect switch is turned on. The subsequent motion mode r is determined. Normal mode (HP
="0"), the process directly advances from step 120 to step 130. In addition, if the harp effect mode (HP = ``1'') is selected, the process branches from step 120 to step 122, and the chord (root note ROOT and chord The root note ROOT is stored in the root note register ROOT, and the chord type TYP is stored in the type register TYP. Then, step 124
, the table data TBL (TY
P) and stores it in the enable register ENB,
After the data in the register ENB is rotated to the left by the root note ROOT in step 126, the process proceeds to step 130.

If the determination in step 110 is "NO", that is, an on event of the harp effect switch is not detected, steps 114 to 126 are skipped and step 11 is performed.
0 directly to step 130.

The processes of steps 130, 140, 300 and 150 are performed in exactly the same manner as in the third embodiment described above.

4-2. Key-on processing Steps 110 to 150 of the main processing (Fig. 16)
When a key-on event is detected in step 130 during the cycle process consisting of the following steps, the CPU 10 advances the program from step 130 to step 200 and executes the key-on process shown in FIG.

In the key-on process shown in FIG. 17, the CPU 10 starts its execution in step 200, stores the key code of the key with the key-on event in the key code register KC in step 202, and stores the key code in step 204. Write KC to a free key code buffer KCBUF.

Subsequently, in step 206, it is determined whether the current operation mode is the harp effect mode and whether the key where the key-on event occurred is in the accompaniment key range.

If it is the harp effect mode (HP="1") and the accompaniment key is key-on, in steps 212-216, the root note ROOT of the chord specified by the accompaniment key and the Type T
YP is detected (step 212), data TBL (TYP) stored on the table is transferred to register ENB (step 214), and register ENB is rotated to the left by the root note ROOT (step 216). This causes register ENB
In addition, corresponding to the chord specified by the accompaniment key, pronounceable note names such as the names of the constituent notes of this chord can be set. Next, main processing (step 140 in FIG. 16)
Return to

On the other hand, the result of the determination in step 206 is rNOJ
, that is, the current operating mode is normal mode (HP=
"1") or step 130 (FIG. 16)
If the key whose key-on is detected is a performance key, step 206 branches to step 250, and step 25
Executes key assignment processing from 0 to 272.

In this key assignment process, first, step 25
0 determines the current operating mode. If the current mode is harp effect mode (HP="1°"), in step 252 the note name NT of the key code KC written in step 202 is calculated and stored in the note register NT, and then step At 254, the register ENB (NT
) Inspect the bit. If “0”, step 260
Proceed to. On the other hand, if it is "1", the note name NT is not a chord constituent note name and is prohibited from being pronounced, so the main process (first
Return to step 140) in Figure 6.

If the determination in step 260 is "No", that is, the current mode is normal mode (HP="0"), step 25
0 directly to step 260.

In step 260, a tone forming channel of the tone generator 22 to be assigned to tone formation by key-on of a performance key is searched, and the number of the searched channel is stored in a key-on channel number register ASSI. Then, in step 262, the channel number A
Channel-specific buffer CHBUF (A
SS) and store the key code KC in step 262.
After executing the key code KC sound generation process in the (ASS)th musical tone forming channel of the tone generator 22, the process returns to the main process (step 140 in FIG. 16).

As described above, in the fourth embodiment, in the harp effect mode, the note name to be allowed to be produced is determined based on the chord designation in the accompaniment key range, and the note name is set in the enable register EN.
B (steps 212 to 216), and the enable register EN is written for the pressed keys in the performance key range.
Only the musical tone of the key with the note name written in B (steps 260, 254) is produced (steps 260 to 262).

[Modifications of Embodiments] Note that the present invention is not limited to the above-mentioned frying example, but can be implemented with appropriate modifications.

For example, in the first embodiment, instead of providing a harp pedal key area, a three-position switch or pedal may be used. By doing so, the specifications of the harp are close to those of a real harp, and the state of semitone operation can be visually confirmed.

■The harp effect switch may be automatically turned on in response to a specific tone selection.

■The black keys may or may not be sounded.

■The harp pedal keyboard area may be a separate keyboard, such as foot keys.

[Brief explanation of the drawing]

FIG. 1 is a claim correspondence diagram corresponding to the claims, FIG. 2 is a block diagram common to the first to fourth embodiments of the electronic musical instrument with harp effect of the present invention, and FIG. , FIG. 2 is a key-to-key code correspondence diagram in an electronic musical instrument, FIGS. 4 to 6 are flowcharts for explaining the operation of the first embodiment, and FIG. 7 is a semitone operation table in the second embodiment. 8 to 10 are flowcharts for explaining the operation of the second embodiment. FIG. 11 is an explanatory diagram of the unpronounced tone name table in the third embodiment. FIGS. 12 to 14 is a flowchart for explaining the operation of the third embodiment, FIG. 15 is an explanatory diagram of the pronounceable note name table in the fourth embodiment, and FIGS. 16 and 17 are diagrams for explaining the fourth embodiment. 3 is a flowchart for explaining the operation of FIG. 1: Performance note name designation means, 2: Sound generation control means, 10: CP
U, 14 Niprogram memory, 16: Register group, 18
: keyboard circuit, 20; switch group, 22: tone generator.

Claims (3)

[Claims] (1) An electronic musical instrument with a harp effect, characterized in that it comprises means for specifying performance note names, and pronunciation control means for raising or lowering the pitch of a specific note among the performance note names by a semitone, or for inhibiting pronunciation. (2) The performance note name specifying means is a keyboard, the specific note name is a note name that does not constitute a diatonic tone among the note names of the white keys of the keyboard, and the pronunciation control means is a note name of a white key of the keyboard that does not constitute a diatonic scale note, and the pronunciation control means 2. The electronic musical instrument with a harp effect according to claim 1, wherein the pitch is raised or lowered by a semitone so that the pitch becomes a diatonic tone, and a harp-like performance in a diatonic scale can be performed using only the white keys. (3) The performance note name specifying means is a keyboard, the specific note name is a note name that does not constitute a diatonic tone among the white keys and black keys of the keyboard, and the sound production control means is a 2. The electronic musical instrument with a harp effect according to claim 1, wherein the harp effect can be played using diatonic scale tones by pressing the white keys and the black keys without distinguishing between them, which prohibits the pronunciation of note names.