JP2995772B2 - Music part generator - Google Patents

Description

Description: TECHNICAL FIELD [0001] The present invention relates to a music apparatus, and more particularly to a music part generation apparatus that automatically generates a sub melody added to a main melody of a music piece.

[Prior art and its problems] There is known an automatic accompaniment apparatus for automatically generating an accompaniment line or a sub-melody such as a counter melody, an obligato, a base line, an arpeggio, and the like. This type of automatic accompaniment device has been incorporated into electronic musical instruments as a function. Typically, when a melody (main melody) is input from a melody keyboard and a chord progression is designated and input from an accompaniment keyboard, a sub melody is internally generated. The generated musical sound is output through the sound source along with the musical sound of the main melody along with the musical sound of the sub melody.

With respect to the generation of the sub melody, the prior art has a pattern (referred to as an accompaniment pattern) inside the device, which is the basis of the sub melody. Basically, an accompaniment pattern is composed of a time (horizontal, rhythm, pitch) component, ie, a rhythm pattern, and a pitch (vertical) component, ie, a pitch pattern. In many cases, accompaniment patterns are prepared for each rhythm specified from the input device of the automatic accompaniment device. Therefore, once a rhythm is specified, the rhythm pattern (length sequence) of the accompaniment is fixed, and the main melody of the main melody is fixed. It does not change automatically depending on how it is, and is a factor that gives a mechanical impression about automatic accompaniment.

[Object of the Invention] Accordingly, an object of the present invention is to provide a music part generation device capable of generating a sub melody whose rhythm and pitch change in accordance with a change in the main melody as well as a chord progression. It is a further object of the present invention to provide a music part generation device capable of generating a sub melody that compensates for a shift in timing of the performance of the main melody.

According to the present invention, a main melody providing means for providing information on a main melody of a music piece, a chord progression providing means for providing information on a chord progression of the music piece, and a sub melody added to the main melody. A sub melody generating means for generating the melody, wherein the sub melody generating means comprises: (A) a rhythm quantizing means for rhythm quantizing the information of the main melody; and (B) a rhythm quantized main melody information. A sub-melody rhythm determining means for determining the main melody rhythm at a time point having a predetermined time difference from the current time as the current rhythm of the sub melody; and (C) the predetermined time difference from the current time in the rhythm-quantized main melody information Sub-melody pitch determining means for determining the current pitch of the sub-melody based on the main melody pitch at the point in time and the information of the current chord in the chord progression. ,
A music part generation device is provided.

According to this configuration, the rhythm of the main melody can be obtained by shifting the rhythm of the main melody in time, so that the contents of the sub melody can be changed variously depending on the main melody. Furthermore, the rhythm of the sub melody is not the rhythm of the main melody as it is, but the rhythm of the main melody quantized by the rhythm quantizing means. Even when a deviation is included, it can be prevented from appearing on the secondary melody.

Further, since the current pitch of the secondary melody is determined based on the pitch of the primary melody at the time having a predetermined time difference from the current time and the current chord of the chord progression, the melody of the secondary melody is changed according to the chord progression and the change of the main melody. Various changes can be made.

In addition to the above configuration, it is possible to provide a tone output unit that outputs information of the main melody from the main melody providing unit as a musical tone without rhythm quantization and outputs information of the sub melody from the sub melody generating unit as a musical tone. . In this case, the main melody is output as a musical tone even when the performance timing is intentionally shifted, whereas the sub melody is output in a rhythm-quantized form. It is possible to provide realistic music with a slight difference between the rhythm and the sub melody rhythm.

Embodiment An embodiment of the present invention will be described below with reference to the drawings.

In brief, the present embodiment is incorporated in a keyboard-type electronic musical instrument, in which performance information of a main melody (melody) is input from a melody keyboard, and the musical tone is output in real time through a sound source. On the other hand, chord progression information is input from the accompaniment keyboard, and a designated chord is detected sequentially in the input process. In the sub melody, the rhythm is generated by the rhythm of the past melody. Here, the rhythm of the sub melody is generated by quantizing the rhythm information (sound value information) of the main melody, instead of repeating the rhythm of the main melody in the past (one bar before in the flow described later). This rhythm quantization function helps to eliminate the unnatural rhythm caused by simple repetition that would otherwise occur. The pitch line of the sub melody is generated by setting the current pitch to be the chord component sound of the current chord closest to the melody pitch one bar before. The generated secondary melody is also output as a musical tone through the sound source, and a canon-like performance effect is realized.

FIG. 1 shows the overall configuration of an electronic musical instrument 1 according to the present embodiment. The key 2 is a main melody for this embodiment.
It is divided into a melody keyboard for inputting a chord and an accompaniment keyboard for inputting a chord progression by designating a sequential chord. This can be done by dividing a single key by range,
This is realized by assigning each of the keys of the row to a melody keyboard and an accompaniment keyboard. The RAM 3 is used as a work area of the CPU 4, and various variables are temporarily stored. The ROM 5 stores programs, code configuration sound tables, and the like. Sound source 6
Generates music under the control of CPU4. As will be described later, in the operation of this embodiment, along with the musical tone relating to the melody performance from the melody keyboard through the sound source 6, a musical tone relating to the sub-melody performance automatically generated according to this embodiment is generated and output.

FIG. 2 is referred to by the CPU 4 in the operation of the embodiment,
Shows a list of the main variables used. T is a variable representing the current time. Specifically, the time variable T represents a time slot when one bar is divided into a plurality of time slots (for example, 96 time slots), that is, a timing in a bar. CR is a variable expressing the root of the current chord, CT is a variable expressing the type of the current chord,
The current code is represented by these two variables CR and CT. The current chord information (CR, CT) is updated each time a new chord is designated from the accompaniment keyboard. EL
Is a variable or register that represents the pitch of the current secondary melody. MD0 [] is an array for storing the melody sound data. Here, in order to store the melody information from the present to the previous bar, it is composed of elements equal to the resolution 96 of the bar. The storage processing in the array is performed cyclically in units of the bar resolution so that the pitch is located at the beginning of the array MD0 [] and the last pitch of the bar is located at the end of the array MD0 []. MD1 [] is an array for storing melody data obtained by rhythm-quantizing the sound value information included in the melody sound storage array MD0 []. CKT
[] Is a chord constituent sound table, a specific example of which is shown in FIG.

FIG. 2 also shows the type of each variable. The current time T has an integer variable type. At present, the code type CT has a variable type as a code type, and the other variables are melody type variables. The meanings of the chord type and melody type variables are as defined in FIG. That is, the melody type variable is such that the numerical value “−1” indicates off, that is, no sound, the numerical value “0” indicates the pitch C2, and thereafter, each pitch is incremented by 1 every semitone. C # 2, D2, D # 2
…… is expressed.

On the other hand, for the code type variables, the numerical value “0” is, for example, a major (maj) code type, “1” is a minor (min) code type, “2” is a minor seven (min7) code type, and “3” is Different chord types can be represented for each numerical value, such as major seven (maj7) chord types. Chord composition sound table CKT of FIG.
[] Is an array in which the value of a variable of this code type is one of the arguments.
Four consecutive array elements (storage areas) are reserved for each chord as being composed of three constituent sounds, and the contents of the array elements are adjusted according to the actual number of constituent sounds. For the code, one of the four array elements
One is masked to off (numerical value “−1”). In FIG. 4, for example, "0" is the pitch of C2, 4 is the pitch of E2, and "7" is the pitch of G2 according to the definition of FIG. Actually, it is easier to understand that a numerical value equal to or greater than "0" represents a pitch difference (pitch) from the chord root. For example, 0, 4, and 7 respectively represent a chord root (a note of the same pitch), a major third above the chord root, and a full fifth above the chord root, and thus the major Configure the code. A specific (absolute) pitch expression of a chord constituent sound is such that when an absolute value of a root note of a chord is given, the absolute value of this root note (for example, a numerical value 2 representing D2) is stored in a chord constituent sound table. It is obtained by adding to the pitch data of each chord (0, 4, 7 if major).

FIG. 5 shows a main routine of the operation of the embodiment. In the main routine, key processing 5 for detecting key information from the keyboard 2
-1 and the sound source processing 5-2 for controlling the sound source 6 is performed. However, the target of sound generation and mute performed in the sound source processing 5-2 is the main melody according to the key information from the melody keyboard, and the sound generation and mute processing for the sub melody is performed in the time interrupt routine shown in FIG.

The time interrupt routine of FIG. 6 is started at the music time resolution of the present apparatus, for example, every 1/96 bar. First, the current time T is incremented (6-1), and when it is indicated that one bar has elapsed since the value has exceeded 95, 96 is subtracted from T (6-2, 6-3). At this point, the rhythm information of the melody storage array MD0 [] for one measure is quantized (6-4), and the result is copied to the rhythm quantization melody storage array MD1 [] (6-5). As a result, the contents of the array MD1 [] are stored in the melody storage array MD0.
This includes the melody information one bar before the rhythm of [] is quantized. Next, in step 6-6, a chord process for detecting the current chord from key information from the accompaniment keyboard is performed. Then 6-7
Performs the sub melody processing, and performs the melody storage processing in 6-8.

The details of the chord processing 6-6 are as shown in FIG. 7. The chord type and the root note are determined in a well-known manner from the key depression of the accompaniment keyboard (7-1). Root
This is performed by storing in the CR (7-2).

In the melody storage processing 6-8, as shown in FIG. 9, the sound (note) pressed on the melody keyboard is stored in the melody storage array element MD0 [T] at the current time T (9-1). .

FIG. 8 is a flowchart of the sub melody processing 6-6,
8-1 rhythm quantization melody array element MD1 one bar before
It is determined whether or not [T] is off. If it is off, the sub melody tone is muted (8-2).
Perform -3). Here, the array element MD referenced in 8-1
1 [] stores the melody sound data of one bar before subjected to the rhythm quantization processing. Therefore, 8-
As shown in 2, 8-3, when the melody sound data indicates a state without sound, a sub melody mute process is performed, and when a melody sound data exists, a sub melody sounding process is performed. The rhythm can be made to follow the melody rhythm with a delay of one measure in a form in which the rhythm is quantized.

Details of the sub melody pronunciation processing 8-3 are shown in FIG. First, it is determined at 10-1 whether or not the current code is specified. CR = of
If f, do nothing because no code is specified. If specified, the corresponding chord constituent sound is found in the sub-melody chord constituent sound search processing loop of 10-2, 10-3, and 10-4. Here is the rhythm quantized array MD
A logic is adopted in which the chord constituent sound closest to the melody pitch MD1 [T] one bar before, taken from [], is used as the current sub-melody pitch. Therefore, as shown in 10-2 and 10-4, the melody pitch MD1 [T] one measure before is lowered by a semitone, and it is sequentially determined whether or not it (shown by the variable i) is a chord constituent sound. Checked in 10-3. A check as to whether or not the candidate pitch i is a chord constituent sound is performed according to the flow of FIG. In the chord constituent sound table (FIG. 4), the constituent sounds of each chord are formally arranged in four consecutive array elements. Therefore, by multiplying the current chord type CT by 4, a position A where the first chord constituent sound of the chord of the current chord type is placed on the chord constituent sound table is calculated (11-1). While moving the relative position j from 0 to 4 (11-2 to 11-7), the pitch CKT [A + j] of the chord constituent sound is successively changed to the root pitch CR of the current chord.
The pitch class of the constituent sound of the chord × 1 (one from C to B) is obtained by taking mod12 to the sum of (11−
3) Similarly, the pitch class × 2 of the pitch candidate i is obtained (11-4), and the two pitch classes are compared (11-).
5) If they match, the pitch candidate i is recognized as the chord constituent sound closest to the melody pitch one measure before, and the flow exits.
If they do not match, the relative position j is moved to the next position (11-
6).

Returning to FIG. 10, when the chord component sound i closest to the melody pitch MD [T] one bar before the rhythm quantization is detected, the pitch EL of the previous sub-melody is detected at 10-5. Is checked for the same as If they are the same, exit to the flow without doing anything. This prevents re-sounding of the same sound. On the other hand, if different, a sub-melody tone having this pitch i is pronounced at 10-6 (10-6), and this pitch i is stored as the current sub-melody pitch EL (10-7).

FIG. 12 shows details of the rhythm quantization process 6-4. The purpose of this processing is to add the melody storage array MD0
This is to quantize the rhythm of the melody information stored in []. For this reason, note-on of the sub melody can be generated only at a plurality of predetermined discrete music times within one bar, and the note-on of the melody deviating from the discrete time is changed to an appropriate discrete time. It has been changed (quantized). Here, a position where one measure is equally divided is adopted as the discrete music time, and the actual time detected from the melody storage array MD0 [] is quantized to the closest discrete time. According to the flow of FIG. 12, first, at 12-1, the address pointer i for the melody array MD0 [] obtained from the actual performance is initialized to the head "0" of the array. And
Pointer i is set to 0 to clk (= 96, 1 bar melody storage array M
(D0 [] size) (12-15, 12-1)
6) The melody storage array MD0 [i] indicated by the pointer i is of
Instead of f, it indicates a certain pitch (12-2), and the pointer i points to the second and subsequent rows of the array MD0 [] (12-3).
Melody storage array element MD0 where the pitch of D0 [i] is one before
A pitch different from the data of [i-1] is indicated (12
-4), the note-on time i on the melody storage array MD0 [] is detected. When a note-on is detected, as shown in 12-5, a discrete time interval 1 (= clk / 8) and a time between the detected note-on time i and the discrete time immediately before this time i Deviation a1 (= im
odl), the previous discrete time P1 (= i-al), and the next discrete time P2 (= P1 + 1) are calculated. Then, the magnitude of the time lag a1 and the half (l / 2) of the discrete time interval l are compared (12-6). If a1 <l / 2, the note-on time is changed to the immediately preceding discrete time P1 (quantization).
For this purpose, the detected note-on time i is transferred to the j register (12-7), and the pitch of the detected note-on is added to the melody array element between j = P1 to i (12-8, 12-10). data
Write MDO [i] (12-9). When a1 ≧ l / 2, the note-on time is changed to the next discrete time P2. For this reason, the detected note-on time i is moved to the j register (12-1).
1) Write off to all melody array elements between j = i and P2-1 (12-12, 12-14).

In this way, on the melody array MD0 [] that stores the melody data of the actual performance, the timing of each note-on is quantized to the nearest discrete time.
As described above, the melody data subjected to the rhythm quantization is transferred to the array MD1 [] (6-5), and this array MD1 []
The sub melody processing 6-7 is performed with reference to the data. As a result, the generated rhythm of the sub melody is one bar behind the rhythm of the melody obtained by quantizing the rhythm, and a Canon effect having a subtle rhythm contrast is obtained.

[Modifications] Although the description of the embodiments has been finished above, various modifications and changes are easy within the scope of the present invention.

For example, in the rhythm quantization of the above embodiment, only the detected note-on time is changed, and the note-off time is not changed. Processing may be performed so that time is maintained. Examples are shown in FIG. 13 to FIG. In brief, this process is performed, for example, every time half a bar (for example, two beats) elapses. First, a note-on time at two beats or two beats plus eight minutes from the beginning of the melody array MD [] (for example, data one bar before the current time) is detected, and an array X [] is created. Array X [] is an array MD at the address of j = 0mod3
The note-on time detected from [], the note-on duration at the next address j (= 1mod3), and the note number (pitch) at the next address j (= 2mod3) are stored.
In FIG. 14, the pointer i to the melody array MD [] is moved from the last position to the head position of the third beat when the head element of the third beat of the melody array MD [] is off. During this time, every time a note-on is detected, the time K is stored, the duration TIME is measured, and the result is stored in an X buffer (X [j] = note-on time, X [j +
1] = duration, X [j + 2] = note number. When the head of the third beat is on, the melody array MD [] is searched further in the 1/8 extension test to find the position where the last note changes to note-off, and if found, the last note is confirmed. The search is terminated as (FC = 0). If the note-off does not change even if the search is continued for eight minutes from the beginning of the third beat, the search is terminated because the duration of the last note is indefinite (FC = 1). When this is not determined, the initial time surplus for the undetermined note is initialized to TIME, and the duration of the note is measured in the next X array creation pass started two beats later.
After the X array is created, the contents of the array MD [] are moved forward by two beats to prepare for the next X array. Carry-over processing (No.
In Fig. 16), if the last note from the previous section (the note whose duration has been determined) remains in the current two-beat section, only the remaining time NEXT [1] is added to the array MD1 []. The pitch data NEXT [2] is stored. In the on-time change (FIG. 17), each detected note-on time in array X [] is changed to the nearest discrete time (P1 or P2) as in the embodiment. surplus calculation (18th
In the figure, note-on time X [j] and duration X for the last note of array X [] with changed on-time
[J + 1] is extracted, and the duration is divided into a part in the current section (returned to X [j + 1]) and a part in the next section. If the duration of the last note is determined (FC = 0), the data for the repetition processing in the next pass (flag NEF = 1, NEXT [1] = the remaining time of the note in the next section surplus , NEXT [2] = the note number X [j + 2]). Surplu if the duration of the last note is uncertain (FC = 1)
The value of s is referred to when creating an X array in the next section. Array MD1
In [] creation, note number X [j + 2] is written to array MD1 [] from note-on time X [j] for the duration X [j + 1] according to the contents of array X []. In this way, the timing of the change can be quantized while maintaining the duration of the note related to the performance.

Further, the discrete time for rhythm quantization and the rule for changing the detected note-off time to which discrete time shown in the embodiment are merely examples. For example, the discrete time is physically equal. There may be no intervals, non-uniform intervals that match the background rhythm, and it is not always necessary to change to the discrete time physically closest to the detected note-off (for example, 12-6). Instead of l / 2, k · l (having an appropriate value of 0 <k <1 according to the user's habit) may be used.

Also, the music time difference between the melody and the sub melody is not limited to one bar, and any other appropriate time difference may be used.

[Effects of the Invention] As described above in detail, according to the present invention, the rhythm of the main melody is quantized, a time-shifted version of the rhythm-quantized main melody is defined as a sub-melody rhythm, The secondary melody is generated by determining the current pitch of the secondary melody based on the pitch of the primary melody at the point in time having the predetermined time difference and the information of the chord at the present time of the chord progression. It is possible to provide real music which changes according to the content and the content of the chord progression, and has a subtle difference between the rhythm of the main melody and the rhythm of the sub melody.

[Brief description of the drawings]

FIG. 1 is an overall configuration diagram of an electronic musical instrument incorporating a sub melody generating function according to an embodiment of the present invention, FIG. 2 is a diagram showing a list of main variables (registers) used in the embodiment, and FIG. FIG. 4 is a diagram illustrating a data format of variables, FIG. 4 is a diagram illustrating a chord configuration sound table, FIG. 5 is a flowchart illustrating a main routine of the embodiment, FIG. 6 is a flowchart illustrating a time interrupt routine of the embodiment, FIG. Fig. 8 is a flowchart of the chord processing, Fig. 8 is a flowchart of the sub melody processing, Fig. 9 is a flowchart of the melody storage processing, Fig. 10 is a flowchart of the sub melody sounding processing, and Fig. 11 is a flowchart of the chord constituent sound inspection. The figure is a flowchart of rhythm quantization. FIG. 13, FIG. 14, FIG. 15, FIG. 16, FIG. 17, FIG. 18, FIG.
FIG. 19 is a flowchart of rhythm quantization according to a modification. 2 ... key, 3 ... RAM, 4 ... CPU, 5 ... ROM, MD0
[]: Melody sound storage array, MD1 []: Rhythm quantized melody array one section before.

──────────────────────────────────────────────────続 き Continuation of the front page (56) References JP-A-56-123599 (JP, A) JP-A-59-116696 (JP, A) JP-A-2-173697 (JP, A) 5200 (JP, U) Actual opening 60-169695 (JP, U) (58) Fields investigated (Int. Cl. ⁶ , DB name) G10H 1/00 101-102 G10H 1/18-1/30 G10H 1 / 36-1/46

Claims (2)

(57) [Claims] A main melody providing means for providing information on a main melody of a music, a chord progression providing means for providing information on a chord progression of the music, a sub melody generating means for generating a sub melody added to the main melody, Wherein the sub melody generating means comprises: (A) a rhythm quantizing means for rhythm quantizing the information of the main melody; and (B) a predetermined time difference from the current time in the rhythm quantized information of the main melody. A sub-melody rhythm determining means for determining the main melody rhythm at the time point as the current rhythm of the sub-melody; and (C) the main melody pitch at the time point having the above-mentioned predetermined time difference from the current time in the rhythm-quantized main melody information. Sub-melody pitch determining means for determining the current pitch of the sub-melody based on the information of the current chord in the chord progression. Part generating device. 2. A music part generating device according to claim 1, wherein said main melody providing means outputs main melody information from said main melody providing means as a musical tone and outputs the sub melody information from said sub melody generating means as a musical tone. A music part generation device, further comprising: