JPH038559B2 - - Google Patents

Description

DETAILED DESCRIPTION OF THE INVENTION The present invention relates to an automatic performance device capable of automatic performance corresponding to chord information of a music piece stored in a memory, and more particularly to a chord correction device for correcting a part of designated chord information.

2. Description of the Related Art In recent years, various automatic accompaniment devices with so-called "easy play" functions have been devised for electronic keyboard instruments to assist beginners and those with unskilled performance skills. That is, there is a method in which a performer plays a melody with his right hand and at the same time operates a small number of keys or chord selection buttons with his left hand, thereby obtaining chord tones or arpeggio tones for accompaniment. Also, you can store the chord progression in memory in advance,
Accompaniment sounds based on this chord progression are automatically played back, and at the same time, instruments that allow the performer to play the melody have been realized, and these have been extremely effective in the performance and practice of the above-mentioned people. It is something that

However, with any of the automatic accompaniment functions mentioned above, the chord progression of the song must be entered by the performer himself, so it is difficult for beginners who do not understand chord patterns or chord theory to try to play relying only on the melody. However, the performance was limited to just one finger. Furthermore, for the general public, excluding those who have been familiar with music since childhood and some musicians or music lovers, the theoretical system of chords is complex and difficult to understand, and even more so, they cannot understand it immediately after listening to a song. It required a great deal of skill to be able to code.

Furthermore, even among people who actually play folk guitars, there are many who cannot play unless they see sheet music with chord progressions, and the repertoire that can actually be played is limited. It was something that would end up happening.

In view of these points, automatic chord adding devices have been proposed that can automatically add chords to a melody by simply inputting the melody information of a song, even if one is not familiar with chords (for example, Japanese Patent Application No. 1983). −210989).

However, it is rather rare that all the chords added to a melody are satisfactory to the user, and for this reason, there is a need for code correction technology that can easily correct some of the added chords. However, no effective technology has yet been proposed for this purpose.

SUMMARY OF THE INVENTION Accordingly, an object of the present invention is to provide a code correction device for an automatic performance device that can easily correct the code information of a music piece in accordance with the user's intention.

Hereinafter, various embodiments of the present invention will be described in detail with reference to the drawings. 1 to 9 show a first embodiment.

FIG. 1 is an external perspective view of a portable electronic musical instrument according to the present invention. A performance key group 2 of 31 keys is arranged at the front of the upper surface of a main body case 1, and a chord designation is placed next to the performance key group 2. A key group 3 is provided. Arranged above the performance key group 2 are a control key group 4 for storing musical pieces in memory for automatic performance, and a tone selection key group 5 for selecting the tone of the musical tone. One-key play buttons 6a and 6b are provided at the front of both ends of the main body case 1 across the scale performance key group 2 to add an arbitrary note length to the scale and chord written in the memory. . Program information including musical tone information such as scales and chords obtained by operating these keys is displayed on a display section 7 having a liquid crystal panel. 8 is a mode changeover switch for specifying various modes such as power off (OFF), performance mode (PLAY), and recording mode (REC), and the musical tones obtained by each of the above operations are controlled by the volume control switch group. 9 controls the volume appropriately, and the sound is emitted from the sound emitting section 10. The main body case 1 houses electronic circuit means for automatically adding codes in this embodiment, a speaker (described later and illustrated), a battery for power supply, and the like. Furthermore, the performance key group 2 can partially perform functions such as memory designation, rhythm pattern designation, and accompaniment arpeggio pattern designation by operating the control key group 4. That is, some of the keys corresponding to the black keys of the performance key group 2 arranged in a keyboard shape are responsible for the memory editing function of automatic performance.
That is, in the automatic performance of this embodiment, the memory can be divided into eight parts, and the performance order of each memory can be programmed so that the same memory can be used for repeated parts.

The keys corresponding to the white keys of performance key group 2 are used to select each rhythm pattern or arpeggio pattern, such as waltz, ballad, swing, enka, 16 beat, rock 1 to 3, and disco 1.
~2. Any one of 12 rhythms such as bossa nova, samba, etc. that are made by simultaneously pronouncing three-note chords, or 6 arpeggios that produce dispersed chords in the pattern shown in the illustration of notes in performance key group 2. It is now possible to select.

The volume control switch group 9 is adapted to separately adjust the overall volume and each volume of the melody, chord, and rhythm.

Next, the names and functions of the individual keys in the control key group 4 will be briefly explained.

4a: Memory key...8 memory numbers can be selected by using some of the black keys of performance key group 2.

4b: Synchro start key...Set to start the chord sound and rhythm sound in synchronization.

4c: Rhythm key... Rhythm pattern can be specified using some of the white keys of performance key group 2.

4d: Code key: A key for instructing to add an accompaniment code to the music input into the memory.

4e: Change key...Changes the code obtained by automatic code addition.

4f: Tempo key... Adjusts the rhythm tempo up or down.

4g: Tuning key...Raises or lowers the range of the entire key in semitone units.

4h: Delete key...Deletes part of the musical tone information written in memory.

4i: Auto break key...Automatically play the music written in memory.

4j: Back key...Backwards the musical tone information written in the memory one step at a time.

4k: Next key... Advances the musical tone information written in memory one step at a time.

4l: Reset key: Stops automatic performance and cues up stored songs.

4m: Clear key... Clears the contents of memory.

The chord designation key group 3 is composed of a root note designation key group 3a arranged like a keyboard, and a chord type selection key group 3b, and major M, minor M, and seventh 7 are assigned to each of the 12 types of root tones. , minor seven m7, major seven maj7, sixes six, minor sixes m6, suspension four sus4,
You can select from 9 types of DIM code types, making it possible to output a total of 108 types of codes.

The timbre selection key group 5 is made up of eight keys, and eight types of timbres can be selected: piano, organ, violin, flute, guitar, horn, fannie, and mellow.

FIG. 2 is a schematic block diagram of the automatic chord adding device for a portable electronic musical instrument according to the present embodiment, in which a signal with a predetermined period generated from an oscillation circuit (PG) 11 is appropriately frequency-divided in a timing generation circuit 12. The control circuit (hereinafter referred to as
(referred to as CPU) 13. The CPU 13 is composed of, for example, a one-chip microprocessor, and controls all operations in this portable electronic musical instrument, such as sound production, recording, automatic chord addition, and automatic performance. Reference numeral 14 denotes a key input section that includes the performance key group 2, code key 4d, one-key play key 6a, etc. For example, when performing manual performance, set the mode changeover switch 8 to the performance mode position and switch the performance key group. 2, the sound generation command information from the CPU 13 is sent to the musical tone generating circuit (TG) 15, and the musical tone signal from this musical tone generating circuit 15 is amplified by the amplifier 16 and then output from the speaker 17. said sound emitting part 1
Sound is emitted from 0.

The performance memory 18 is composed of RAM (random access memory), and is designed to record melodies and chords in a predetermined format. Melody information that is manually recorded in the performance memory 18 is once sent from the CPU 13 to the scale register 19, and then sequentially recorded in areas specified by the address counter 20.

21 is an automatic code addition circuit, the detailed configuration of which will be explained later.

FIG. 3a shows the liquid crystal display panel which is the main part of the display section 7. The liquid crystal display panel 7a is arranged in the shape of a keyboard and is located below the scale display section 7b, which displays chords and other performance information. It consists of a character display section 7c. That is, the liquid crystal display panel 7a has a display segment structure as shown in FIG. 3b, and the melody scale, chord name, chord position, tuning level, tempo level, etc. are displayed by turning on/off each display segment. It is now possible to display synchronized start, rhythm setting status, memory over, etc. For example, when you press Bm in combination from the chord designation key group 3, the Bm chord is sounded along with the bass note and the three chord notes as shown in Figure 3c, and at the same time the character display section 7c displays "Bm". ”, the chord position is displayed on the scale display section 7b.

Next, the detailed configuration of the automatic code addition circuit 21 will be explained with reference to FIG. code key 4d
is operated and a chord addition command is transmitted to the CPU 13, the CPU 13 reads out the final note recorded from the performance memory 18, and this final note is sent to the tonality determining section 31 via the data selector 30. This tonality determining section 31 determines the tonality of the piece from the final note, and the tonality data determined here is transmitted to the first converting section 33 and the second converting section 33 via the tonality register 32.
The signal is sent to converter 34.

In this embodiment, the melody is divided into two quarter note lengths, that is, every 1/2 measure, for example, and accompaniment chords are attached. That is, the notes read from the performance memory 18 are sent to the integration counter 35 via the data selector 30. This integration counter 35 sequentially adds up the duration of the sent notes, and compares the integrated time value A with the comparison unit 36.
and output to the subtraction circuit 37. In addition to this integrated time value, the comparison section 36 also contains time value information of a predetermined block length (in this embodiment, two quarter notes).
A predetermined time value B from the predetermined time memory 38 set by the CPU 13 is input;
This comparing section 36 compares the magnitude of A and B and determines whether A≧B.
When this happens, a command signal is output. This command signal is sent to the CPU 13 as the code insertion command signal C, and is also sent to the reset terminal of the integration counter 35 to reset the integration counter 35, and is also sent to the gate circuit 39 to make the gate circuit 39 ready to open. . The cumulative time value A and the predetermined time value B are also input to a subtraction circuit 37, which subtracts A-B and outputs the subtraction result to the gate circuit 39. That is, some 1
If one note straddles a boundary between predetermined blocks, the length of the overflowing note is added to the integration counter 35 again as the first note length of the next block.

Then, a code insertion command signal c from the comparator 36
The CPU 13 that receives the note selects one or more notes in the block via the data selector 30 and selects the first note or notes in the block.
It is sent to the converter 33. In this example, in any tonality of music, C major C or A minor Am
The notes are converted and processed so that it becomes the standard.
In other words, the first conversion unit 33 converts the sent note by the number of semitones between the root note and the C note when the tonality is a major key, and converts the sent note by the difference in number of semitones between the root note and the C note, and converts the sent note by the difference in number of semitones between the root note and the C note when the tonality is a minor key. The tonic tone is shifted positively by the number of semitones and output to the tonic determining section 40. The tonic determining section 40 determines the longest note (referred to as the tonic _N1 ) among the sent notes, and transfers it to the chord selection control section 41 along with the other notes. The code selection control section 41 receives the result code of the previous block as feedback from the previous block code register 42 .

The chord selection control section 41 reads the result code to be added to the block from the code selection table 43 made up of ROM based on the received musical tone information and the code information of the previous block, and this result code is stored in the previous block code register 42. and sent to the second converter 34. Code selection table 4
3 is for changing the previous accompaniment chord to another type of accompaniment chord when operating the three types of tables and the change key according to the number of notes in the block (1, 2, 3 or more). It consists of a code change table. When first determining an accompaniment chord from the three types of tables, the chord selection control section 41 selects
Determine the next longest note after N ₁ , or in the case of three or more, the two notes determined by the table, and generate the result code based on these notes and the previous block code depending on each case. It is designed to read out. Also, when obtaining other types of accompaniment chords from the chord change table, the chord selection control section 41
reads the result code based on the given tonic.

The second conversion section is given tonality data from the tonality register 32 as described above, and the second conversion section 34 converts the root note of the resultant chord sent from the chord selection control section 41 into the first The signal is shifted minus by the number of semitones shifted plus by the converter and outputted to the data selector 30. That is, the read notes are processed in the first converter to match C major C or A minor Am, and the resulting code as C major or A minor is converted to the original correct code by the second converter. It will be corrected and output. This result code is sent from the data selector 30 to the CPU 13, and the CPU 13 inserts and writes the result code for each note group of a predetermined block length in the performance memory 18.

Next, a case in which the automatic chord adding device of this embodiment is operated on an actual song to automatically obtain accompaniment chords will be described in detail. Figure 5 is a musical score showing the melody line of ``The Grass Horse Racing'' by Foster, which is so famous that it can be called an American folk song. When automatically adding accompaniment chords to this "Kusakei" using the portable electronic musical instrument of this embodiment, first set the mode selector switch 8 to the recording mode position (REC).
After operating the memory key 4a according to the
Let us now assume that we have specified memory 1 (M ₁ ). After operating a clear key 4m to clear the contents stored in the memory 1, the melody scale is input into the performance memory 18 by the performance key group 2 regardless of the note length. Each memory _M1 to _M8 is
It has a capacity of 254 digits (one digit is 4 bits), and if _M1 overflows, recording is automatically continued to _M2 .

After all melody scales have been input, a note length is then added to the melody. The mode changeover switch 8 is set to the recording mode (REC), and the reset key 4l is operated to find the beginning of the song. For example, if you play the one-key play key 6a in accordance with the actual note length with the rhythm of a march in the background, each melody will be read out and played, and at the same time the one-key play key 6a will play the note length part of each melody in the performance memory 18. The length of the note played by the play key 6a is added. In this case, if the beginning of the song is a soft note, the length of the first rest of the first measure is recorded as the length of the dummy note. When the chord key 4d is operated after playing the song to the end, the automatic chord addition circuit 21 automatically adds the chord.

When this automatic code is added, automatic code addition circuit 2
1, first, the final note of the melody recorded from the performance memory 18 is read out and the final note of the melody is read out from the tonality determining section 31.
The tonality is determined by inputting the melody to the melody, and the determined tonality data is set in the tonality register.Then, each note of the melody is read out from the performance memory in blocks of 1/2 measure each. The tonic determining unit 40 selects the tonic from among these notes.
_N1 is determined, and then the chord selection control section 41 selects that block from three types of tables in the chord selection table 43 based on the tonic note _N1 and the result code of the previous block set in the previous block code register 42. The result code to be added is read out, and the read result code is sent to the CPU 1 via the second conversion unit 34 and the data selector 30.
3 and writing it into that block in the performance memory 18. The detailed operation of this automatic code addition is disclosed in the specification of the above-mentioned patent application (Japanese Patent Application No. 56-210989) of the present applicant, and therefore its explanation will be omitted here. FIG. 6 shows the recording state of the performance memory 18 in which the melody information and chord information are written in this manner.

The music recorded in this manner is automatically played according to the present invention, and the chords are corrected during the performance according to instructions from the user. To perform automatic performance, set the mode selector switch 8 to the performance mode (PLAY), operate the reset key 4l to find the beginning of the song, and then operate the autoplay key 4i to read the song information in the performance memory 18. are sequentially read out, the chord progression is displayed on the display section 7, and the musical tone generated from the musical tone generating circuit 15 is emitted from the sound emitting section 10 via the amplifier 16 and the speaker 17.

Next, referring to the flowchart of FIG. 7, the operation of changing the chord of a specific block during the automatic performance of a piece of music to which the chords have been automatically added as described above will be explained.

That is, the CPU 13 is currently reading/reading the read command.
A write signal a is applied to the terminal R/W of the performance memory 18. Further, the address counter 20 provides address data b to the performance memory 18. Therefore, the information of the first block of the song "D, dummy, A"
is read out and applied to the display section 7 and musical tone generation circuit 15, respectively. Note that "dummy" is data indicating the beginning of the song. Therefore, the chord name and the association are displayed on the display section 7, and the musical sound generation circuit 15 generates a musical sound signal and supplies it to the amplifier 16 and the speaker 17, and the automatic performance sound of the chord and melody is emitted from the sound emitting section 10. Start the sound. The above operations are executed in steps S1, S2, and S3 of the flowchart.

Next, a process of determining whether or not the change key 4e has been turned on is executed in step S4, and if it has not been turned on, the process proceeds to step S5, in which it is determined whether or not the duration of the notes in the melody being emitted has elapsed. However, if the elapsed time has not elapsed, steps S4 and S5 are repeated to continue emitting the note. On the other hand, when the tone duration has elapsed, the program proceeds to step S6 to stop emitting the melody (note), and then proceeds to step S7 to check whether or not the tone duration of the chord being emitted has elapsed. to judge. If the time has not elapsed, steps S2 to S7 are repeated to continue the automatic performance of chords only. On the other hand, when the sound duration of the chord has elapsed, the sound emission of the chord is stopped in step S8, and then it is determined in step S9 whether or not it is the last block. If it is not the last block, the address counter 20 is counted in step S10. The information of the next block is read out from the performance memory 18, and the next melody and chord are played.
On the other hand, if it is the final block, the automatic performance will of course stop.

Assume that the chord "A ₇ " indicated by the first arrow in FIG. 6 is changed to another chord while the automatic performance is in progress through the processes of steps S1 to S10 described above. This chord change is performed by turning on the change key 4e when the chord "A ₇ " is sounded during automatic performance. This is then determined in step S4, and tonality is determined in step S11. That is, the CPU 13 first
The final note "re" of the song is read from the performance memory 18 and sent to the tonality determining section 31. In response to this, the tonality determining unit 31 positively shifts the "D" sound by semitones until it becomes "C", and shifts the number of shifts (10 times, that is, D → D → E → F → F → G →G →A→A
→B→C). Next, the CPU 13 reads out all the notes of the song from the performance memory 18 and sends them to the tonality determining section 31. In response to this, the tonality determining unit 31 shifts each note 10 times and accumulates the length of each note. In other words, "la" is accumulated as "so", and "hua" is accumulated as "mi". From this cumulative result, the CPU 13 obtains a tonality result of "C". Since this tonality result “C” is obtained when the final note is “C”, this tonality result “C” is negatively shifted by 10 times (C→B).
→A →A→G →G→F →F→E→D →
D), obtain the tonality data "D" and set it in the tonality register 32. The process then proceeds to step S12, where all the notes in this block are sent to the first converter 33 via the data selector 30. The first conversion section 32 positively shifts each note 10 times as described above based on the data "D" set in the tonality register 32 and supplies it to the tonic determining section 40. The tonic determining unit 30 then determines the longest note among the input notes as the tonic _N1 .
Therefore, in the above example, of the notes "hua" and "mi", "mi" is taken as the tonic. This "mi" is treated as "re" in the tonic determining section 40. The determined tonic "re" is then given to the chord selection control section 41. The chord selection control unit 41 refers to the chord change table shown in FIG. 8 for the given tonic note “Re,” reads out the first change code “G ₇ ” in the section for the tonic note “Re,” and transfers it to the second conversion unit 3.
4 (step S13). Second converter 34
The code "A ₇ " is obtained by minus-shifting the modified code "G ₇ " 10 times and is given to the CPU 13 via the data selector 30, but now this code "A ₇ "
is the same as the code “A ₇ ” to be changed, so the CPU 13 invalidates the above-described process and causes the code selection control unit 41 to read the second changed code “Dm”. The second conversion unit 34 thereby negative-shifts the modified code “Dm” 10 times to obtain the code “E ₇ ” and sends it to the CPU 13. Therefore, this code "E ₇ " is written in place of the code "A ₇ " of the above block (step S14).
Then, the address counter is reset (step S15), and the automatic performance is temporarily stopped and then resumed from the beginning of the song. FIG. 9a shows the recording state at this point.

If it is desired to further change the chord "E ₇ ", the change key 4e is turned on again when the automatic performance has progressed to the block described above. Then, through the processing in step S12, the change codes G ₇ and Dm are sequentially read out from the code change table and invalidated, and then the change code "E ₇ " is read out.
is then read out. Then, the second conversion unit 34 negative-shifts this “E ₇ ” 10 times and converts it into the code “F”.
₇ '' and sends it to the CPU 13. Therefore, the code is rewritten to " _F7 " as shown in FIG. 9b.

FIG. 9c shows the case where the change key 4e is turned on one more time to change the code "E ₇ " in the above block to the code "E ₇ ". That is, change codes "G ₇ ", "Dm",
After each "E ₇ " is read out and invalidated, the modified code "D ₇ " is read out and negative shifted ten times to obtain the code "E ₇ ".

FIG. 9d shows an example in which the code "D" of the block indicated by the second arrow in FIG. 6 is also changed. That is, the tonic N ₁ in this case is “A”, so 10
It is treated as "So" with a positive shift. Then, the first change code “G ₇ ” in the “S” section of the code change table is read out and negative shifted ten times to obtain “A ₇ ”.

FIG. 10 shows a second embodiment. In this embodiment, when the change key 4e is turned on when the block described in the first embodiment is reached, as shown in FIG. 10a during automatic performance, a changed chord "Em" is generated as shown in FIG. 10b. ” and its chord position are displayed respectively. However, the address counter 20
is not reset, and the automatic performance remains stopped at that position. Also, Figure 10 c, d
Each of these shows a state in which the change key 4e is turned on one more time in succession, and the code "Em" is changed to "F ₇ " and "E ₇ " in sequence.

As described above, in the above embodiment, the data of the melody and chord of the music piece are sequentially read out from the performance memory 18, and automatic performance is performed via the musical sound generation circuit 15. By listening and comparing the sound of the chord and the musical tone of the chord,
You can very easily determine which part of the code you don't like, and at that point press change key 4e.
You can specify that code, and for that, CPU13
automatically changes the specified code to another code. Therefore, a desired portion of the chord added to the melody can be automatically corrected quickly and easily.

In the above embodiment, the number of codes of other types that can be changed is set to 4, but this number is arbitrary, and the priority order of the codes when changing is not limited to the above embodiment.

In addition, in this embodiment, various key input devices were used as a means for inputting music information into the memory, but the present invention is not limited to this, and examples include a barcode reader, a magnetic reader, and an optical reader that directly reads music scores. , voice input, and other various input means may also be used.

Furthermore, in this embodiment, when adding chords to the music in the memory, chord information was inserted and written between the scale information of each predetermined block, but the present invention is not limited to this. A memory may be provided to store the melody and chord separately and then read them out in synchronization.

Furthermore, the automatic code addition device is not limited to the form shown in the above-mentioned Japanese Patent Application No. 56-210989.
An automatic chord addition device is not necessarily required for the purpose of the chord correction device in the automatic performance device of the present invention.

Further, in this embodiment, the chord correction device for an automatic performance device is mounted on a small portable electronic musical instrument, but it may also be incorporated into a large console type electronic keyboard instrument or other musical synthesizers. It can be provided as part of the functions of a small device such as a programmable small computer or a personal computer, or as a stand-alone device.

In addition, in this embodiment, automatic performance and chord display are used as a means of outputting accompaniment chords; however, the present invention is not limited to this;
It is possible to display the entire song along with the score, or to print it out using a printer, print it on plain paper, rotate it to magnetic tape, punch it with paper tape, output audio, etc. be.

As explained above, this invention sequentially reads chord information from a memory that stores chord information expressing chords for the melody of a song, performs automatic performance corresponding to the chords, and makes corrections by the user during the process. Since the part of the chord to be added to the melody can be specified in a timely manner, and the specified chord is changed to another chord, the user can quickly and easily correct the desired chord to be added to the melody. You can enjoy various accompaniment chords.

[Brief explanation of the drawing]

1 to 9 show a first embodiment in which the present invention is applied to a portable electronic musical instrument. FIG. 1 is an external perspective view, FIG. 2 is a block circuit diagram, and FIG. 3 a is a display. Figure 3b is a diagram of the display segment configuration of the display panel, Figure 3c is a diagram of the display state of the display panel, and Figure 4 is a detailed block diagram of the automatic code addition circuit in Figure 2. Configuration diagram, Figure 5 is a diagram showing the musical score of "Kusakei" (written by Foster), Figure 6 is a diagram of the arrangement of the chords and melody of the song recorded in memory, and Figure 7 is a flowchart explaining the operation. FIG. 8 is a diagram showing a code change table, FIGS. 9 a to d are diagrams showing the change state when changing a code, and FIG. 10 is a display when changing a code in the second embodiment. It is a figure showing a state. 4i...Auto play key, 4e...Change key, 13...CPU, 18...performance memory, 15...musical tone generation circuit.

Claims (1)

[Scope of Claims] 1. Code information storage means for storing code information expressing chords for the melody of a song; and a code information storage means for reading the code information from the code information storage means and corresponding to the code expressed by the code information. an automatic performance means for automatically performing a musical tone by outputting a musical tone; a designating means for specifying a chord part to be corrected by a user's operation during automatic performance by the automatic performance means; A chord correction device for an automatic performance device, comprising: chord changing means for changing chord information expressing a chord at a certain point to chord information expressing a different chord.