JPS6242517B2 - - Google Patents

Description

DETAILED DESCRIPTION OF THE INVENTION The present invention relates to an electronic musical instrument in which keys pressed on a keyboard are classified into one of a plurality of groups, and musical tones can be generated in a different manner for each group.

Generally, a keyboard with multiple keyboards (for example, an upper keyboard, a lower keyboard,
In electronic musical instruments equipped with pedal keyboards, etc., the melody and accompaniment are played on different keys, and the melody and accompaniment sounds are played in different modes (typically, tone) that are selected and set for each keyboard. The musical tones are formed respectively. On the other hand, single-keyboard electronic musical instruments are often useful due to cost and transportability when used for stage performance, and it is possible to play the melody and accompaniment separately in such single-keyboard electronic musical instruments. In order to obtain this, a technique called "key range splitting" is adopted.
Conventional "key range division" technology uses a predetermined specific key as the boundary, and uses the treble range of that key as the melody key range, and the other (lower range) keys for accompaniment. The musical tones corresponding to the pressed keys in each key area are formed as melody tones or accompaniment tones. That is, the melody key range and the accompaniment key range were fixed in advance and remained unchanged. As a result, the keyboard range that can be used for melody or accompaniment is limited to a narrow range. Particularly in single-keyboard electronic musical instruments, the total number of keys on the keyboard tends to be small due to cost or transportability considerations, which further limits the range of each key range when dividing the key range. This may hinder the freedom of performance.

This invention was made in view of the above points,
When the keyboard is divided into a plurality of groups corresponding to different musical tone formation modes, the key range corresponding to each group is not fixed, but can be automatically set according to the key depression state. The purpose of this is to avoid being limited by the key range used in actual performances. In order to achieve this object, the present invention provides a keyboard, a pressed key information generating means for generating pressed key information corresponding to pressed keys on the keyboard, and pressed key information generated from the pressed key information generating means. a detection means for detecting whether or not a predetermined number or more of keys sufficient to form a chord are pressed within a predetermined pitch range, based on the detection means; When it is detected that the key is being pressed within the predetermined number of pressed keys, the pitch corresponds to the certain pitch range on the bass side or the treble side based on the highest or lowest note among the detected predetermined number or more pressed keys. to specify a key area to which a predetermined number or more of pressed keys belong, and among the key press information generated by the key press information generating means, key press information regarding the pressed keys in the specified key area at least other than that. a discriminating means for discriminating key depression information into groups different from the key press information regarding the presses in the key range; and forming musical tone signals corresponding to the key depression information discriminated into each group by the discrimination means in a different manner for each group. It is characterized by comprising a musical tone forming means. Usually, accompaniment performance is performed by simultaneously pressing multiple keys constituting a chord in close proximity (for example, within a key range of about one octave). Therefore, if a predetermined number (sufficient number to make up a chord, for example, three notes) or more keys are pressed in the vicinity, those pressed keys are chord designation keys, that is, they are for accompaniment performance. can be estimated. Therefore, keys that are pressed in the vicinity of a predetermined number or more and other pressed keys are separated into different groups, and the former group is made to correspond to the musical tone formation mode for accompaniment, and the latter group is made to correspond to the tone formation mode for melody. By making them correspond to the musical tone formation mode, it is practically possible to freely move the accompaniment key area and the melody key area depending on the key depression state.

In this invention, in order to determine whether or not a predetermined number or more keys are being pressed nearby, it is detected whether or not a predetermined number or more pressed keys exist within a certain pitch range. . That is, if there are a predetermined number or more of pressed keys within a certain pitch range (for example, one octave), it is determined that the pressed keys are located close to each other.

According to the second invention, when the detection means detects that the predetermined number or more keys are pressed within the predetermined pitch range, the predetermined number or more keys are pressed within the predetermined pitch range. The key press information corresponding to the predetermined number of pressed keys on the bass side of all the pressed keys detected to be pressed is classified into a group different from at least the pressed key information corresponding to the other pressed keys. Equipped with means of discrimination. In other words, when more keys than a predetermined number are being pressed nearby, instead of separating all of them into an accompaniment group, only a predetermined number of pressed keys on the bass side are separated into an accompaniment group. , other pressed keys are classified into melody groups. Depending on the performance style, melody sounds may be close to accompaniment sounds, and in such cases, if all nearby pressed keys are classified into accompaniment groups, sounds that should originally be melody sounds will be generated as accompaniment sounds. This causes the inconvenience of being exposed. However, if a predetermined number of pressed keys on the bass side are used as accompaniment sounds as described above, melody sounds that are close to accompaniment sounds can be distinguished. In the embodiment shown in the drawings, by selecting the "second mode" with a mode selection switch, discrimination between adjacent accompaniment sounds and melody sounds is performed. On the other hand, the number of accompaniment tones may be greater than a predetermined number, and in such a case, all keys pressed in the vicinity of a predetermined number or more are classified into an accompaniment group. In the embodiment shown in the drawings, by selecting the "first mode" with the mode selection switch, all keys of a predetermined number or more that are pressed in the vicinity are classified into an accompaniment group.

Another object of the present invention is to enable the pressed keys to be classified into accompaniment groups even when fewer than a predetermined number of keys are pressed for accompaniment performance. For example, in automatic bass chord performance in single finger mode, the only key pressed as an accompaniment note is the one key that specifies the root note of the chord, and it is assumed that a predetermined number or more keys will be pressed simultaneously as accompaniment notes. As long as this is the case, it is not possible to distinguish this root note specification key into an accompaniment group.
In order to solve this problem, an electronic musical instrument according to a third aspect of the invention includes a keyboard, a pressed key information generating means for generating pressed key information corresponding to pressed keys on the keyboard, and a pressed key information generating means for generating pressed key information in response to pressed keys on the keyboard. Based on the generated key press information, a predetermined number or more sufficient to form a chord within a certain pitch range belonging to at least one of a predetermined first key range and a second key range adjacent thereto on the keyboard. a detecting means for detecting whether or not a key is pressed; and when the detecting means detects that more than the predetermined number of keys are being pressed within the predetermined pitch range, the predetermined number detected; A key range to which a predetermined number or more of pressed keys belong is specified in correspondence with the certain pitch range on the bass side or treble side using the highest or lowest note among the pressed keys as a reference, and Among the key press information generated from the key information generating means, key press information related to pressed keys belonging to the first key range is always distinguished into the first group, and key press information related to pressed keys in the specified key range is always classified into the first group. a discrimination means for discriminating key information into a first group and key press information corresponding to other pressed keys into a second group; and a discrimination means for discriminating key press information corresponding to other pressed keys into a second group; and musical tone forming means for forming musical tone signals in different manners for each group.

If the first group is an accompaniment group and the second group is a melody group, an accompaniment-only keyboard area is set as a part of the keyboard as the first keyboard area,
All keys pressed in this accompaniment-only keyboard area shall be classified into an accompaniment group. Furthermore, if more than a predetermined number of keys are pressed in the vicinity of this accompaniment-only keyboard area, all the pressed keys in the vicinity These are divided into accompaniment groups. When fewer than a predetermined number of keys are to be pressed as accompaniment tones, such as in the single finger mode, the accompaniment tones may be played in the accompaniment-only key area. In addition, when pressing more than a predetermined number of keys as accompaniment sounds, those keys are classified as an accompaniment group even if they do not belong to the accompaniment-only keyboard range, so in effect, the accompaniment key range can be expanded flexibly. be able to.

The accompaniment-only key range is preferably set so as not to hinder the freedom of melody performance when the remaining key range is used for melody performance. To this end, it is preferable to use the lowest one-octave key range as an accompaniment-only key range. By limiting the accompaniment-only key range to the minimum necessary range in this way, the remaining wide key range can be used for melody performance, so melody performance can be performed without any hindrance. On the other hand, the keyboard range used for accompaniment performance is not limited to the accompaniment-only range (at least one octave range);
If more than a predetermined number of keys are pressed near the accompaniment-only keyboard area, the actual accompaniment key area will be expanded beyond the accompaniment-only keyboard area by at least one octave, so the accompaniment performance will extend beyond one octave. It is also possible.

In a preferred embodiment, when a predetermined number or more keys are pressed nearby (within a certain pitch range) and at least one of them belongs to the accompaniment-only keyboard area, the It is determined that a predetermined number of keys or more have been pressed, and the pressed keys are classified into accompaniment groups.

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

FIG. 1 shows an example in which the present invention is applied to an electronic musical instrument of the type in which pressed keys are detected by sequentially scanning each key on a keyboard. In this example, the keyboard 11 has keys from the lowest key C2 to the highest key C6.
It shall be equipped with 49 keys. The multiplexer 12, which serves as key press information generating means, sequentially scans each key on the keyboard 11 starting from the bass side in accordance with the system clock pulse φ, thereby assigning a time division timing to each key, and determining whether the key is pressed. Generates pulses corresponding to the time-division timing of the pressed keys, and multiplexes the pulses corresponding to the timing of the pressed keys into one line to create time-division multiplexed key data KTDM.
This is what is output as. Multiplexer 12
As a result of the scanning, a part of the time division timing assigned to each key C2 to C6 is shown in the key scanning timing column of FIG. φ in FIG. 2 represents an example of the system clock pulse φ. A timing signal indicating the scan start timing is output from the multiplexer 12.
SY is output at the timing immediately before the scanning timing of the lowest key C2 (see Figure 2).
(see SY).

The time division multiplexed key data KTDM and scan start timing signal SY output from the multiplexer 12 are supplied to the detection circuit 13 and the discrimination circuit 14. The detection circuit 13 is for detecting whether or not more than a predetermined number of keys on the keyboard 11 are pressed nearby. In this example, by detecting whether there are three pressed keys within one octave across the entire keyboard range, it is possible to determine whether a predetermined number (three keys) or more of keys are being pressed nearby. I try to judge. The reason why the predetermined number was set to 3 keys is because accompaniment chords generally consist of 3 notes, and the reason why the range of "neighborhood" was set to 1 octave is because the 12 note names (minimum required for specifying a chord) are This is because all of C to B) are included within one octave.

In the detection circuit 13, the scan start timing signal SY is applied to the data set input of the shift register 15, and the time division multiplexed key data KTDM is applied to the shift control input. shift register 1
5 has 7 stages/1 bit, and when "1" is given to the data set input, "1" is set to the first stage and the contents of the other stages are reset to "0". Also, when the data applied to the shift control input is "1", the system clock pulse φ is inverted from "1" to "0".
One shift operation is performed in synchronization with the falling edge of . Therefore, "1" is set in the first stage of the shift register 15 at the beginning of one scanning cycle by the scanning start timing signal SY, and each time a pressed key is detected as the scanning progresses (the number of pressed keys is Each time the scanning timing ends, the set single "1" is sequentially shifted to the next stage. Since key scanning is performed from the bass side, when the scanning timing of the seventh pressed key counting from the bass side ends, data "1" is sent from the seventh stage, and all stages of the shift register 15 become "0". . The detection circuit 13 uses the output of the shift register 15 and the key data KTDM to detect whether or not three pressed keys exist within a one-octave range. When the key data KTDM of the pressed key at number 8 or later, counting from the bass side, appears, the outputs of all stages of the shift register 15 become "0", so the detection circuit 13 does not actually operate. This is because, in this example, it is assumed that the maximum number of keys pressed simultaneously on the keyboard 11 is seven. Therefore, if the maximum number of simultaneously pressed keys is assumed to be 8 or more, the number of stages of the shift register 15 may be appropriately increased to 8 or more.

Output signal of each stage of shift register 15
SQ1 to SQ7 are input to AND circuits 16 to 22, respectively. Key data KTDM is applied to other inputs of the AND circuits 16 to 22. The AND circuits 16 to 22 are for selecting the key data KTDM of the first to seventh pressed keys counting from the bass side, respectively. When the key data KTDM becomes "1" corresponding to the scanning timing of the first pressed key counting from the bass side, "1" is held in the first stage of the shift register 15, and the first stage output Signal SQ1 and key data
When both KTDM become "1", the condition of the AND circuit 16 is satisfied. Therefore, the output of the AND circuit 16 becomes "1" in response to the key data KTDM of the first pressed key (hereinafter referred to as the lowest note) counting from the bass side. When the key scanning timing of the lowest note ends, the data in the shift register 15 is “1”
is shifted from the first stage to the second stage. As a result, the second stage output signal SQ2 becomes "1", and the AND circuit 17 becomes operable. Therefore, when the key data KTDM becomes "1" corresponding to the scanning timing of the second pressed key (hereinafter referred to as the second bass key) counted from the bass side, "1" is output from the AND circuit 17. be done. When this second bass key scanning timing ends, the data "1" in the shift register 15 is shifted from the second stage to the third stage, and the third stage output signal SQ3 becomes "1". This enables the AND circuit 18, and when the key data KTDM becomes "1" corresponding to the scan timing of the third pressed key counting from the bass side (hereinafter referred to as the third bass note), the AND circuit 18 becomes operable. “1” is output from the circuit 18. Similarly, "1" is sequentially outputted from each AND circuit 19 to 22 in response to the scanning timing of the fourth to seventh pressed keys (hereinafter referred to as the fourth to seventh bass keys) counting from the bass side. .

The outputs of the AND circuits 16 to 21 are input to pulse extension circuits 23 to 28, respectively, and their pulse widths are extended. The pulse extension circuit 23 consists of an 11-stage/1-bit shift register 29 whose shift is controlled by the system clock pulse φ, and an OR circuit 30 into which the outputs of all stages of the shift register 29 are input. By sequentially shifting "1" output from the circuit 16 from the 1st stage to the 11th stage of the shift register 29 according to the clock pulse φ, one bit time (system clock pulse φ The OR circuit 30 generates a pulse with an 11-bit time width that rises with a delay (one period of time).
I'm starting to get it from The other pulse extension circuits 24 to 28 also have the same configuration as the circuit 23. The pulse width for 11 bit time is the key data for 11 keys.
Compatible with KTDM time width. Therefore, when "1" is output from the AND circuits 16 to 21 in response to the scanning timing of a certain pressed key, the difference is less than one octave on the treble side of the pressed key from the scanning timing of a key that is a semitone above the pressed key. During the key scan timing of
The outputs PE1 to PE6 of the pulse extension circuits 23 to 28 corresponding to the AND circuits 16 to 21 are "1".
becomes.

For example, as shown in (Example 1) in Figure 2, the key
If the key data KTDM becomes “1” corresponding to the scanning timing of G2, C3, and E3, the lowest tone
The output PE1 of the pulse extension circuit 23 becomes "1" from the scanning timing of the key G#2, which is a semitone above G2, to the scanning timing of the key F#3, and the keys range from the key C#3, which is a semitone above the second bass C3, to the scanning timing of the key F#3. The output PE2 of the pulse extension circuit 24 becomes "1" until the timing of B3, and for the third bass E3, the output of the pulse extension circuit 25 from the timing of key F3 to the timing of key D#4.
PE3 becomes “1”. As can be seen from this example, the output signals of each pulse extension circuit 23 to 28
PE1 to PE6 become "1" corresponding to the key scanning section of less than one octave on the treble side of each of the lowest to sixth bass notes.

The AND circuit 31 operates within a range of one octave from the lowest note to the treble side (within a range not exceeding one octave).
This is a circuit for determining whether there are three pressed keys including the lowest note. For this purpose, the outputs PE1 and PE2 of the pulse extension circuits 23 and 24 and the output of the AND circuit 18 are input to the AND circuit 31. The AND circuit 31 uses the output PE1 of the pulse extension circuit 23 to
The AND circuit 31 becomes operable corresponding to a key scanning section of less than an octave, and the condition of the AND circuit 31 is satisfied only when key data KTDM corresponding to the second bass tone and the third bass tone are generated during this period. That is, the second
The output PE2 of the pulse extension circuit 24 becomes “1” due to the generation of the key data KTDM corresponding to the bass sound.
Then, the key data corresponding to the third bass note
When KTDM occurs, the output of the AND circuit 18 becomes "1" and the condition of the AND circuit 31 is satisfied. In the case of (Example 1) in Figure 2, the key C3, which is the second bass note, and the key E3, which is the third bass note, are the lowest notes.
Since it belongs to a range of less than one octave on the treble side of G2, the condition of the AND circuit 31 is satisfied, and the output P1 of the AND circuit 31 becomes "1" at the timing of the third bass key E3. If the second bass note or the third bass note does not belong to a range less than one octave on the treble side of the lowest note, the output of the pulse extension circuit 24
The output PE1 of the pulse extension circuit 23 falls to "0" before the output of PE2 or the AND circuit 18 becomes "1", and the condition of the AND circuit 31 is not satisfied. In that case (if the condition of the AND circuit 31 is not satisfied, that is, if the output P1 does not become "1"), it means that the lowest note, the second bass note, and the third bass note are not pressed nearby. .

The AND circuits 32 to 35 are connected to the second to fifth bass tones.
This circuit is for determining whether or not there are three pressed keys including the second to fifth bass notes within one octave range from each of the bass notes to the treble side. That is, the AND circuit 32 receives the outputs of the pulse extension circuits 24 and 25 regarding the second and third bass tones.
AND circuit 19 regarding PE2 and PE3 and the 4th bass
Similarly, the outputs PE3 to PE6 of the two pulse extension circuits 25 to 28 and the outputs of the AND circuits 20 to 22 are sequentially lowered and input to the AND circuits 33 to 35, respectively. With this configuration, when the second bass, third bass, and fourth bass exist within a one-octave range, the output P2 of the AND circuit 32 becomes "1", and the third bass,
When the fourth bass and the fifth bass exist within one octave range, the output P3 of the AND circuit 33 becomes "1", and the fourth bass, fifth bass, and sixth bass exist within the one octave range. If the 5th bass, 6th bass, and 7th bass are present within a 1-octave range, the output P4 of the AND circuit 34 becomes "1", and the output P5 of the AND circuit 35 becomes "1".
becomes “1”.

Outputs P1 to P5 of each AND circuit 31 to 35
becomes "1" at the key scanning timing of the highest note among the three pressed keys existing within one octave range. For example, the key as the lowest to fifth bass note.
If F2, C3, F3, A3, and B3 are pressed,
As shown in (Example 2) in Figure 2, time division multiplexed key data KTDM is generated, and each pulse extension circuit 2
Outputs PE1 to PE5 of 3 to 27 are generated as shown in (Example 2) of the figure. In this case, when "1" is output from the AND circuit 18 due to the key data KTDM of the key F3 corresponding to the third bass note, the output PE1 of the pulse extension circuit 23 regarding the lowest note F2 falls to "0", so The conditions of the circuit 31 are not satisfied, and its output signal P1 does not become "1". However, the key data of key A3, which corresponds to the 4th bass note,
When “1” is output from the AND circuit 19 by KTDM, the outputs of the pulse extension circuits 24 and 25
Since PE2 and PE3 are both "1", the condition of the AND circuit 32 is satisfied, and its output signal P2 becomes "1".In addition, the AND circuit 32 is set to "1", and its output signal P2 becomes "1". Even when "1" is output from the circuit 20, the outputs PE3 and PE4 of the pulse extension circuits 25 and 26 are both "1", so the condition of the AND circuit 33 is satisfied, and the output signal P3 is "1". In this way, the signal P2 and P3 becomes "1" respectively.

As described above, the detection circuit 13 detects whether or not a predetermined number (3 keys) of pressed keys exist within a certain pitch range (one octave) over the entire key range. There is. This is because the accompaniment and melody key areas are not fixed, so the melody note may be pressed on the lower note side than the accompaniment note, and the keys pressed as the accompaniment note may be pressed on the lower note side. This is because there may be four or more keys within an octave, or four or more keys over one octave. (Example 2) in Figure 2 is an example of this; the lowest note F2 is distinguished as a melody note as described later because it is not near other pressed keys (C3, F3, A3, B3), The four pressed keys (C3, F3, A3, B3) are distinguished as accompaniment sounds (however, only when the first mode described below is selected). Also, for example, key C3,
Even if four or more keys are pressed over one octave, such as F3, A3, and D4, if three adjacent keys exist within one octave range, all of these keys will be distinguished as accompaniment sounds (however, (limited to when the first mode described below is selected). However, in the present invention, the embodiment of the detection circuit 13 is not limited to the configuration shown in FIG. for example,
Assuming that the melody tone is always pressed at a higher pitch than the accompaniment tone, and only three keys are pressed at the same time for the accompaniment tone, the detection circuit 13 uses the AND circuit 31.
The object of the present invention can be achieved by providing only the circuits 16, 17, 18, 23, and 24 related to the circuits.

Outputs P1 to P5 of the AND circuits 31 to 35 are input to an OR circuit 36. The output of this OR circuit 36 is sent to the discriminator circuit 3K as a signal 3K indicating that three pressed keys exist within one octave range.
4. This signal 3K is the signal P1 to P5
It becomes "1" corresponding to. That is, it becomes "1" corresponding to the key scanning timing of the highest tone among the three pressed keys existing within one octave range.
As described above, the number of three pressed keys existing within one octave range is not limited to one set, but may exist in a plurality of sets. Signals corresponding to each set are output signals P1 to P5 of AND circuits 31 to 35. Therefore, the signal 3K becomes "1" corresponding to the key scanning timing of the highest note in one or more sets of three pressed keys existing within one octave range.

The discrimination circuit 14 discriminates information indicating each pressed key (i.e., time division multiplexed key data KTDM) into either a melody group or an accompaniment group based on the signal 3K given from the detection circuit 13. It is something. For details, see 1.
The key data KTDM corresponding to the three pressed keys detected to exist within the octave range are classified into an accompaniment group as accompaniment key data AKTDM, and the other key data KTDM is classified as melody key data MKTDM. It is distinguished into groups for melody. In this embodiment, there are a first mode and a second mode as modes for this discrimination. In the first mode, all the pressed keys (all pressed keys in one or more sets of three pressed keys) that are detected to exist within one octave are classified into accompaniment groups. In the second mode, when three or more keys are pressed within one octave range, only a predetermined number (three keys) of them are classified into an accompaniment group, and the others are separated even if they are within one octave range. This mode distinguishes the melody group even if it is pressed. In the first and second modes, pressed keys that are not classified into accompaniment groups are classified into melody groups. When the mode selection switch 37 is off, the first mode is selected, and when it is on, the second mode is selected.

First, a case where the first mode is selected will be explained. Signal 3K given from detection circuit 13 is input to AND circuits 38 and 39. When the switch 37 is off, "0" is input to the AND circuit 39 and "1" is input to the AND circuit 38. Therefore, the signal 3K passes through the AND circuit 38 unconditionally, passes through the OR circuit 40, and is input to the pulse extension circuit 41. The pulse extension circuit 41 is
12 stage/1 bit shift register 42 shift controlled by system clock pulse φ
and an OR circuit 43 into which outputs of all stages of the shift register 42 are input. The operation of the pulse extension circuit 41 is similar to that of the pulse extension circuits 23 and 2 described above.
8, but the difference is that since the shift register 42 has 12 stages, a pulse with a 12-bit time width can be obtained from the OR circuit 43. The 12-bit time width pulse obtained from this OR circuit 43 corresponds to the time width of one octave of key data KTDM.

The pulse output from the OR circuit 43 is applied to an AND circuit 44 as an accompaniment group discrimination signal ACC, and is also inverted by an inverter 45 and applied to an AND circuit 46. The other inputs of the AND circuits 44 and 46 are supplied with key data KTDM* obtained by delaying the time division multiplexed key data KTDM by 12 bits in a 12-stage/1-bit shift register 47. When the accompaniment group discrimination signal ACC is "1", the key data KTDM* is selected by the AND circuit 44 and output as accompaniment key data AKTDM. When the accompaniment group discrimination signal ACC is "0", the key data KTDM* is selected by the AND circuit 46 and output as the melody key data MKTDM.

In the case of (Example 1) in Figure 2, when the signal P1 becomes "1" at the scanning timing of the key E3, the signal 3K
becomes “1”, and the signal ACC output from the pulse extension circuit 41 is the key F3 as shown in the same figure (Example 1).
It becomes "1" corresponding to the scanning timing of one octave (12 keys) from to key E4. At this time, the key data KTDM* output from the shift register 47 is the delayed key data KTDM from key F2 to key E3, which is one octave lower (12 bit times earlier) than the current scanning timing. Therefore, when the AND circuit 44 is enabled to operate by the signal ACC having a pulse width of one octave, the key F2, which includes the three pressed keys G2, C3, and E3 existing within the one octave range, is activated. Key data KTDM* for 1 octave key range up to E3
is selectively outputted by the AND circuit 44 and discriminated as accompaniment key data AKTDM.

In the case of (Example 2) in Figure 2, when signal P2 becomes "1" at the scanning timing of key A3 and when key B3
When the signal P3 becomes "1" at the scanning timing of , the signal 3K is generated twice. first signal 3k
“1” based on (signal P ₂ ) is the pulse extension circuit 41
When the 12th stage of the shift register 42 is reached, the 2
“1” based on the th signal 3K (signal P ₃ ) comes to the 10th stage of the shift register 42. Then, “1” based on this second signal 3K is the
When sent out from stage 12, OR circuit 43
The output ACC falls to "0". Therefore, the signal ACC generated during the 12-bit time (one octave) from the scanning timing of key A#3 to the scanning timing of key A4 based on the first signal 3K.
(Example 2) in Figure 2 by the second signal 3K.
As shown in the shaded area, an additional 2 bit times (2
key) and becomes "1" until the scanning timing of key B4. Key A for which this signal ACC becomes “1”
In the scanning timing from #3 to B4,
The shift register 47 outputs key data KTDM*, which is obtained by delaying the key data KTDM of keys A#2 to B3, which are one octave lower than that, by 12 bits. Therefore, when the AND circuit 44 is enabled to operate by the signal ACC shown in (Example 2) in FIG. and F3, A3,
B3 (F3 and A3 overlap in each group, so
Key data KTDM* for the key range from keys A#2 to B3, which actually includes four pressed keys (C3, F3, A3, B3)
is selected by the AND circuit 44 and discriminated as accompaniment key data AKTDM. Figure 2 (Example 2)
In this case, when key data KTDM*, which is obtained by delaying the key data KTDM of the lowest note F2 by 12 bit time, is output from the shift register 47 at the scanning timing of key F3, the signal ACC is "0" and the AND circuit 46 is operable. It is becoming. Therefore,
The key data KTDM* of the lowest note F2 is AND circuit 4
6 and discriminated as melody key data MKTDM.

Next, the second mode will be explained. When the mode selection switch 37 is turned on, the AND circuit 39
"1" is given only to "1", and the AND circuit 38 becomes inoperable. A signal obtained by inverting the output signal ACC of the pulse extension circuit 41 by an inverter 48 is applied to the remaining inputs of the three-input type AND circuit 39. Therefore, the AND circuit 39 outputs the accompaniment group discrimination signal.
Operation is possible only when ACC is “0”. When the first signal 3K is generated, the signal ACC is "0", and in response to this first signal 3K, "1" is output from the AND circuit 39 and input to the pulse extension circuit 41 via the OR circuit 40. Ru. One bit time after the first signal 3K is generated, the output ACC of the pulse extension circuit 41 rises to "1" and the output of the inverter 48 falls to "0". As a result, the AND circuit 39 becomes inoperable, and the second and subsequent signals 3K are blocked. Therefore, if signal 3K occurs multiple times within one octave, the first signal 3K
The accompaniment group discrimination signal ACC having a 12-bit time width (one octave) is only generated in response to this, and the width of this signal ACC is never extended beyond one octave. For example, in the case of (Example 2) in Fig. 2, when the second signal 3K is generated at the scanning timing of key B3, the signal ACC is already "1", so this second signal 3K
is blocked by the AND circuit 39. Therefore, the signal
ACC becomes "1" only in the one octave section from keys A#3 to A4, and does not occur in the shaded area in FIG. 2 (Example 2). Therefore, three press keys
The key data KTDM* of the key range from keys A#2 to A3 including only C3, F3, and A3 is selected as accompaniment key data AKTDM in the AND circuit 44,
A key is pressed even though it is pressed in the vicinity.
B3 key data KTDM* is in shift register 47
Since the signal ACC becomes “0” when output from the key data KTDM* of the pressed key B3.
is the melody key data in the AND circuit 46
Selected as MKTDM.

This second mode is advantageous in distinguishing between the accompaniment tone and the melody tone when the melody tone is pressed in the vicinity of the accompaniment tone. For example, in the case of (Example 2) in Figure 2, if pressed keys C3, F3, and A3 are accompaniment sounds, and pressed key B3 is a melody sound, in the first mode, pressed key B3 is also an accompaniment sound. Although it may sound familiar, according to the second mode, the pressed key B3 can be distinguished as a melody sound. Therefore, when playing a piece of music in which the pitch between the melody and accompaniment sounds approaches within one octave, it is better to turn on the mode selection switch 37 in advance and perform in the second mode. . Furthermore, the mode selection switch 37 may be a foot switch or a knee lever switch, and the mode may be switched to the second mode as appropriate by foot operation during keyboard performance.

The melody key data MKTDM output from the AND circuit 46 is input to the melody tone forming circuit 49, and the accompaniment key data AKTDM output from the AND circuit 44 is input to the accompaniment tone forming circuit 50. The melody musical tone forming circuit 49 is a circuit that forms a musical tone signal having a pitch corresponding to the pressed key indicated by the melody key data MKTDM in accordance with a melody musical tone formation mode. Factors that determine the manner in which musical tones are formed include timbre, volume, pitch, envelope shape, and the like, and the quality of melody tones is characterized by these factors. Furthermore, a tone color selection means 51 allows any desired melody tone to be selected.

The accompaniment musical tone forming circuit 50 generates accompaniment key data.
This circuit forms a musical tone signal of a pitch corresponding to a pressed key indicated by AKTDM in accordance with an accompaniment musical tone formation mode. The manner in which musical tones are formed for accompaniment is different from the manner in which musical tones are formed for melody. The expression "different in form" refers to a difference in one or more of the factors that determine the form of musical sound formation, such as timbre, volume, pitch, envelope shape, or foot system. A timbre selection means 52 is provided in connection with the accompaniment musical tone forming circuit 50, so that an accompaniment tone can be arbitrarily selected. Furthermore, it is more preferable that the accompaniment tone forming circuit 50 has an automatic accompaniment function. In addition, melody key data MKTDM and accompaniment key data AKTDM
is the key data output from multiplexer 12
Since it is time division multiplexed data similar to KTDM, this dynamic key data is used in the melody musical tone forming circuit 49 and the accompaniment musical tone forming circuit 50.
It shall include demultiplexing means for demodulating static key press information from MKTDM or AKTDM. For this demultiplexing, the clock pulse φ synchronized with key scanning and the scanning start timing signal SY are delayed by a shift register 53 to produce a signal SY.
* is supplied to musical tone forming circuits 49 and 50.
Since such demultiplexing means are known, no particular details will be given. In addition, shift register 5
3 is the same 12 stage/1 bit as the shift register 47, and is used to delay the scan start timing signal SY by 12 bits in synchronization with the 12-bit time delay of the key data KTDM in the shift register 47.

The automatic accompaniment pattern generator 54 is a circuit that generates various automatic performance patterns such as an automatic rhythm pattern, an automatic bass pattern, an automatic chord generation pattern, or an automatic arpeggio pattern. When the automatic performance mode is selected, the accompaniment musical tone forming circuit 50 generates an automatic bass tone, chord, automatic arpeggio tone, and even automatic rhythm based on the automatic performance pattern from the pattern generator 54 and the accompaniment key data AKTDM. Automatically generates automatic accompaniment sounds such as notes. The melody tone and accompaniment tone signals formed by the melody musical tone forming circuit 49 and the accompaniment musical tone forming circuit 50 are applied to a sound system 55 and are generated.

By the way, key press operations by humans are not as precise as high-speed digital systems, and even if you intend to press a predetermined number or more keys simultaneously in the vicinity as accompaniment sound designation keys, there may be slight variations in the press timing of each key. It is normal that there is. Therefore, if the system is configured to respond immediately to key press operations, only a predetermined number of pressed keys will initially be detected, and these pressed keys that are less than the predetermined number will be discriminated as melody sound specified keys. This causes an inconvenience in that some of the accompaniment sounds are temporarily sounded in a melody tone. In order to prevent this inconvenience from occurring, the multiplexer 12 does not output the multiplexed key data KTDM in response to a key press operation on the keyboard 11 immediately, but instead sets a certain waiting time and waits within this waiting time. It is only necessary to output the key data KTDM after waiting for the key data (KTDM) of a plurality of pressed keys to stably appear. For this purpose, it is preferable to provide a waiting time setting circuit 56 in the multiplexer 12 to prohibit the key data KTDM from being output for a certain waiting time after a new key is pressed on the keyboard 11. . Details of the waiting time setting circuit 56 are not particularly shown.

As described above, keys that are pressed a predetermined number or more in the vicinity are automatically classified into an accompaniment group, so that the entire keyboard range of the keyboard 11 can be utilized as an accompaniment key range. That is, as long as a predetermined number or more keys are pressed nearby in any key range, those pressed keys become accompaniment tone designated keys. Additionally, if less than a predetermined number of keys are pressed in the vicinity, the keys pressed less than the predetermined number are automatically classified into a melody group, so the entire keyboard range of the keyboard 11 can be used as a melody key range. is also possible.

By the way, in the embodiment shown in FIG. 1, only keys that have been pressed a predetermined number of times or more in the vicinity are distinguished as an accompaniment group. An inconvenience occurs when the is pressed. This single finger mode is a mode in which only one key corresponding to the root note is pressed on the keyboard, and chord constituent notes are automatically formed based on this root note designated key and a separately designated chord type. When performing in this single finger mode, only one accompaniment tone designated key is pressed on the keyboard 11, so the first
In the configuration shown in the figure, it is not possible to distinguish this as an accompaniment tone specifying key, but instead it is discriminated as a melody tone specifying key. FIG. 3 shows an embodiment that improves this point.

In the embodiment shown in FIG. 3, one octave from the lowest key C2 to key B2 is reserved as a key area exclusively for accompaniment performance, and a predetermined number or more keys are simultaneously pressed in the vicinity, and the number of pressed keys is If at least one of the keys belongs to the accompaniment-only key range, all of the pressed keys exceeding a predetermined number are distinguished as accompaniment tone designated keys, so that the accompaniment key range can be substantially expanded freely. It is something. As a result, in single finger mode, by pressing a desired root note designation key in the lowest one-octave key range (C2 to B2), this single pressed key can be distinguished as an accompaniment note designation key. can.

In FIG. 3, parts with the same symbols as in FIG. 1 (keyboard 11, multiplexer 12, shift register 15, AND circuits 16 to 22, 38, 3
9, mode selection switch 37, pulse extension circuit 2
3 to 28, 41, shift registers 47, 53, melody tone forming circuit 49, accompaniment tone forming circuit 50, tone selection means 51, 52, automatic accompaniment pattern generator 54, and sound system 55) are those shown in FIG. It works the same way. The detection circuit 13A has AND circuits 56 to 56 for the detection circuit 13 in FIG.
60, an OR circuit 61, and a pulse extension circuit 62 are added. Further, while the AND circuits 31 to 35 in the detection circuit 13 in FIG. 1 are of a three-input type, the AND circuits 31' to 35' in the detection circuit 13A in FIG. 3 are of a four-input type. The output PE8 of the pulse extension circuit 62 is input as the fourth input of each AND circuit 31' to 35'. The pulse extension circuit 62 is the pulse extension circuit 4
Like 1, it consists of a 12-stage/1-bit shift register 42' and an OR circuit 43' into which the outputs of all stages are input, and extends the signal "1" given from the OR circuit 61 into a pulse with a 12-bit time width. AND circuits 56 to 60 include AND circuit 1
6 to 20 outputs are input respectively, and the other inputs have at least one octave key range (key range only for accompaniment).
A signal AK indicating the scanning timing of C2 to B2) is commonly input. The outputs of the AND circuits 56 to 60 are input to a pulse extension circuit 62 via an OR circuit 61.

The first to twelfth stages of the shift register 53, which sequentially shifts the scan start timing signal SY in accordance with the clock pulse φ, sequentially shift the scan start timing signal SY to "1" corresponding to the scan timing of the 12 keys from the lowest key C2 to B2.
is output. Therefore, this shift register 53
By inputting the outputs of all stages to the OR circuit 63, the output of the OR circuit 63 becomes "1" corresponding to the scan timing of at least one octave key range (keys C2 to B2). The output of this OR circuit 63 is used as the accompaniment key area timing signal AK (see FIG. 4). The output of the twelfth stage of the shift register 53 is applied to the tone forming circuits 49 and 50 as a signal SY* obtained by delaying the scan start timing signal SY by 12 bits, and is also input to the shift register 64. The shift register 64 has 12 stages/1 bit, and is shift-controlled by a clock pulse φ. The outputs of all stages of this shift register 64 are input to an OR circuit 65, and the OR circuit 65 outputs an accompaniment dedicated key range timing signal.
Signal AK* (4th
(see figure) is obtained. The reason for delaying the signal AK is that the time division multiplexed key data KTDM is delayed by 12 bits in the shift register 47.
This is to synchronize with KTDM*.

As mentioned above, the AND circuit 1 of the detection circuit 13A
From 6 to 20, "1" is output at the scanning timing of the pressed keys corresponding to the lowest to fifth bass notes. AND circuits 56 to 60 operate when signal AK is "1", that is, at least one octave key range (key range).
It becomes possible to operate at the scanning timing of C2 to B2). Therefore, when the lowest to fifth bass notes belong to at least one octave key range (accompaniment-only key range), the conditions of AND circuits 56 to 60 are satisfied,
“1” is input to the pulse extension circuit 62 via the OR circuit 61. With this configuration, the output PE8 of the pulse extension circuit 62 is changed from the timing 1 bit time after the key data KTDM that first occurred at the scan timing of the at least one octave key range to the last one that occurred at the scan timing of the at least one octave key range. Key data KTDM 12
It remains 1” until after the bit time.

For example, as shown in (Example 1) in Figure 4, the key
Key data at scan timing of F2, A2, C3, F3
If KTDM occurs, the output PE8 of the pulse extension circuit 62 becomes "1" from 1 bit time after the scan timing of the key F2 to 12 bit times after the scan timing of the key A2. Further, as shown in (Example 2) in FIG. 4, if the key data KTDM is not generated in at least one octave key range, the output PE8 of the pulse extension circuit 62 does not rise to "1".

The output PE8 of the pulse extension circuit 62 is the AND circuit 3
It is commonly input to 1' to 35'. The remaining three inputs of each AND circuit 31' to 35' are connected to the lowest tone to the sixth tone, similarly to the AND circuits 31 to 35 in FIG.
Outputs of pulse extension circuits 23 to 28 regarding bass sounds
The outputs of the AND circuits 18 to 22 regarding PE1 to PE6 and the third to seventh bass tones are sequentially input in three tones. With this configuration, the AND circuit 3
The conditions 1' to 35' are not met simply by the fact that three keys are pressed within one octave, but if three or more keys are pressed within one octave and at least one of them is pressed. This only holds true if the key belongs to at least one octave key range. If the lowest pressed key among the three pressed keys within one octave range belongs to at least one octave key range,
The period from 1 bit time after the scan timing of the lowest pressed key to 12 bit times after (that is, during the scan timing for one octave on the treble side)
The output PE8 of the pulse extension circuit 62 becomes “1”,
AND circuits 31' to 35' become operational. During the one-octave scanning timing when the AND circuits 31' to 35' are enabled by the signal PE8, the key data KTDM of the remaining pressed keys among the three keys pressed within one octave range. Since all are generated, the conditions of the AND circuits 31' to 35' are satisfied at the timing of the highest note among the three keys. The outputs of the AND circuits 31' to 35' are passed through the OR circuit 36 as a signal 3K to the discrimination circuit 14A.
is input.

In the case of (Example 1) in FIG. 4, the condition of the AND circuit 31' is satisfied at the scanning timing of the pressed key C3, which is the third low tone, and the condition of the AND circuit 32' is satisfied at the scanning timing of the pressed key F3, which is the fourth low tone. When the condition is met, the signal 3K output from the OR circuit 36 becomes "1" twice at the scanning timing of keys C3 and F3.

Signal 3K is applied to AND circuits 38 and 39. The portions consisting of AND circuits 38, 39, OR circuit 40, pulse extension circuit 41, inverter 48 and mode selection switch 37 operate in the same manner as the portions with the same reference numerals in FIG. That is, switch 37
When the switch 37 is off (in the first mode), all signals 3K are extended to a 12-bit time width and output as the accompaniment group discrimination signal ACC, and when the switch 37 is on (in the second mode), In response to only the first signal 3K, an accompaniment group discrimination signal ACC having a time width of 12 bits is output (see (Example 1) in FIG. 4).

The discrimination circuit 14A unconditionally discriminates key data KTDM* of at least one octave key range (accompaniment-only key range) as accompaniment key data AKTDM, and furthermore, only when single finger mode is not selected, accompaniment group The key data KTDM* corresponding to the discrimination signal ACC is used as accompaniment key data.
Distinguish as AKTDM. Single finger mode is selected when single finger mode selection switch SF-SW is turned on. The signal "1" output from the turned-on switch SF-SW is applied to the AND circuit 66 and to the inverter 67, and "0" is input to the AND circuit 68.
The other input of the AND circuit 68 is the pulse extension circuit 4.
1, an accompaniment group discrimination signal ACC is added. The output of the AND circuit 68 is applied to the AND circuit 44' and the inverter 45' via an OR circuit 69 as a discrimination control signal ACC'. Inverter 4
The inverted signal of the signal ACC' output from the circuit 5' is input to the AND circuit 46'. The other input of the OR circuit 69 is applied with an accompaniment dedicated key range timing signal AK* delayed by 12 bits. Therefore, in the single finger mode, the AND circuit 68
At this point, the signal ACC is blocked, and only the accompaniment-only key range timing signal AK* becomes the discrimination control signal ACC'.

The other inputs of the AND circuits 44' and 46' include the SF chord constituent note key data SFKTDM* or the key data selected by the AND circuit 70 or 71.
Either one of KTDM* is input via the OR circuit 72. AND circuits 70 and 71 are controlled by the output of AND circuit 66. The accompaniment key range timing signal AK* delayed by 12 bit time is input to the AND circuit 66, and in the single finger mode, the key data KTDM* of the accompaniment key range (minimum 1 octave key range) is input to the shift register 47. “1” only when output from
Output. The output of the AND circuit 66 is applied to an AND circuit 70, inverted by an inverter 73, and applied to an AND circuit 71. The key data from the shift register 47 is input to the other input of the AND circuit 71.
KTDM* is inputted to the other input of the AND circuit 70 from the SF chord constituent tone key data forming circuit 74.
SF chord constituent note key data SFKTDM* is input. Therefore, in the single finger mode, the AND circuit 71 becomes inoperable at the timing when the key data KTDM* of the accompaniment-only key range is output, and the key data KTDM* of the accompaniment-only key range is output.
is prevented. Instead, the AND circuit 70 becomes operational, and the SF chord constituent tone key data is generated.
SFKTDM* is selected. The reason for blocking key data KTDM* in the accompaniment-only range is that in single-finger mode, the keys pressed in the accompaniment-only range do not actually indicate the notes to be played, but instead indicate the root of the accompaniment chord. This is because it indicates sound.

The SF chord constituent note key data forming circuit 74 receives chord designation key data from the AND circuit 75.
Time-division multiplexing key data of chord constituent tones based on RTDM and chord type selection data CHD
Form SFKTDM*. The time-division multiplexed key data KTDM output from the multiplexer 12 and the accompaniment dedicated key area timing signal AK output from the OR circuit 63 are input to the AND circuit 75. Therefore, the key data KTDM* of the key pressed in the accompaniment-only key area (keys C2 to B2) is selected as the root note designation key data RTDM. The chord type selection data CHD is given from an appropriate chord type selection means (not shown), and includes major, minor,
Indicates the type of chord such as 7th. The SF chord constituent note key data forming circuit 74 generates data corresponding to the note name of each note constituting one chord determined by the root note specification key data RTDM and the chord type selection data CHD, and the key data KTDM*. Outputs chord constituent note key data SFKTDM* as time division multiplexed data synchronized with note name timing.

The SF chord constituent tone key data forming circuit 74 can be configured as shown in FIG. 5, for example. 12 root note specified key data RTDM via OR circuit 76
It is input to the stage/1 bit shift register 77 and shifted sequentially in accordance with the clock pulse φ.
The first stage to the eleventh stage of this shift register 77
The timing when “1” is output from the stage is
Minor 2nd (2 ^b ) to major 7th relative to the root note (RTDM)
They are each synchronized with the scanning timing of the pitch name having a pitch of degree (7). Also, the timing at which “1” is output from the 12th stage is the root note, that is, 1
It is synchronized with the scan timing of the note name corresponding to degree (1). In the selection logic 78, the shift register 7
Among the outputs of each stage of 7, the number of tones corresponding to the chord type designated by the chord type selection data CHD are selected, multiplexed, and output as chord constituent tone key data SFKTDM*. For example, if the data CHD indicates a major chord, the 12th stage output corresponds to the 1st (1), the 4th stage output corresponds to the major 3rd (3), and the perfect 5th
The output of the seventh stage corresponding to degree (5) is selected respectively. The NOR circuit 79 has the first
Signals obtained by inverting the outputs of the stages to the 11th stage and the outputs of the 12th stage by an inverter 80 are input, and the output is returned to the shift register 77 via the OR circuit 76. shift register 7
When all the contents from the 1st stage to the 11th stage of 7 are "0" and only the 12th stage contains "1", the output of the NOR circuit 79 becomes "1", and the root note (RTDM) “1” circulates in the shift register 77 at the appropriate timing.

With the above configuration, when the root note specification key data RTDM is selected at the timing of the signal AK, the SF chord constituent note key data SFKTDM* formed based on this key data RTDM is reliably generated at the timing of the signal AK*. be done. Therefore, when the AND circuit 70 (FIG. 3) becomes operational at the timing of the signal AK* in the single finger mode, the chord constituent tone key data
SFKTDM* is reliably generated from circuit 74.
Key data selected by AND circuit 70
SFKTDM* is input to AND circuits 44' and 46' via OR circuit 72. At this time the signal
Since ACC′ is “1” corresponding to signal AK*, key data SFKTDM* is output from AND circuit 4.
4' and supplied to the accompaniment tone forming circuit 50 as accompaniment key data AKTDM.

When the signal AK* falls to “0”, the AND circuit 66
The output becomes "0", and the AND circuit 71 becomes operational. Therefore, the key data KTDM* of keys other than the one-octave key range (C3 to C6) is selected by the AND circuit 71 and input to the AND circuits 44' and 46' via the OR circuit 72. At this time the signal
Since ACC' falls to "0" in response to signal AK*, key data KTDM* is selected by AND circuit 46' and inputted to melody tone forming circuit 49 as melody key data MKTDM. Therefore, in the single finger mode, the key range other than at least one octave (keys C3 to C6) is used as the key range for melody performance.

If single finger mode is not selected, press single finger mode selection switch SF.
-SW is off, and the output "0" of the switch SF-SW disables the AND circuit 66, while the output "1" of the inverter 67 enables the AND circuit 68. Based on the output "0" of the AND circuit 66, the AND circuit 71 is always enabled to operate, and the key data KTDM* is always selected in the AND circuit 71. Further, the accompaniment group discrimination signal ACC is selected via the AND circuit 68 which has become operational, and is applied to the OR circuit 69. Therefore, the discrimination control signal ACC' output from the OR circuit 69 is a combination of the signals AK* and ACC. As a result, key data KTDM* belonging to at least one octave key range (key data KTDM* generated when signal AK* is "1")
Of course, among the key data KTDM* on the treble side of the at least one octave key range, KTDM* generated when the signal ACC is "1" is also discriminated as accompaniment key data AKTDM. That is, 1
If three or more keys are pressed within the octave range, and at least one of them belongs to the accompaniment-only range (at least one octave range), the three keys are pressed.
Even if there are keys that do not belong to the accompaniment-only range among the keys pressed above the key, the signal ACC is generated to cover all the keys pressed above the 3 keys. All of the pressed keys are distinguished as accompaniment tone designated keys. Therefore, when the single finger mode is not selected, the accompaniment performance is not limited to the accompaniment-only key range (at least one octave key range), and the nearby key ranges can also be used for accompaniment performance.

In the above embodiment, the multiplexer 12
Although the scanning is performed in order from the low-pitched keys, it goes without saying that the present invention can also be applied to a device in which scanning is performed from the high-pitched keys. In that case, the key range to which a predetermined number or more of pressed keys belong is specified, based on the lowest note among the detected predetermined number or more of pressed keys, and corresponding to a certain pitch range on the treble side. , substantially the same discrimination as in the above embodiment is performed. In addition, when the second mode is selected, a predetermined number of minutes (3
In the embodiment shown in the drawings, the signal ACC with a 12-bit time width is generated in response to only the first signal 3K, in order to distinguish the pressed keys into accompaniment groups. In this case, the signal ACC having a 12-bit time width may be generated in response to only the last signal 3K.

In the above embodiment, the multiplexer 12 is used as the key press information generating means to generate time-division multiplexed key data KTDM as the key press information, but a key press information generating means having a different configuration may be used. It is also possible to use For example, data consisting of a multi-bit key code is used as key press information, or the output of each key switch is extracted in parallel and used as key press information.
The present invention can also be applied to.

Further, in the above embodiment, the detection circuits 13, 13A
The key press information is divided into two groups (for melody and for accompaniment) based on the output signal 3K of , but it is also divided into three groups (for example, for melody, accompaniment chord, and accompaniment bass tone). It is also possible to do so. For example, keys that are pressed in the vicinity of three or more keys are classified into an accompaniment chord group, keys pressed on a lower note side are classified as an accompaniment bass note group, and keys pressed on a higher note side are classified as a melody group. It is also included in one embodiment of this invention. In addition, a part of the keyboard is provided with an accompaniment-only keyboard area, and not only in the vicinity of this accompaniment-only keyboard area, but in short, if more than a predetermined number of keys are pressed close to each other, all of the keys that are pressed in the predetermined number or more are pressed. It is also included in the embodiment of the present invention to distinguish the music into accompaniment groups.

In addition, the detection circuits 13 and 13A and the discrimination circuit 1
The configurations of 4 and 14A are also not limited to those shown in FIGS. 1 and 3. For example, the detection circuits 13, 13A
The outputs of the pulse extension circuits 23 to 28 and the AND circuits 18 to 22 for three keys are connected to the AND circuit 3.
1 to 35 (31' to 35'), a counter and a comparator are provided to count the number of pressed keys existing within one octave range from a certain pressed key, and when the counted number is a predetermined number. It is also possible to adopt a configuration in which a comparator compares and determines whether or not the number is greater than or equal to the number.

Further, in the above embodiment, the keyboard 11 has the key C2.
to C6, and is intended for a single-level keyboard. However, the present invention can also be applied to electronic musical instruments equipped with multiple keyboards. For example, when the present invention is applied to a device having an upper keyboard and a lower keyboard, the upper keyboard and the lower keyboard are regarded as one keyboard, and the detection circuits 13 and 13A and the discrimination circuit 1
4, 14A may be performed. In this way, it is possible to flexibly expand the key range to which the musical tone formation mode (melody performance) for the upper keyboard is applied, spanning both the upper keyboard and the lower keyboard, and similarly, the musical tone formation mode for the lower keyboard can be expanded. Mode (accompaniment performance)
The range to which this is applied can be flexibly expanded to span both the lower and upper keyboards.

As explained above, according to the present invention, when it is detected that a predetermined number or more keys sufficient to form a chord are pressed within a certain pitch range, the predetermined number or more of the detected pressed keys A key range to which a predetermined number or more of pressed keys belong is identified corresponding to the certain pitch range on the bass side or treble side, using the highest or lowest note as a reference, and the keys within the specified key area are Since key press information related to pressed keys is classified into a different group from at least key press information related to pressed keys in other key ranges, the key range corresponding to each group is not fixed, and the key pressed state can be changed. Therefore, when musical tones are formed in different modes, there is no restriction on the key range to be used for each mode, which is an excellent effect. Therefore, for example, there is an excellent effect that there is no restriction on the key range that can be used for accompaniment performance and melody performance.
Further, according to the second invention, when it is detected that a predetermined number or more keys are pressed within the predetermined pitch range, it is determined that the predetermined number or more keys are pressed within the predetermined pitch range. Among all detected pressed keys, pressed key information corresponding to the predetermined number of pressed keys on the bass side is classified into a group different from at least pressed key information corresponding to other pressed keys. Therefore, even if a predetermined number of pressed keys that are to become an accompaniment sound and a pressed key that is to be a melody sound are pressed close to each other within the above-mentioned fixed pitch range, the bass side that should be an accompaniment sound is This provides an excellent effect in that the predetermined number of pressed keys and the pressed keys close to the predetermined number of pressed keys that should produce a melody sound can be separated into different groups.

Further, according to the third invention, a specific limited key range is secured as an accompaniment-only key range, and keys that are pressed a predetermined number or more in the vicinity of the accompaniment-only key range are classified into an accompaniment group. By doing so, even when fewer than a predetermined number of keys are pressed as accompaniment sounds, the keys pressed less than the predetermined number can be reliably distinguished into accompaniment groups, and when playing accompaniment sounds consisting of a predetermined number or more, This has the excellent effect of being able to flexibly expand the usable key range.

[Brief explanation of the drawing]

FIG. 1 is a block diagram showing one embodiment of this invention, FIG. 2 is a timing chart for explaining the operation of FIG. 1, FIG. 3 is a block diagram showing another embodiment of this invention, and FIG. 3 is a timing chart for explaining the operation of FIG. 3, and FIG. 5 is a block diagram showing an example of the SF chord constituent tone key data forming circuit of FIG. 3. 11...Key area, 12...Multiplexer (key press information generation means), 13, 13A...Detection circuit, 1
4, 14A...Discrimination circuit, 23-28, 41, 6
2... Pulse extension circuit, 37... Mode selection switch, 49... Melody tone forming circuit, 50...
...Accompaniment tone forming circuit, KTDM, KTDM＊...
Time division multiplexed key data, SY, SY*...Scanning start timing signal, 3K...Signal indicating that three or more keys are being pressed nearby, ACC...Accompaniment group discrimination signal, MKTDM...Key data for melody , AKTDM...Accompaniment key data.

Claims (1)

[Scope of Claims] 1. A keyboard, a key press information generating means for generating key press information corresponding to pressed keys on the keyboard, and a chord generating means based on the key press information generated from the key press information generating means. a detection means for detecting whether or not a predetermined number or more keys sufficient to constitute a configuration are pressed within a certain pitch range; When it is detected that the predetermined number or more of pressed keys are pressed, the predetermined number or more correspond to the certain pitch range on the bass side or the treble side based on the highest or lowest note of the detected pressed keys. Identify the key range to which the pressed key belongs,
Among the key press information generated by the key press information generating means, key press information regarding pressed keys in the specified key range is classified into a different group from at least key press information regarding pressed keys in other key ranges. An electronic musical instrument comprising: a discriminating means; and a musical tone forming means for forming musical tone signals corresponding to key press information discriminated into each group by the discriminating means in a different manner for each group. 2. The electronic musical instrument according to claim 1, wherein the certain pitch range is one octave. 3. A keyboard, a key press information generating means for generating key press information corresponding to pressed keys on the keyboard, and a predetermined number of keys sufficient to form a chord based on the key press information generated from the key press information generating means. a detecting means for detecting whether or not the above-mentioned keys are pressed within a predetermined pitch range; , the pressed key information corresponding to the predetermined number of pressed keys on the bass side among all the pressed keys detected to be pressed a predetermined number or more within the certain pitch range, at least for the other pressed keys. A discriminating means for discriminating key pressed information corresponding to pressed keys into groups different from each other; and a musical tone forming means for forming musical tone signals corresponding to the key pressed information discriminated into each group by the discriminating means in a different manner for each group. An electronic musical instrument equipped with means and. 4 a keyboard; a key press information generating means for generating key press information corresponding to a pressed key on the keyboard; a detection means for detecting whether or not a predetermined number or more keys sufficient to form a chord are pressed within a certain pitch range belonging to at least one of a key range and a second key range adjacent thereto; When the means detects that the predetermined number or more keys are pressed within the predetermined pitch range, the key of the highest note or the lowest note among the detected predetermined number or more pressed keys is used as a reference. identifying a key range to which a predetermined number or more of pressed keys belong corresponding to the certain pitch range on the bass side or the treble side;
Of the key press information generated by the key press information generating means, key press information regarding pressed keys belonging to the first key range is always distinguished into the first group, and pressed keys within the specified key range are always distinguished into the first group. a discrimination means for discriminating key press information corresponding to other pressed keys into a first group, and discriminating key press information corresponding to other pressed keys into a second group; and a discrimination means for discriminating key press information corresponding to other pressed keys into a second group; musical tone forming means for forming musical tone signals corresponding to each group in a different manner for each group. 5. The electronic musical instrument according to claim 4, wherein the first key range is the lowest one-octave key range.