JPS6032880B2 - automatic accompaniment device - Google Patents

Description

DETAILED DESCRIPTION OF THE INVENTION The present invention relates to an automatic accompaniment device that can arbitrarily start playing a musical instrument that has functions such as rhythm, automatic bass, and automatic arpeggio while synchronizing these functions.

The circuit configuration of a conventional automatic base or automatic arpeggio is shown in FIG.

In the figure, a chord detection circuit 2 detects a chord played on an accompaniment keyboard I, and outputs a root tone signal and a chord signal representing the type of chord. For example, there are five types of chords: major, minor, seventh, augmented, and diminished.
When performing automatic bass or automatic albeggio accompaniment, the root tone signal is the root note, 3b degree, 3rd degree, 5b degree, 5th degree, 6th degree.
Eight encoders 3 for b degrees, 6 degrees, and 7 b degrees convert the signal into signals corresponding to the respective degrees. On the other hand, a rhythm pulse generating circuit 4 generates a read pulse and an attack pulse for reading out a read only memory (ROM) 5. In the ROM 5, the stored contents are switched according to the type of chord according to the code signal from the chord detection circuit 2, and a selection signal according to the type of chord is outputted according to the output pulse from the rhythm pulse generation circuit 4. ROM5
The selection circuit 6 selects the signals from the encoder 3 according to the selection signal from the encoder 3 and sequentially sends them to the tone gate 7. For example, if a major is designated by the code signal, the selection circuit 6 selectively outputs signals of the root, 3rd, 5th, 6th, and 7b degrees. In the musical tone gate 7, the selection circuit 6
The scale signal is passed through by the signal selected in , the amplitude is controlled by the attack pulse from the rhythm pulse generation circuit 4 in the envelope circuit 8 , and the sound is emitted through the filter 9 , the amplifier 10 , and the speaker 11 . In this conventional configuration, when the number of code types increases, the ROM 5 needs to have the same number of memory contents as the number of code types.
is complicated and expensive.

Also, as the number of code types increases, the number of encoders 3 also increases.
As the number of wires increases, the number of bits of the selection circuit 6 also increases, resulting in a considerably complicated configuration. Furthermore, there were drawbacks such as difficulty in octave control when the progression of the bass or alveggio spanned octaves. In contrast, the applicant filed a separate application,
We have proposed an automatic accompaniment device with a simple configuration in which the contents of the ROM and the wiring of the integrated circuit do not change much even if the types of chords increase. That is, a pattern related to one type of chord is stored in the ROM, and is converted into patterns related to various chords by combining with an external circuit such as a note conversion circuit. Explained with an example. Furthermore, one of the problems with conventional automatic accompaniment devices is that automatic accompaniment devices that have a rhythm pattern generation circuit, an automatic bass circuit, an automatic arpeggio circuit, etc. cannot synchronize the performance of these circuits, but operate each circuit separately. It is desirable to insert them arbitrarily, but conventionally each circuit only has a play start switch, so it is quite difficult to synchronize and turn on the switches each time, and synchronization is likely to occur. .

An object of the present invention is to provide an automatic accompaniment device that can arbitrarily start playing a musical instrument that has functions such as rhythm, automatic bass, and automatic arpeggio while synchronizing these functions.

In order to achieve the above object, the automatic accompaniment device of the present invention has a memory for counting pitches using a clock, storing pitch name information and attack information, and outputting pitch name signals and attack signals in binary numbers according to the output of the counter. A circuit, means for storing and deriving a scale signal corresponding to a pitch name signal from the storage circuit, an envelope circuit for controlling the amplitude of the scale signal from the means using the attack signal, and the envelope.

a first switch circuit for resetting each counter of each automatic accompaniment circuit to the same speed; The present invention is characterized in that it includes a second switch circuit that individually controls supply of the attack signal from the memory circuit to the envelope circuit. The present invention will be described in detail below with reference to examples.

FIG. 2 is an explanatory diagram showing the configuration of an embodiment of the present invention, and shows an overall block diagram of an automatic accompaniment device comprising an automatic bass circuit and an automatic arpeggio circuit.

In the figure, during normal accompaniment, a chord played on the accompaniment keyboard opens the musical tone gate 23 in response to a key depression signal from the accompaniment keyboard circuit 21, allowing a scale signal corresponding to the key depression to pass through. The scale signal that has passed through the musical tone gate 23 is sent to the gate 24.
At this time, a rhythm is generated by the rhythm pulse from the rhythm pattern generation circuit 59, and the rhythm signal is transmitted through the filter 25 and the amplifier 26, and at the same time, the rhythm signal is outputted from the rhythm pattern generation circuit 59 through the rhythm sound source 60, the amplifier 61, and the speaker 62. be done. The rhythm pattern generation circuit 59 has a counter 59 that starts counting with a clock reset signal.
11, a ROM 59-2 which outputs a rhythm signal based on the rhythm pattern stored in the counter output and supplies the rhythm pulse to the gate 24, and a ROM 59-2 which outputs the rhythm signal according to the rhythm pattern stored in the counter output and supplies the rhythm pulse to the gate 24; It is composed of gates 59-3 that pass through and output six rhythm sound sources when b3 is turned on. On the other hand, the key press signal is given to the chord detection circuit 22, which detects the root note and chord type and sends it to the automatic bass circuit and automatic arpeggio circuit.

In these circuits, the starting switch SW. By closing a, a reset signal is output from the differentiating circuit 27, and the counters 29 and 30 driven by the clock generator 28 and the counter 59-1 included in the rhythm pattern generation circuit 59 are reset, and they are operated synchronously. do it like this.
First, the automatic base circuit reads the contents of the ROM 32 based on the output of the counter 30.

The ROM 32 stores an automatic bass pattern corresponding to the C major chord, and outputs a pitch name signal in binary according to the pattern. Table 1 shows these pitch name signals in 4-bit binary numbers. Various patterns can be obtained by changing the contents of the ROM 32 according to the type of rhythm, such as samba, mambo, bahud, etc., by inputting the automatic bass pattern output from the ROM 32 using a pattern selection switch (not stored). This pitch name signal is stored in the latch circuit 36 using the attack signal from the ROM 32 as a latch pulse.

This attack signal is applied to a latch circuit 36 and an envelope circuit 54 via a gate circuit 34, as shown in Table 1 and Table 2.

In this case, the gate circuit 34 is connected to the performance switch SW. This allows the attack signal to pass when b2 is closed. That is, starting switch SW. a, reset the counter 30, and read the bass pattern from the ROM 32, the performance switch SW. Unless b2 is closed, no attack signal is applied to the envelope circuit 54 and no musical tone is generated. Now, the note name signal stored in the latch circuit 36 is input to the note conversion circuit 39. Here, the chord signal from the chord detection circuit 22 is converted into a pitch name signal corresponding to the type of chord. Table 2 shows how notes are converted depending on the type of chord, typically for a bass progression in a swing rhythm. The pitch name signal corresponding to the type of chord is then added to the root tone signal from the chord detection circuit 22 in an adding circuit 41. The root signal is also output as a 4-bit binary number as shown in Table 1. Table 3 shows, as an example, the relationship between the input and output of the adder 41 when the root note is F"0101". Table 3: The 5-bit note name signal added to the root note signal by the addition circuit 41 is 1
It is converted into a decimal number by a decimal conversion circuit 43.

Table 4 shows the input/output relationship of this 16-decimal conversion circuit. The most significant of the 5 bits is carried up by the numerical value 13, and this carry signal is sent to the gate 52, and the lower 4 bits are sent to the tone gate 47.

A fourth table tone gate 47 derives a scale signal corresponding to the lower four bits of the fourth table output.

The derived scale signal is frequency-divided by 1'2 and 1/4 in a frequency dividing circuit 50, and input to a gate 52, respectively.

At the gate 52, the 1/2 frequency division output and the 1/4 frequency division output are selected by the above-mentioned carry signals "0" and "1" from the 1st arm-to-12 conversion circuit 43, and the output is sent to the envelope circuit 54. Sent. The envelope circuit 54 controls the amplitude of the scale signal using the aforementioned attack signal. Thereafter, the sound is emitted through a filter 56, an amplifier 58, and a speaker 63. Next, the automatic arpeggio circuit will be explained. Similarly to the automatic base circuit, the ROM 31 is
Read out. The ROM 31 stores an albeggio pattern corresponding to a C major chord, and outputs a pitch name signal in a 2-bit binary number and an octave signal in a 2-bit binary number. Here, in the case of albeggio, four types of note name signals can be output with 2 bits, but this is because albeggio usually consists of only three or four tones that make up a chord. Since the albeggio spans several octaves, four types of octave signals are prepared. The albeggio pattern can be changed to R with a pattern selection switch that changes the pattern depending on the IJ rhythm such as mambo, swing, march, etc.
It is also possible to obtain various patterns by switching the contents of OM31. These pitch name signals and octave signals are stored in the latch circuit 35 using the attack signal from the ROM 31 as a latch pulse. Here, the gate circuit 33 is the performance switch SW. This is to allow the attack signal to pass when the bl is closed. That is, as in the automatic base case, the start switch SW. a, reset the counter 29, and read out the pitch name signal and octave signal of the albeggio pattern from the ROM 31, even if the performance switch SW.
Unless bl is closed, no attack signal is given to the envelope circuit 53 and no arpeggio sound is generated. Now,
The 2-bit note name signal stored in the latch circuit 35 is input to the code conversion circuit 37, where it is converted into a 4-bit C, E, G visual field blue name signal. Further, this pitch name signal is converted by the note conversion circuit 38 into a pitch name signal corresponding to the chord type of the chord signal from the chord detection circuit 22. Table 5 shows that 2-bit famous signals are divided into 4 bits depending on the code type.
This shows an example of conversion into a bit pitch name signal. Table 5 The pitch name signal thus converted into 4 bits is then passed through the adder circuit 401 to the chord detection circuit 22.
It is added with the daughter signal from .

This adder circuit 40 is the adder circuit 4 in the automatic base circuit.
It is the same as 1. The 16 5-bit pitch name signals added to the root note in the adder circuit 40 are converted into 5-bit hexadecimal numbers in the 16-decimal conversion circuit 42 using the same method as the input/output relationship in Table 4 above. The musical tone gate 46 derives a corresponding scale signal. The derived scale signal is divided into four frequency division ratios 1'2, 1/4, 1/&1/ in the frequency dividing circuit 49.
The frequency is divided into 16. On the other hand, 2 stored in the latch circuit 35
The bit octave signal is converted into 16-12 bits by the adder circuit 48.
It is added to the most significant carry signal from the decimal conversion circuit 42,
The signal from the frequency dividing circuit 49 is subjected to octave control at the gate 51 and selectively derived. The amplitude of the signal passing through the gate 51 is controlled by an attack signal in an envelope circuit 53, and the sound is emitted through a filter 55, an amplifier 57, and a speaker 62. Next, a detailed view of the main parts of the embodiment shown in FIG. 2 will be explained.

FIG. 3 shows a specific circuit from the clock generator 28 in FIG. 2 to the latch circuit 36 in the automatic base circuit and to the latch circuit 35 in the automatic arpeggio circuit, and these circuits are common to both.

Starting switch SW. When a is closed, delay circuit 1 16 and N
Create a trigger pulse by AND circuit 1 1 1,
Counters 30 and 29 are reset. counter 30,2
9 is the first counter (flipflop FFIOI~F
FI05) and the second counter (FFI06 to FFIIO
), and the Q output of each FF of the second counter C, ~
The contents of ROM32 and 31 are read by C5, and if the automatic bass is used, the output terminal is a 4-bit note name signal (1 to 4).
and attack signal, and in the case of automatic arpeggio, a 2-bit note name signal (1, 2) and a 2-bit octave signal (1, 2).
2) and output an attack signal. This pitch name signal (1 to 4
) or pitch name signal (1, 2) and octave signal (1, 2)
) are the latch circuits 36 and 35, that is, the D-type FFs 121 to 1.
24 to each D terminal, and press the performance switch SW. If b is closed, the attack signal is sent to NAND circuit 1 12,
1 1 3 and each D type FF 121 to 124
It is input as a latch signal to the C terminal of , and the note name signal or octave signal of the ◯ terminal is stored and sent to the next stage note conversion circuits 39 and 38. Also, the attack signal is N
Envelope circuits 54 and 5 through AND circuit 1 13
Sent to 3. The pattern selection switch terminal selects the type of rhythm, such as rock, waltz, mambo, swing,
Specify ballad etc. In this case, a priority circuit 117 determines the priority order when these rhythms are specified at the same time.
is provided. ROM3 depending on the specified rhythm
2, 31 terminal CTR (address counter) mode 3,
The status of double tempo and PD (pre-divider) mode 3 changes. For example, if it is locked, PD mode 3 is “1”.
”, the first counter is ternary corrected through NAND circuit 115, and if swinging, CTR mode 3 is “
1'', the second counter is corrected in ternary form through the NAND circuit 114, and if it is a waltz, PD mode 3 and CTR mode become 1'1'', and the first and second counters are corrected in ternary form. The double tempo becomes "1" and the FFI05 is operated as an inverter.Table 6 shows an example of the number of counts for one pattern of the first counter and the second counter in pattern selection corresponding to each rhythm. As described above, since the present invention has two control means, the starting switch SW.a and the performance switch SW.b, the starting switch SW.a controls the rhythm pattern generation circuit, the automatic bass circuit, and the sixth shift. It is possible to operate all the arpeggio circuits in synchronization and then use the performance switch SW.b to obtain musical tones from the desired circuits.

Furthermore, since latch circuits 36 and 35 are provided at the outputs of the ROMs 32 and 31, even when a new rhythm is selected or automatic performance is stopped, there is no inconvenience that the sound changes midway or the sustain is interrupted. As explained above, according to the present invention, the pitch name signal and attack signal stored in the memory circuit are outputted in binary numbers according to the output of a counter that counts with a clock, and the pitch name signal from the memory circuit is sent to the gate circuit. A plurality of automatic accompaniment circuits that store and derive a scale signal corresponding to the attack signal, input the scale signal into an envelope circuit, control the amplitude by the attack signal, and convert the output of the envelope circuit into a musical tone by a musical tone conversion circuit, A first switch circuit that commonly resets the counters of each circuit starts all the counters synchronously, and then a second switch provided in a circuit that supplies the attack signal from the memory circuit of each circuit to the envelope circuit. The circuit starts playing each circuit.

As a result, in an electronic musical instrument that has an automatic bass, automatic arpeggio, automatic rhythm playing circuit, etc., for example, at the beginning of a song, only the rhythm performance is automatic and the bass sound is played by the pedal, and then in the middle of the song, the automatic bass can be switched. Furthermore, even when inserting an automatic arpeggio at the climax of a song, the counters installed in each automatic accompaniment circuit are always synchronized, so there is no possibility that the automatic accompaniment circuits will go out of synchronization. do not have. Furthermore, since the attack signal is controlled by the performance switch, even if a sustain is given to the musical tone, there is no inconvenience such as the musical tone being cut off in the middle when the performance switch is turned off.

[Brief explanation of drawings]

FIG. 1 is an explanatory diagram of a conventional example, FIG. 2 is an explanatory diagram showing the configuration of an embodiment of the present invention, and FIG. 3 is a detailed explanatory diagram of main parts of the embodiment of FIG. is an accompaniment keyboard circuit, 22 is a chord detection circuit, 23 is a tone gate, 24 is a gate, 25 is a filter, 26 is an amplifier, 27 is a differentiation circuit, 28 is a clock generator, 29 and 30 are counters, 31 and 32 are Memory circuit (ROM), 33 and 34 are gates, 35 and 36 are latch circuits, 37 is a code conversion circuit, 38 and 39 are note conversion circuits, 40 and 41 are addition circuits, 42 and 43 are LA Hayabusa-decimal conversion circuit, 46 and 47 are musical tone gates, 48 is an addition circuit, 49 and 50 are frequency dividing circuits, 51 and 52 are gates,
53, 54 are envelope circuits, 55, 56 are filters, 57, 58, 61 are amplifiers, 59 are rhythm pattern generation circuits, 59-1 are force counters, 59-2 are R○M, 59
-3 is a gate, 60 is a rhythm sound source, 62 and 63 are speakers, SW. a is the first switch circuit, SW. bl,SW
．． b2, SW. b3 indicates a second switch circuit. Figure 1 Figure 3 Figure N Bran

Claims (1)

[Claims] 1. A counter that counts by a clock, a memory circuit that stores note name information and attack information and outputs a note name signal and an attack signal in binary according to the output of the counter, and corresponds to the note name signal from the memory circuit. a plurality of automatic accompaniment devices comprising: means for storing and deriving a scale signal obtained from the means; an envelope circuit for controlling the amplitude of the scale signal from the means by the attack signal; and a musical tone conversion circuit for converting the output of the envelope circuit into a musical tone. a first switch circuit comprising a circuit and commonly resetting each counter of each automatic accompaniment circuit;
An automatic accompaniment device comprising a second switch circuit that individually controls supply of attack signals from the memory circuits of each of the automatic accompaniment circuits to the envelope circuit.