JPS6322313B2 - - Google Patents

Description

[Detailed description of the invention]

The present invention relates to an electronic musical instrument that automatically performs multitone performances. One of the musical playing methods is the multitone playing method. This is a method of playing a plurality of notes at the same time in a melody performance. Usually, one or more notes are played overlapping (simultaneously) in a certain interval relation to the melody, and this is used to enhance the sense of melody. Although this technique of overtone playing has great musical effects, it required a relatively high level of performance technique, so not everyone could easily perform it. Therefore, an electronic musical instrument that can automatically play multiple notes is desired, but
It has been difficult to obtain a musically preferable multitone performance effect using conventionally known devices. As an electronic musical instrument that achieves an effect similar to multitone performance, Japanese Patent Publication No. 53-17895 (U.S. Patent No. 39290051)
(No.). This is a system that enriches melody performances by automatically adding harmonized tones to melody sounds.In detail, the melody is created by adding multiple notes (chords) actually played on the accompaniment keyboard. The sound is produced within the range of one octave below the note. However, since this simply adds the same note as the chord to the melody note, it is not possible to obtain a musically preferable overtone performance effect. In contrast, an electronic musical instrument intended for full-scale multitone performance has been disclosed in an earlier application (Japanese Patent Application No. 170939/1982). This involves specifying the key of the song to be played in advance, selecting a note that has a predetermined interval relationship to the melody note from among the scale notes of the specified key, and adding this as a double note to the melody note to produce it. This is how it was done. In addition, the conditions for selecting notes to be added as double notes are changed depending on whether the accompaniment chord is composed of diatonic notes or non-diatonic notes in a specified key, thereby adding musically reasonable double notes. This is attempted in the above-mentioned prior application. However, it has recently become clear that if the selection conditions for overtones are determined uniformly based only on the diatonic nature of the key and accompaniment chords, musical unnaturalness may occur. In addition, in the above-mentioned prior application, "modulation", "passing sound", "shuno",
Various exceptional measures have been considered that take musical theory into account, such as "hanging notes" and "final forms," but it is possible to perform heavy notes without making even a part of the music feel unnatural. We have not yet reached the point where it can be carried out. Furthermore, a problem arises in that a large number of processing circuits must be added for such exceptional handling. This invention was made in view of the above points,
To provide an electronic musical instrument capable of automatically performing multitone performance without musical unnaturalness. The purpose of this is to introduce modes, which are musical concepts, into multitone performance, automatically determine which mode the musical phrase currently being played on an electronic instrument follows, and select the appropriate mode for each mode. Double key press sound (generally melody sound)
This is achieved by adding to . As is clear from music theory, mode refers to the arrangement of tones around a central note, that is, the arrangement order of whole tones and semitones in a scale. There are seven types of general heptadonic scales (Do, Re, Mi, Hua, So, A, C), and each of them is an "Ionian mode",
"Doric mode", "Frygian mode", "Lydeian mode", "Mixolydeian mode", "Aeolian mode",
It is called the "Locrian mode." Incidentally, if we show the scale arrangement of each mode by scale name, Ionian is "do, re, mi, hua, so, la, shi", and Doric is "re, mi, hua, so, la, shi," Frisia says "Mi, Hua, So, La, Shi, Do, Re", Lydia says "Hua, So, La, Shi, Do, Re, Mi", Mixolydeia says "So, La, Shi, Do, Re, Mi, Hua”,
Aeolia said, “La, shi, do, re, mi, hua, so.”
Lokria is "Shi, Do, Re, Mi, Hua, So, Ra". In this way, it is known that each mode has a different arrangement order of whole tones and semitones of each scale note with the tonic as the center, and that the brightness and darkness of a piece of music differs depending on the mode used. The brightest mode is Lydeia, followed by Ionia, Mixolydeia, and Doria, with Doria being the midway point between light and dark, followed by Aeolia and Phrygia, which become darker in that order, with Locria being the darkest. When composing music, it is not necessary to use a single mode throughout the piece, and one can freely use modes that are effective according to the tension within the flow of the piece. Therefore, in general, it is difficult to uniformly specify the modes used in a series of pieces of music, and it is thought that they change as appropriate. By the way, when it is intended to add preferably harmonized overtones to a melody sound (or a melody flow), it is naturally required that the overtones be suitable for each mode.
This is because the mode is the element that gives an impression of the flavor of the musical phrase. Therefore, by adding overtones appropriate for each mode, it is possible to expect a musically natural overtone performance. This invention was made by paying attention to this point. In this invention, the mode is determined based on the key played (generally an accompaniment chord) and the key that is played along with the pressed key note (generally a melody note) to which a double note should be added. . The chords in each mode are created within a diatonic range, and there is a clear relationship between the chord material and the mode, especially in the case of primary chords, which express the main flavor of each mode. It is known from music theory that it contains distinctive scale notes. Therefore, there is musical rationality in determining modes based on accompaniment chords. Accompaniment chords, that is, absolute chords as pressed on the keyboard (specified by root note name and chord type such as major or minor) alone are insufficient to determine the mode. It is also necessary to consider the position of the tonic note in the scale. Therefore, the mode is determined based on both the key specified in advance before the performance (or it may be specified during the performance) and the accompaniment chord. To this end, a table may be prepared in which modes corresponding to all combinations of keys and absolute chords are stored in advance, but this would increase the storage capacity of the table. Therefore, in one embodiment of the present invention, a means is provided for converting an absolute chord into a relative chord (a chord representation in which the note name corresponding to the tonic is 1 degree and the root tone is expressed as a degree relative to the tonic) according to the tonic of the key. ,
I try to judge modes based on relative chords. This simplifies the table for determining modes based on relative chords. Further, in the present invention, a note to be added as a double tone to a melody note is selected based on the mode determined as described above and the melody note currently being pressed. To do this, it is necessary to prepare in advance suitable overtones corresponding to the various pitches of the melody note for each mode, and then select the overtones based on the determined mode and the absolute pitch of the melody note currently being pressed. Although it is possible to select the following, there is a risk that the scale will become large. Therefore, in one embodiment of the present invention, data indicating intervals for obtaining a suitable double tone (difference for double tone data) are prepared in advance, and difference data is selected based on the relative pitch of the melody note, that is, the relative note.The absolute pitch of the melody note is shifted by the pitch corresponding to this difference data, and then the melody note is selected. I try to find it as the pitch of the double note that should be added to the sound. The relative note of the melody note is obtained by setting the root note of the accompaniment chord to 1 degree and finding the frequency of the melody note with respect to the root note. As a result of musical analysis, it was found that the root note of an accompaniment chord can be treated as the 1st degree of the modal scale at that time, so the degree of the melody note relative to the root note of the accompaniment chord, that is, the relative note, is the 1st degree of the modal scale at that time. It corresponds to the degree of the melody note relative to the scale note, that is, the degree of the melody note in the modal scale. Therefore, if the relative note of the melody note is used as data for specifying the degree of the scale note in the mode at that time, and the difference data for double notes corresponding to that scale note is selected, appropriate double notes can be formed. can. Hereinafter, an embodiment of the present invention will be described in detail with reference to the accompanying drawings. The electronic musical instrument of this embodiment has at least two keyboards or key ranges that are used in different ways. One keyboard or key range is used to press and play notes to which overtones are added (generally melody sounds), and the other keyboard or key range is used to play notes that are accompanied by the pressed keys (melody sounds). It is used to play notes (generally accompaniment chords) by pressing the keys. The pressed sounds of each keyboard or key range are given appropriate tones and produced in the same manner as in ordinary electronic musical instruments. Further, a double tone is automatically generated in addition to the key depression tone of one keyboard or key range, that is, the melody tone. The number of overtones added to the melody tones may be one or more. In the following examples, a double note formed according to the present invention, that is, with consideration to the mode, will be called a ``duet,'' and another double note added separately from this ``duet'' will be called a ``trio.'' There is. FIG. 1 is a block diagram for explaining the principle of overtone formation in an embodiment of the present invention.
The gist of the embodiment will be explained in advance with reference to this. The melody keyboard (or key range) 10 is, for example, an upper keyboard, and the chord keyboard (or key range) 11 is, for example, a lower keyboard. The key specifying section 12 is for specifying the key of the piece of music to be played, and is composed of a switch, for example, but any input means other than the switch may be used. The chord detecting section 13 detects an accompaniment chord being played by pressing a key on the keyboard 11. The chords detected here are absolute chords (A and C), and the root note name and chord type (medium,
(distinctions such as minor, seventh, etc.). Note that the method of pressing the accompaniment chords on the keyboard 11 is not limited to pressing all the keys corresponding to the constituent notes of the chord; it is also possible to press only the root note and select the type of chord in an appropriate manner. A method of specifying a chord, or a method of storing a chord once a key is pressed so that it appears as if the key continues to be pressed even after the key is released, or the like may be adopted as appropriate. The relative chord conversion section 14 changes the absolute chord detected by the chord detection section 13 into a relative chord (R.C) with respect to the tonic of the key specified by the key specification section 12.
Specifically, the root note data of absolute chords (A and C) are converted into frequency data for the tonic of the key. In other words, the relative chord (R.C) indicates how many degrees the chord is in a specified key. The mode determining section 15 determines which mode the musical phrase currently being played is based on the relative chords (R and C). This determination is made based on the table below. In Table 1, the input column contains relative chords (R.
C), and the name of the mode determined corresponding to the relative chord is shown in the output column. Relative chord (R.
To explain the display in C), the Roman numerals at the beginning, ...... indicate the degree of the root note relative to the tonic of the key, and the subscript "7" or "m" or "m7" indicates the seventh chord or minor. It shows a chord or a minor seventh chord. In addition, the root tone degree corresponding to the chromatic scale is displayed for convenience.

【table】

[Table] A # (sharp) is added to the diatonic scale degree of the upper and lower semitones, and it is displayed as I# or #. Further, _n7-5 indicates an alternate minor seventh chord with the root note being the seventh scale note. This is a minor seventh chord where the fifth interval of the chord is a diminished fifth. In the example column (A/C), absolute chords (A/C) corresponding to each relative chord (R/C) are shown.
As an example, a chord in the key of C is shown for reference. The principle of mode discrimination is that when a diatonic chord whose root is the 1st note of a certain mode (i.e., a chord consisting of the primary chord material that best characterizes the flavor of that mode) appears, that mode is determined. is now determined to be used in a song phrase.
Based on this principle, the following chords are determined: relative chords, _n , _n7 , _n , _n7 , ₇ ,
These are Ionia, Doria, Phrygia, Lydeia, Myxolydeia, Aeolia, and Locria, which correspond to _n , _n7 , and _n7-5 , respectively (see Table 1). There are two reasons why mode unknown (mode unknown) exists. One is when it is difficult to determine the mode because the chord is not a diatonic chord (it is a chord that includes chromatic notes), and the other is when the chord is used in two or more modes with equal probability. This is the case when it is difficult to determine the mode because the In this embodiment, when the mode is unknown, a double note is formed depending on the length of the accompaniment chord at that time (whether it includes a major third interval or a minor third interval). Therefore, unknown modes #1 and #2 are distinguished depending on the length of the accompaniment chord. That is, mode unknown modes #1 and #2 are regarded as temporary modes, and unique overtones are added to each mode. Modes marked with * in Table 1 are modes that are determined by regarding them as modulations. this*
The input chords ( ₇ , ₇ ,
#, etc.) are chords that are not normally used in the currently specified key, but are frequently used in other keys. Therefore, it is determined that a modulation has occurred due to the use of these chords, and the mode to which the modulation is to be modulated is determined. For example, relative chords
₇ can be considered to be a relative chord of ₇ at the modulation destination, and a mixolydeia in which 7 is a primary chord is determined in correspondence with _{this 7 .} More specifically, the absolute chord _C7 is a primary chord (one of the main triads) in the key of F, and is not a primary chord in the key of C. Therefore, when the _C7 chord is played in the key of C and the relative chord ₇ is detected, this will be regarded as the dominant chord ₇ in the key of F, and the current mode will be determined to be mixolydeia corresponding to the dominant chord ₇ . be. In this way, the modes marked with * in Table 1 are determined as modulation destination modes. To concretely illustrate the basis for other * marks using the key of C as an example, the relative chord
₇ (absolute chord D ₇ ) is considered a modulation to the key of G,
At the modulation point, this becomes a _V7 chord, so it is determined to be a mixolydeia. Further, # (D#) is considered to be due to the modulation to A# key, and Lydia is determined. (E) is considered to be due to its modulation to the key of E, and is identified as Ionian. ₇ (F ₇ ) is considered to be ₇ due to its modulation to the key of A#, and is identified as Mixolydeia. # (A#) is considered to be due to its modulation to the key of F, and Lydeia is determined. It is classified as minor mixolydeia when it is considered to have modulated to minor. Minor mixolydeia has the same scale arrangement as Phrygia, but if it is considered to have been modulated to the minor key, it is considered to be a minor scale version of Mixolydeia rather than Phrygia in order to give the feeling of a minor scale.
It is preferable to introduce a mode called Mixolydeia to form a special (separate from Phrygian) double note.
Using the C key as an example, when the relative chord is ₇ (absolute chord E ₇ ), it is considered to be a modulation to A minor, and this absolute chord E ₇ becomes _{a 7} chord in A minor, so it is a minor chord. Identified as Mixolydeia.
When the relative chord is ₇ (absolute chord A ₇ ), it is considered to be a modulation to D minor, and since it becomes ₇ at the destination of the modulation, it is judged to be a minor mixolydeia. Also, when the relative chord is ₇ (absolute chord B ₇ ), it is regarded as a modulation to E minor, and since the modulation destination becomes ₇ , it is judged as minor mixolydeia. The relative note converter 16 calculates the relative note (R/N) of the melody note pressed on the keyboard 10. This represents the frequency of the note name of the melody note when the root note of the chord detected by the chord detecting section 13 is one degree. There are 12 types of relative notes (R/N) at semitone intervals from 1st to major 7th. These are: 1st (1°), minor 2nd (b2°), major 2nd (2°), minor 3rd (b3°), major 3rd (3°), and 4th (4°). ,
Reduced 5th (b5°), perfect 5th (5°), minor 6th (b6°),
They are the major 6th (6°), the minor 7th (b7°), and the major 7th (7°). The duet difference data generating section 17 generates duet difference data (double note difference data) suitable for the scale degree indicated by the relative note (R/N) in accordance with the mode determined by the mode discriminating section 15. Output. This duet difference data generation section 17 generates duet difference data △D(3) for a double note in the third mode (usually a double note that is a third below the melody note) or a double note in the sixth mode (usually a note that is a third below the melody note). Either duet difference data ΔD(6) for a double note (6th below the note) is output. This is due to the fact that the following double tone frequency mode switching control is performed. In this embodiment, as a general rule, the duet note is a scale note that is a third lower than the melody note. By the way, when the melody note rises by more than a predetermined number of degrees than the previous note, it is not desirable for the double note to follow this and rise rapidly, and it is preferable that the rise of the double note be small so that the melody progression of the double note is smooth. . Therefore, when a melody note rises by a predetermined degree or more than the previous note, the double note added to the melody note is switched to a note 6 degrees lower, so that the melody progression of the double note becomes smooth. Thereafter, when the melody tone falls by a predetermined number of degrees or more below the previous tone, the double tone added to the melody tone is switched to a tone three degrees lower. The overtone frequency mode switching control section 18 performs the switching control. Note that 3 degrees below or 6 degrees below does not always mean exactly 3 degrees below or 6 degrees below, and there are cases where it is not. Therefore, the mode that is often 3 degrees below is called 3 degrees mode, and the mode that is often 6 degrees below is called 6 degrees mode. The double degree mode switching control unit 18 normally instructs the third mode, but it calculates the pitch between the previous melody sound and the current melody sound, and determines whether the current time is 6 degrees higher than the previous time.
If it is detected that the temperature has increased by more than 6 degrees, the mode is switched to 6 degrees. After that, if it is detected that the current melody tone has fallen by a major second or more than the previous note, the mode is returned to third mode. The reason why we set the interval for returning to third mode to be greater than a major second, or a whole tone, is that the descent of a minor second, or a semitone, is often a temporary descent caused by a strut or a hanging note, and it is quickly returned to its original state. This is because it returns to the height of . If the mode instructed by the overtone degree mode switching control section 18 is the 3rd mode, the duet difference data generating section 17 outputs the duet difference data ΔD(3) for the 3rd mode, and switches to the 6th mode. If so, 6-degree mode duet difference data ΔD(6) is output. Difference data for duets △D(3) and △D(6) determines how many times apart the note is from the melody note.
This is data indicating whether or not it should occur. Since it is necessary to distinguish between semitones and whole tones even if they have the same frequency, the data ΔD(3) and ΔD(6) are expressed as data indicating the number of semitones included in the interval between the double tone and the melody tone to be generated. By the way, data △D(3)
An example of the expression format of and ΔD(6) is as follows. In addition, 1°, b2°, 2°...b7°, 7° are 1 degree,
Minor 2nd, major 2nd...Indicates minor 7th and major 7th.

[Table] The calculation unit 19 indicates the pitch of a double note (duet) by shifting the pitch of the melody note by the pitch indicated by the duet difference data △D(3) or △D(6). Get data DKC. FIG. 2 shows an example of a duet in third mode or sixth mode suitable for each scale note in each mode. This figure 2 shows the overtones that are considered to be the most preferable based on the results of analyzing a large number of songs. The positions of notes on the staff are shown for the case where the key of C is specified. Figure 2 a, b, c, d, e, f, g, h, i, j
Ionia, Doria, Phrygia, Myna Mixolydeia, Lydeia, Mixolydeia, Aeolia, Locria, Mode unknown #1, Mode unknown #2
Shows the scale of. In the key of C, each mode is given the note name of its first degree and is called C ionia, D doria, E Phrygia, E minor mixolydeia, F Lydeia, G mixolydeia, A Aeolia, and B Locria. In this embodiment, even an unknown mode (mode) is regarded as one scale (mode), and a predetermined overtone is added corresponding to each scale note. In that case, mode unknown #1 is regarded as a major scale, mode unknown #2 is regarded as a minor scale, and the root note of the chord at that time is the first degree of the scale. Figure 2 i and j show scales corresponding to chords whose root note is C#. In FIG. 2, the highest note among the three (rarely two) notes that are sounded simultaneously indicates the melody note. The indication of relative notes (R/N) of the melody notes 1° to 7° (1st to major 7th), that is, the indication of the scale degree, is written above each note. The middle note is 3
The lowest note indicates a duet in the 6th mode.
If there are only two notes, this indicates that the double notes in third mode and sixth mode are the same. The basic principle of adding double notes is to select a note that is a third or sixth below the melody note as a double note from among the diatonic notes in the mode. For example, the second
In the Ionian mode shown in Figure a, the relative notes are major 2nd (2°), major 3rd (3°), 4th (4°), and perfect 5th.
This principle applies to melodic notes of degrees (5°), major 6th (6°), and major 7th (7°). in particular,
When pitch name D (scale name R), which is a major second (2°) scale note in C Ionia, is a melody note, note name B, which is a diatonic scale note that is a third below (minor third), is a melody note. (scale name B) is selected as a diatonic note in third mode, and the note name F is the diatonic note 6th below (major 6th below).
(scale name hua) is selected as the double note of the 6th mode. In addition, when the pitch name E (scale name E), which is a major third (3°) scale note in C Ionia, is a melody note, the note that is a diatonic scale note that is a third below it (major third below) is a melody note. Note C (scale name C) is selected as a diatonic tone in third mode, and note name G (scale name G), which is a diatonic note 6th below (major 6th below), is selected as a diatonic note in 6th mode. The selection will be made based on the following. Furthermore, as an exception to the above basic principle, double sounds may be selected based on the following ideas. Exception 1: If the melody note is a chord constituent note and the third or sixth below it is not a chord constituent note, use the chord constituent note at a pitch close to a third or sixth below to create a chord feel. is emphasized. For example, the second
In the Ionian mode shown in Figure A, this exception 1 is applied to melody tones with a relative note of 1 degree (1°). Specifically, when a C major chord is played in the key of C and the C Ionian mode is determined, the note name C (scale name C), which is the 1 degree (1°) scale note in the C Ionian, is the melody. When it's a sound,
As shown in FIG. 2a, instead of the pitch name A, which is a third lower, the pitch name G, which is a constituent note of the chord, is selected as a double note in the third mode. This pitch name G is 4 for pitch name C.
Although it is a lower pitch, it is selected as a double note in the third mode in order to create a sense of chord. The relative note (R/N) indicates the degree of the melody note relative to the root note of the accompaniment chord at that time, and as shown in Table 1 above, the relative note (R/N) indicates the degree of the melody note relative to the root note of the accompaniment chord. It corresponds to the degree tone. Therefore, it is known in advance how many scale notes each constituent note of the chord corresponding to each mode corresponds to in that mode. Therefore, when applying Exception 1, there is no need for any troublesome processing such as searching for chord constituent tones. Note that this exception 1 (as well as other exceptions described below) does not apply to all cases where the above conditions are met, but only to certain cases in consideration of musicality. ing. For example, as shown in Figure 2b, the doric first degree (D
The melody note of the note name D in Doria) is the root note of the accompaniment chord at that time (D _n chord in D Doria), but the double note of the third mode is the chord constituent note (the 5th note of the D minor chord). Instead of the pitch name A), which is a degree tone,
As per the basic principle, it is a diatonic tone (note name B) that is a third below. This is because in a minor chord, the fifth interval is less important than the minor third interval. In other words, even if the basic principle is changed to make the constituent notes of a chord double, it does not help much to strengthen the chord feel of the minor chord, so Exception 1 is not applied. Exception 2...When the melody note is not a diatonic note (a note with a sharp sign) and therefore is not a chord constituent note at that time, but the scale note a semitone below or above it is a chord constituent note. Exception 1 above is applied, assuming that the scale note a semitone below or above is a melody note. This means that the chromatic tones that are a semitone above or below the notes that make up the chord are "transitional notes" in music.
Since they are often closely related to chords as ``shishiyuu-on'', ``shu-on'', ``kake-dume'', etc., they are considered to be diatonic scale notes (i.e. chord constituent notes) a semitone below or above the chord. This is because it is musically reasonable to apply exception 1 above. For example, in the Ionian mode shown in Figure 2a, exception 2 is applied to the melody note whose relative note (R/N) is a minor sixth (b6°). In other words, when the note name G#, which is a minor 6th scale note (chromatic note) in the C Ionian mode, is a melody note, the note name G that is a semitone below it is the accompaniment chord (C major note) at that time. Since it is a chord constituent note, the note name C (scale name C), which is a chord constituent note, is selected as the overtone in the sixth mode, rather than the note B (scale name C), which is the sixth below. Exception 3...The melody note is not a diatonic note, and therefore is not a chord component note at that time, but if the scale note below or above it is a chord constituent note, then If the scale note is considered to be a melody note and the above exception 1 is applied, then 3
The degree mode and sixth degree mode have the same overtone. For example, in the Ionian mode shown in Figure 2a, this exception 3 is applied to the melody note whose relative note (R/N) is a minor second (b2°). That is, C
In the Ionian mode, when the note name C# is a melody note, the note name C that is a semitone below it is a constituent note of the accompaniment chord (C major chord), so the note name G, which is one of the constituent notes of the chord, is changed to 3. Selected as a double note in degree mode and sixth degree mode. Exception 4: If the melody note is a chromatic note, the above basic principle is applied, assuming that the melody note is a chromatic note above or below the melody note. for example,
In the Ionic mode shown in Figure 2a, the relative notes (R/N) are the melody tone of the minor third (b3°) and the minor seventh.
Exception 4 is applied to the melody sound of degree (b7°). In other words, regarding the pitch name D#, which corresponds to a minor third (b3°), the pitch name E that is a semitone above it is considered to be flattened (Eb), and
The pitch name C, which is a degree lower, and the pitch name G, which is a sixth degree lower, are used as the overtones of the 3rd mode and 6th mode for this pitch name D#. Similarly, the pitch name A#, which corresponds to a minor seventh (b7°), is considered to be a flattened version (Bb) of the pitch name B, which corresponds to a major seventh (7°).
Adds the same double tone as degree (7°). Exception 5: A double note a third below the melody note is commonly used as the double note in the third mode and the sixth mode. However, if the melody note is a chromatic note, the note a semitone below it is regarded as the melody note, and the double note 3 degrees below it is commonly used in 3rd mode and 6th mode. For example, the relative melody notes of the major 2nd (2°) and major 7th (7°) in the mixolydeia mode in Figure 2 f (note names A and F in the G mixolydeia)
This corresponds to the double sound added to #). Considering the above basic principles and exceptions from a musical point of view, the third or sixth mode should be added to each scale note (relative note of the melody note) in each mode.
Figure 2 shows a list of overtones in degree mode.
The interval relationship between the melody note and the double note shown in Figure 2 does not change even if the key name is changed, and the position of the 1st note of the scale in each mode shifts appropriately depending on the tonic of the key (the whole is parallel (move) only. The duet difference data generating section 17 generates duet difference data ΔD that can realize the overtones shown in FIG.
(3) and ΔD(6) are output according to the relative notes (R/N) of the modal and melody notes. What pitch content should the third mode difference data △D(3) or the sixth mode difference data △D(6) that should be output according to the relative note (R/N) of the melody note for each mode have? This will be clear from Figure 2. for example,
The difference data △D(3) for a duet in the 3rd mode, which is output in response to the relative note (R/N) of 1 degree (1°) in the Phrygian mode (see Figure 2 c), indicates the 4th interval. If the expression format shown in Table 2 is used, it should be "5", which indicates five semitones. In other words, if we look at the relative note 1 degree (1°) in Figure 2c, it is note name E (scale name Mi), and the double note in third mode is the note name B (scale name C) that is 4th below. It is. Therefore,
The data △D(3) should indicate a fourth interval, and the calculation unit 19 calculates the pitch name E of the melody note at that time.
If we find the pitch name below the fourth interval (5 semitones) indicated by the data ΔD(3), we get the pitch name B, which makes it possible to form a double note as shown in Figure 2c. In order to realize the double notes shown in FIG. 2, the duet difference data generating section 17 generates difference data △D(3), △ in the 3rd mode or 6th mode according to a table partially shown below. Just output D(6). In Table 3, data ΔD(3) and ΔD(6) are shown in the representation format (number of semitones) shown in Table 2.
The specific numerical values are only entered for the Ionian mode and the Dorian mode, and the others are omitted, but it will be clear from FIG. 2 what numerical values are entered. Now, returning to the explanation of the double tone frequency mode switching control section 18, we will explain the performance example in which this control section 18 is involved.
As shown in the figure. In FIG. 3, the treble part shows a melody played by the keyboard 10, and the bass part shows a duet added to it. The specified key is C,
Assume that the accompaniment chord is a C major chord and is determined to be in the Ionian mode. Therefore, when adding overtones in FIG. 3, the method a in FIG. 2 is applied. Initially, the difference data ΔD(3) in the third mode is output from the difference data generating section 17, and a double note is added in the third mode. i.e. the first melody

【table】

[Table] C4, which is a major third lower than note E4 (relative note is 3°), is added as a double note, and the second melody note G4
(The relative note is 5°), and the E4 note, which is a minor third below, is added as a double note. Since the third melody note E5 is a major sixth higher than the previous note G4, the double tone degree mode switching control section 18 sets the degree mode to 6.
It is detected that the conditions for switching to the 6-degree mode are satisfied, and the difference data generating section 17 is instructed to switch to the 6-degree mode. Therefore, for the third melody note E5 (relative note is 3 degrees), the difference data ΔD(6) in the 6th mode is output, and the G4 note, which is a major 6th below, is added as a double note. Since the fourth melody note F5 is higher than the preceding note G4, the sixth mode is still applied, and the A4 note, which is a minor sixth below it, is added as a double note. The fifth melody note, C5, is a fourth lower than the previous note, F5. Therefore, the double tone frequency mode switching control section 1
At step 8, it is detected that the condition for returning the frequency mode to the third mode (a major second, that is, a whole tone or more lower than the previous note) is satisfied, and the difference data generating section 17 is instructed to switch to the third mode. Therefore, the third mode difference data ΔD(3) is output corresponding to the fifth melody note C5 (relative note is 1°), and the fourth note G4 below is added as a double note. By the way, modes are determined based on chords, so if no chords are detected, the mode cannot be determined, and the duet difference data generating section 17 cannot be used to add overtones. There are two possible reasons why the chord detection section 13 does not detect a chord. One is when no chord is originally formed by the keys pressed on the keyboard 11, and the other is when some chord is formed by the keys pressed on the keyboard 11, but it is a special case. This is a case where the chord detection section 13 cannot detect the chord because it is a chord (for example, a minute chord). In the former case, the chord failure may be ignored, but in the latter case, it is preferable to add some overtone even if the chord detecting section 13 cannot detect the chord. For this purpose, a double note forming section 20 is provided when a chord is not established. When a chord is not detected by the chord detecting unit 13, the double note formation unit 20 generates a note shorter than the melody note, provided that there are four or more notes (keys pressed on the lower keyboard) that constitute the chord at that time. A note that is on the bass side by a third or more and is closest to the melody note is selected from among the chord constituent notes and is used as a duet. The reason for the condition that there are four or more chord constituent notes is that chords consisting of three notes are detected by the chord detection unit 1.
Since the detection ability of 3 is sufficient for detection, if the chord is not detected when the chord consists of 3 notes, it is considered that the chord is not really formed.
This is because 2 notes or less is considered to be a mistouch in the middle of a chord key press. That is, it is considered that special chords such as a diminutive chord that cannot be detected by the chord detecting section 13 are composed of four or more constituent tones. Furthermore, the reason why the tone is set to be a minor third or more lower than the melody tone is to avoid a second interval that would cause the sound to become muddy. The second overtone forming section 21 is for forming a second overtone, that is, a trio sound, to be added to the above-mentioned duet sound. In this embodiment, a note that is a minor third or more lower than the duet note and is closest to the duet note is selected from among the chord constituent notes, and this is used as the second double note (trio). A musical tone generating means (not shown in FIG. 1) generates duet and trio tones based on data DKC indicating a duet tone and data TKC indicating a trio tone. Note that if the number of notes constituting a chord is three or less and no chord is detected by the chord detecting section 13, or if a melody note is not pressed, the duet note and trio note are not produced. Next, a specific configuration of an embodiment of the present invention will be described with reference to FIG. 4 and subsequent figures. In FIG. 4, the upper keyboard 22 is a keyboard for playing melody, and overtones are added to the keys pressed on the upper keyboard 22 (ie, melody sounds). The lower keyboard 23 and the pedal keyboard 24 are accompaniment keyboards, and are used to play accompaniment chords and bass tones. To show an example of the keyboard range of each keyboard 22 to 24, the upper keyboard 22 and lower keyboard 23 have 61 keys from C2 to C7.
The pedal keyboard 24 has keys from C2 to C4.
It shall be equipped with 25 keys. The pressed key detection and sound generation assignment circuit 25 detects pressed keys or released keys on each of the keyboards 22 to 24, and performs a process of allocating the pressed keys to appropriate musical sound generation channels. In other words, this electronic musical instrument is equipped with a limited number of musical sound generation channels, which is smaller than the total number of keys, and by assigning a pressed key to one of the musical sound generation channels, that channel generates a musical sound signal corresponding to the pressed key. is generated. The musical sound generation channels are grouped by those to which a common musical sound forming process (for example, a common timbre is applied) is performed. For example, it consists of an upper keyboard channel group, a lower keyboard channel group, a pedal keyboard channel group, a duet channel group, and a trio channel group. In the pronunciation assignment circuit 25,
Assignment processing for each channel is performed in a time-division manner, and a multi-bit key code KC indicating the key assigned to each channel and a 1-bit key-on signal KON indicating whether the key is being pressed or released are assigned to each channel. Output in time division for each channel.
An example of this time division channel timing is shown in FIG. 5a. Referring to FIG. 5, the time width of one channel timing corresponds to one period (referred to as one bit time) of the system clock pulse φ, and the repetition interval is 18 bit times. The number of musical sound generation channels is 17 in total, and the first timing in one cycle of channel timing repetition (the timing indicated as 0 in Figure 5) is a synchronization timing that does not correspond to any musical sound generation channel. . Each channel is assigned to the remaining 17 bit times.
The channel group (PK) for the pedal keyboard consists of one channel, and its time division timing is the fifth channel.
This is channel timing 1 in the figure. Pressed keys of the pedal keyboard 24 are assigned to this pedal keyboard channel. The upper keyboard channel group (UK) consists of seven channels, and the time division timings thereof are channel timings 2 to 8 in FIG. The pressed keys of the upper keyboard 22 are respectively assigned to this upper keyboard channel group (UK). Channel group (LK) for the lower keyboard is also 7.
It consists of channels, and its time division timings are timings 9 to 15 in FIG. Each of the pressed keys of the lower keyboard 23 is assigned to this lower keyboard channel group (LK). The musical tone generation channel for the duet tone is one channel, and its time division timing is timing 16 in FIG. The musical sound generation channel for the trio sound is also one channel, and its time division timing is timing 17 in FIG. Note that the key code KC and key-on signal KON outputted from the sound generation assignment circuit 25 at channel timings 16 and 17 for duet and trio sounds are all "0". These channel timings 16 and 1
The key code KC and key-on signal KON of the duet note and trio note to be assigned in step 7 are formed in the double note forming device 26. Also, from the sound generation assignment circuit 25, a synchronization signal SY corresponding to timing 0 for synchronization, and timings 2 to 8 of the upper keyboard channel group (UK) are output.
The upper keyboard timing signal UKT corresponds to the upper keyboard timing signal UKT, the lower keyboard timing signal LKT corresponds to timings 9 to 15 of the lower keyboard channel group (LK),
a duet channel timing signal DUT corresponding to channel timing 16 for duet;
A trio channel timing signal TRT corresponding to the trio channel timing 17 is outputted in a relationship as shown in FIG. 5b. Switches SF-SW and FC-SW provided attached to the key press detection and sound generation assignment circuit 25 are for automatic bass chord performance. When the finger chord mode selection switch FC-SW is turned on, automatic bass chord performance is performed in the finger chord mode, and when the single finger mode selection switch SF-SW is turned on, single finger Automatic bass chord performance according to the mode is executed. Switch FC
-SW is connected to give priority to SF-SW. In the case of the fine guard chord mode, the keys pressed on the lower keyboard 23 are directly assigned to the lower keyboard channel group (LK). In the case of single finger mode, the one key pressed on the lower keyboard 23 is the root note, and the root note is the seventh or minor depending on whether a white key, black key, or no key is pressed on the pedal keyboard 24. , determines the chord type of the major chord, automatically forms key codes KC of multiple chord constituent notes based on this root note and chord type, and uses these automatically formed key codes KC for the lower keyboard. Assign each to one of the channel groups (LK). In the case of finger chord mode and single finger mode, the key code of the bass note corresponding to the bass pattern BassPT given from the rhythm pattern generator 29 (to be described later) and the chord played on the lower keyboard 23 is generated according to the chord played on the lower keyboard 23. automatically forms this bass note key code into a pedal keyboard channel (PK).
(channel timing 1). In this way, it is assumed that the key press detection and sound generation assignment circuit 25 also includes a key chord formation function for automatic bass chord performance. Therefore, the key code KC assigned to the lower keyboard channel group (LK)
is not limited to the sound actually pressed on the lower keyboard 23, but may also be automatically formed in relation to the sound of a key pressed on the lower keyboard 23. The musical tone forming device 27 for the lower keyboard and pedal keyboard generates the tones assigned to each channel in the lower keyboard channel group (LK) (the depressed keys of the lower keyboard, that is, the accompaniment chords) according to the musical tone forming method exclusively for the lower keyboard. Furthermore, the tones assigned to the pedal keyboard channels (PKs) (the depressed keys of the pedal keyboard, that is, the bass tones) are each formed according to a musical tone forming method exclusive for each tone. Therefore, the key code KC output from the pronunciation assignment circuit 25 in a time-division manner
Then, it accepts the key-on signal KON and the synchronization signal SY, selects the key code KC and key-on signal KON assigned to each channel of the lower keyboard channel group (LK), and uses the musical tone formation method exclusively for the lower keyboard based on them. At the same time, the key code KC and key-on signal KON assigned to the pedal keyboard channel (PK) are selected, and based on these, a musical tone is formed using a musical tone forming method exclusive to the pedal keyboard. In addition, when performing automatic performance, the tempo oscillator 28 is operated and the rhythm pattern generator 29 generates the rhythm pattern RPT,
Bass pattern BassPT, this bass pattern
Generates patterns such as BPT, chord pronunciation timing patterns CPT, and arpeggio patterns APT that indicate the pronunciation timing of bass notes corresponding to BassPT.
The signal is supplied to the musical tone forming device 27 and the rhythm sound source circuit 30, respectively. Further, the outputs of the finger code mode selection switch FC-SW and the single finger mode selection switch SF-SW are input to an OR circuit 200, and an automatic base code selection signal ABC is output from the OR circuit 200. This signal ABC is supplied to the lower keyboard and pedal keyboard tone forming device 27. In the musical tone forming device 27, the signal ABC is “1”
(i.e., when automatic bass chord play in finger chord mode or single finger mode is selected), the musical tone (bass tone) formed by the pedal keyboard channel (PK) is played at the timing of the bass tone sound timing pattern BPT. At the same time, each musical tone (chord) formed by the lower keyboard channel group (LK) is simultaneously controlled according to the chord generation timing pattern CPT.
And, create an arpeggio pattern using the notes that make up those chords.
Controls the pronunciation one note at a time (in arpeggio format) according to the APT. Further, the rhythm sound source circuit 30 generates rhythm sounds according to the rhythm pattern RPT. Tone forming device 2 for lower keyboard and pedal keyboard
7 and the outputs of the rhythm sound source circuit 30 are led to a sound system 31. In this embodiment, there are three systems of musical tone forming devices for melody tones (keys pressed on the upper keyboard) and double tones (duets and trios), and these can be freely combined by switching control by the select gate section 32. I'm trying to use it. Each of the musical tone forming devices 33, 34, and 35 employs a unique method for forming a musical tone (for example, a timbre forming method or an envelope forming method). for example,
Regarding the timbre forming method, the tone volume type musical sound forming device 33 allows the timbre to be adjusted according to the player's wishes by adjusting a large number of tone volumes 36, whereas the percussive type musical sound forming device 34 and sustained musical tone forming device 35
In the tone filters 37 and 38, a preset tone color is formed. Regarding the envelope formation method,
In the tone volume type musical sound forming device 33 and the sustaining type musical sound forming device 35, a sustained amplitude envelope (an envelope that sustains the sound while the key is pressed) is given to the musical tone, whereas in the percussive type musical sound forming device 34, a percussive amplitude envelope is given to the musical tone. The amplitude envelope of the system is given to the musical tone. Details of these tone forming devices 33 to 35 and select gate section 32 will be described later. The overtone forming device 26 uses the key codes KC and key-on signals KON of each channel given from the sound generation assignment circuit 25 via the line 39 based on those of the upper keyboard channel group (UK) and the lower keyboard channel group (LK). , the overtone forming process as described with reference to FIG. 1 is executed to form a duet note key code DKC and a trio note key code TKC. This heavy sound forming device 2
A detailed example of the interior of 6 is divided into two parts for convenience of drawing and is shown in FIGS. 6 and 7, respectively. The part shown in FIG. 6 is the chord detection section 13 in FIG.
and circuits 40 and 41 corresponding to the double tone frequency mode switching control section 18. The parts shown in FIG. 7 are the relative chord conversion section 14 and mode discrimination section 1 of FIG.
5. It includes circuits 42 to 48 corresponding to a relative note conversion section 16, a duet difference data generation section 17, an arithmetic section 19, a double note formation section 20 when a chord is not established, and a second double note formation section 21. In FIG. 6, the sound generation assignment circuit 25 of FIG.
The time-divided key code KC and key-on signal KON of each channel are inputted to the upper keyboard highest note selection circuit 49 and the chord detection circuit 40 . The upper keyboard highest note selection circuit 49 selects the highest note among the pressed keys of the upper keyboard 22. This is because when a plurality of keys are pressed simultaneously on the upper keyboard 22, a double note is added based on the highest note (as a melody note to which a double note should be added). Note that the melody note to which a double note should be added is not limited to the highest note, but may also be the lowest note or intermediate note.In short, this selection circuit 49 selects a predetermined one
Just select the sound. The key code KC on the line 39 is input to the gate 50, and the key-on signal KON is input to the AND circuit 51. The other input of the AND circuit 51 receives the upper keyboard timing signal UKT (see FIG. 5), and its output is applied to the enable input (EN) of the gate 50. Therefore, in this gate 50,
Among the key codes KC assigned to the upper keyboard channel group (UK), the one that is currently being pressed (the one whose key-on signal KON is "1") is selected.
The output of the gate 50 (ie, the upper keyboard pressed key code UKKC) is applied to the latch circuit 52 and the A input of the comparator 53. The output of the latch circuit 52 is added to the B input of the comparator 53, and when A>B, the load control input (L) of the latch circuit 52 is set to "1".
give. This latch circuit 52 receives a synchronization signal at the beginning of each cycle of channel timing.
It is reset by SY (see Figure 5). still,
It is assumed that the higher the pitch of the key code KC, the larger the value. Therefore, when the upper keyboard pressed key code UKKC output from the gate 50 is larger than the key code latched in the latch circuit 52, the condition A>B of the comparator 53 is satisfied, and the key code UKKC is latched. It is taken into the circuit 52. Since the latch circuit 52 is reset at the beginning of one channel timing cycle, the key code UKKC first output from the gate 50 in that cycle is first latched into the latch circuit 52. Thereafter, the pressed key key codes UKKC assigned to each channel of the upper keyboard channel group (UK) are sequentially compared, and the higher-pitched key code UKKC is latched in the latch circuit 52, and the last key code of this group (UK) is latched. When channel timing 8 has elapsed, the key code of the most pressed key on the upper keyboard has been reliably latched in the latch circuit 52. A system clock pulse φ is input to the latch circuit 52 and each of the latch circuits shown in FIGS. 6 and 7, and the input/output timing is synchronized with the system clock pulse φ. Therefore, the timing at which newly captured data is output is delayed by one bit time from the capture timing. The output of latch circuit 52 is input to latch circuit 54. The latch circuit 54 receives the output of the latch circuit 52 at the timing of generation of the synchronizing signal SY. The latch circuit 52 is reset at the same timing of the synchronization signal SY, but as mentioned above, the output timing is delayed by one bit time, so the latch contents immediately before being reset, that is, the key code MKC of the most pressed key on the upper keyboard detected in the previous cycle. is the latch circuit 5
Incorporated into 4. The key code of this highest pressed key
MKC is stored and held until the generation timing of synchronization signal SY in the next cycle. In this way, the key code MKC of the most pressed key on the upper keyboard is permanently stored in the latch circuit 54. In addition, the latch circuits 52 and 54
The state is schematically shown in FIG. 5c. The key code MKC of the highest pressed key (that is, the key code of the melody note) selected by the upper keyboard highest note selection circuit 49 as described above is input to the key note number exchange circuit 55, and the key code of the highest pressed key is selected by the upper keyboard highest note selection circuit 49. The array is converted into a keynote number KNO consisting of a continuous numerical array. In this example, the key code KC is made up of a discontinuous numerical array with respect to the pitch order arrangement of each key as shown in Table 4, so calculating the pitch is troublesome, so it is made up of a continuous numerical array. Keynote number consisting of numerical array
By converting to KNO, calculation of pitch is made easier. The key code KC (the same applies to MKC) consists of a 3-bit octave code OC and a 4-bit note code NC, totaling 7 bits.As shown in Table 4, the octave code OC indicates the key range for each octave. The note code NC indicates the note name within one octave. As you can see from the note code NC column, the difference in note code NC between D and D#, F and F#, G# and A, and B and C is 2 in decimal. Discontinuous.

【table】

[Table] On the other hand, keynote number conversion circuit 55
As shown in Table 5, the keynote number KNO obtained from 61 keys from the lowest key C2 to the highest key C7 is a 6-bit binary number "000001" to "111101".
This is a continuous allocation of up to . Therefore each key
The difference between the values of the key note numbers KNO corresponding to C2 to C7 directly becomes a value indicating the interval between each key in semitones, and the interval can be calculated by simple addition and subtraction. The key note number conversion circuit 55 converts the key code of the input melody tone into
Keynote number of value corresponding to MKC key name
Output KNO.

【table】 …

Claims (1)

[Scope of Claims] 1. A keyboard, a chord playing means, a means for specifying a key, a mode discriminating means for discriminating the mode of a piece of music based on the specified key and the chord played, and the mode determined. a double tone data forming means for forming double tone data indicating a pitch separated from the key press sound by an interval determined according to the key press sound on the keyboard, and a musical tone corresponding to the double tone data and a key press sound of the keyboard. and musical tone forming means for forming played chords. 2. The mode determining means includes a chord detecting unit that detects the chord name of the chord played by the chord playing unit, that is, an absolute chord, a relative chord converting unit that converts the absolute chord into a relative chord with respect to the tonic of the key, and 2. The electronic musical instrument according to claim 1, further comprising a mode discrimination section that discriminates modes based on relative chords. 3. The mode determining section includes a table in which the relationship between various relative chords and their corresponding modes is set in advance, and extracts one mode corresponding to the relative chord obtained by the relative chord converting section from the table. An electronic musical instrument according to claim 2, which is configured as follows. 4. A patent in which the mode discriminating section is configured to discriminate a provisional mode depending on whether the relative chord is a major chord or a minor chord when the formal mode cannot be discriminated musically. An electronic musical instrument according to claim 2 or 3. 5. The overtone data forming means includes a table predetermining the number of preferable overtone degrees for each scale note in each mode for each mode, and the determined mode and the key presses on the scale of the mode. Claim 1, further comprising means for extracting a note degree number from the table according to the position of the note, and obtaining double note data indicating a pitch separated by the number of degrees from the key depression note. electronic musical instruments. 6. The overtone data forming means includes a relative note converting unit that converts the note name of the pressed note on the keyboard into a relative note with respect to the root note of the chord played by the chord playing means, and a mode that is determined as the relative note. a difference data generating section that outputs difference data indicating a predetermined pitch according to the difference data; 2. The electronic musical instrument according to claim 1, wherein the electronic musical instrument includes a calculating section that calculates the calculation based on the difference data. 7. The difference data generation section includes a table in which values of difference data corresponding to various relative notes are set in advance for each mode, and the difference data generating section includes a table in which values of difference data corresponding to various relative notes are set in advance for each mode, and the relative notes obtained by the relative note conversion section and the determined mode are 7. The electronic musical instrument according to claim 6, wherein predetermined difference data is extracted from the table in accordance with the table. 8. The electronic musical instrument according to claim 1 or 2, wherein the chord playing means uses a keyboard.