JP3324318B2 - Automatic performance device - Google Patents

Description

DETAILED DESCRIPTION OF THE INVENTION

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to an automatic performance device such as a sequencer having an automatic accompaniment function, and more particularly to an automatic performance device capable of easily arranging musical pieces during automatic performance.

[0002]

2. Description of the Related Art In a conventional automatic performance apparatus, some parts of a rhythm part, a bass part and a chord part are performed based on accompaniment pattern data stored separately from sequential performance data. Some perform automatic accompaniment. Such an automatic performance device determines which accompaniment pattern data is to be used for automatic accompaniment, sets a pattern number in advance by using a header or a control of sequential performance data, or sets the pattern number in order according to the progress of the music. There are those having stored sequential accompaniment data. The bass part and the chord part other than the rhythm part are converted into sounds suitable for the chord based on chord progression data stored separately or chords specified by the user according to the progress of the music.

[0003]

In a type in which some performance parts are supplemented by automatic accompaniment, such as a conventional automatic performance device, a music piece can be easily reproduced simply by changing a pattern number designating accompaniment pattern data. Since the arrangement can be changed, there is an advantage that even a beginner can easily handle the arrangement. Further, when one performance part is composed of one channel, that is, one piece of accompaniment pattern data, it is only necessary to directly edit the contents of the accompaniment pattern data of the corresponding channel.
Even beginners can easily edit, so the arrangement of songs can be easily changed. However,
When one performance part is composed of a plurality of channels and parts, it is difficult to know which channel should be edited and how to edit it unless one who is familiar with the interrelationship between the plurality of channels. It is extremely difficult for a beginner to change the arrangement of a song by editing a particular performance part, and editing by a beginner may be musically unnatural. Further, when a performance part is composed of a plurality of channels and parts, if the sounds of these channels or parts are merged into common data and played, the relationship between both events is incompatible with each other (for example, both events are incompatible). There are cases where the event is a hi-hat open event and a hi-hat close event, or when both events are the same type of event and only the velocity is different, etc., resulting in a musically unnatural event.

[0004] It is an object of the present invention to provide an automatic performance apparatus capable of performing a musically natural performance even when performing performance data including a plurality of channels and parts.

[0005]

According to the first aspect of the present invention, there is provided an automatic performance device comprising automatic performance data comprising a plurality of parts or channels together with editable data or non-editable data indicating whether or not the data can be edited. storage means for storing each part or for each channel, and editing means for edited the previous SL automatic performance data of the storage means, the automatic performance data stored together with the edit possible data when edited, Edit control means for controlling not to edit the automatic performance data by the editing means, and when one part of the automatic performance data is composed of data of a plurality of channels, The non-editable data is stored It is characterized by the following.

[0006] automatic performance apparatus according to claim 3, a plurality of
Storage means for storing automatic performance data of a part;
Edit automatic performance data stored in storage
Selecting means for selecting a part;
Editing means for editing the automatic performance data of the performance part,
The performance part selected by the selection means is a plurality of channels.
If the editing means is composed of
Not edit the automatic performance data of the performance part
Control means for performing such control .

[0007]

In the first invention, the storage means stores automatic performance data comprising a plurality of parts or channels. The performance part consists of multiple parts such as a melody part, a rhythm part, a bass part, and a chord part.
Furthermore, the rhythm part has multiple rhythm 1 parts and rhythm 2
If the code part consists of multiple chords
There may be a part and a chord 2 part. Some of these performance parts may be composed of a plurality of channels. These automatic performance data are stored together with editable data or non-editable data indicating whether the data can be edited for each channel or each part. Therefore, when the automatic performance data is read out and edited by the editing means, if the editable data is stored together with the automatic performance data, the editing can be performed without any problem. However, if the non-editable data is stored together with the automatic performance data, the edit control means controls the editing means so that the edit processing of the automatic performance data is not performed. As a result, only the editable automatic performance data can be edited by the editing means. If it is not musically preferable to edit the automatic performance data, the automatic performance data will not be edited. Thus, it is possible to prevent the generation of unnatural performance data, and even beginners can edit the performance data with ease and can easily change the performance data. As an embodiment of the first invention, when one part of the automatic performance data is composed of data of a plurality of channels, non-editable data may be stored in all the data of the channels. Alternatively, the edit control means may delete the automatic performance data from the storage means before the automatic performance data is read out by the edit means, so that the edit means cannot perform the editing.

[0008]

[0009]

DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS An embodiment of the present invention will be described below in detail with reference to the accompanying drawings. FIG. 1 is a block diagram of a hardware configuration showing an embodiment of an electronic musical instrument to which the automatic performance device according to the present invention is applied. In this embodiment, a microprocessor unit (CPU) 10, a ROM 11, a RAM 12
Various processes are executed under the control of a microcomputer including In this embodiment, one C
An electronic musical instrument that performs automatic performance processing and the like by the PU 10 will be described as an example. In this embodiment, the electronic musical instrument can simultaneously generate 16 channels for automatic performance. That is, 16 types of performance data can be reproduced simultaneously.

The CPU 10 controls the operation of the electronic musical instrument as a whole. ROM 11, RAM 12,
Key press detection circuit 13, switch detection circuit 14, display circuit 1
5, a sound source circuit 16, a timer 17, a MIDI interface (I / F) 18, and a disk drive 19 are connected.

The ROM 11 is a system-related program for the CPU 10, 99 style data for automatic accompaniment with numbers "01" to "99", and a CTA for default.
A B (Channel Table), a note conversion table, and various other parameters and data relating to musical sounds are stored. The RAM 12 temporarily stores various performance data and various data generated when the CPU 10 executes the program, and is assigned a predetermined address area of a random access memory (RAM), and registers, flags, and the like. Used as Further, the RAM 12 stores user style data of a number “00” that can be used freely by the user.

FIG. 2 shows the contents of the style data stored in the ROM 11 and the RAM 12 and the default CT.
It is a figure which shows the content of AB. The RAM 12 stores the number “0”.
The user style data of "0" is stored, and the ROM 11 stores 99 style data of numbers "01" to "99" and a default CTAB. Style data is provided for each performance style (for example, pop, rock, jazz, waltz, etc.).

One style data includes a header section, a sequence data section, and a CTAB group. The header section stores a style name and the like. As shown in FIG. 2B, the sequence data section includes initial setting data and pattern data of each section (main, fill-in, intro, and ending). The initial setting data is composed of data such as the tone color, performance part name, and initial tempo of each channel. The main pattern data is a main accompaniment pattern played repeatedly. The fill-in pattern data is an accompaniment pattern during a fill-in performance. The intro pattern data is an accompaniment pattern during an intro performance. The ending pattern data is an accompaniment pattern during the ending performance.

The pattern data of each section is shown in FIG.
As shown in (C), it is composed of marker, delta time data and event data. The markers indicate sections and sections, and are data indicating section types such as main, fill-in, intro, and ending. Delta time data is data indicating the time between events. As shown in FIG. 2D, in the case of a note event, the event data includes note on / off, channel numbers “1” to “16”, note number, velocity data, and the like. In the case of other event data (pitch bend, volume control, and the like), the event data is composed of data indicating the event and a channel number. The delta time data and the event data are stored in a pair, and if the events indicate the same timing, the delta time data is "0".

The CTAB group includes, as shown in FIG.
Various information about note conversion is stored in each section (main,
Fill-in, intro and ending) “1”-
CTAB (Ch) provided for each channel of “16”
Annular Table). The reason why the CTAB is provided for each channel of each section as described above is how note conversion should be performed based on the code in the sequence data, and the optimum state differs for each channel of each section. Because.

Although the CTAB is basically provided for each channel of each section, such a CTAB is not provided for a channel in a section of a style that does not require a special setting. When no CTAB is provided, note conversion is performed by a default CTAB provided in the ROM 11. Thus common default CTA
By using B, the data storage capacity can be reduced.

Each CT constituting the CTAB group shown in FIG.
AB is a channel number, as shown in FIG.
It consists of instrument name, part number, part edit bit, source route, source type, note conversion table type, note limit, channel switch, etc.
The channel numbers are channel numbers “1” to “16” corresponding to MIDI channels, and the channel numbers of CTAB in one section are all different. The musical instrument name is the musical instrument name of the tone to be set in the MIDI channel of the tone generator 16 specified by the channel number.

The part number indicates which performance part the data is related to, and is composed of data "1" to "5". Part number "1" is rhythm 1 part, part number "2" is rhythm 2 part, part number "3" is bass part, part number "4" is chord 1 part, and part number "5" is chord Two parts are shown. The part edit bit (PEB) is “0” or “1” data indicating whether or not the channel can be edited in part units. If the part edit bit is "1", one performance part is composed of a plurality of channels, so editing in parts is not possible. (How to edit which channel among a plurality of channels is musically preferable.) It is not known whether editing can be performed in this state). If it is "0", it indicates that one performance part is composed of only this channel, so that editing can be performed in parts. Even if one performance part is composed of one channel, the part edit bit (PEB) may be set to "1" in cases where editing of this channel cannot be performed.

The source route indicates in which chord route the sequence data (automatic accompaniment data) of the channel was created. The default value of this source route is “C”. The source type indicates in which chord type the sequence data (automatic accompaniment data) of the channel was created. The default value of this source type is major 7th (maj7). Even if the sequence data (automatic accompaniment data) is created in any chord route and chord type, the sequence data of the channel is converted to the C major 7th based on the source route and source type.
(A reference sound for performing note conversion).

The note conversion table type designates which one of a plurality of note conversion tables is used for note conversion. For example, the note conversion table includes L note conversion tables 1 suitable for the bass part.
~ L, M note conversion tables 1 ~ M suitable for chord parts, and "No conversion at all". The note conversion table type specifies which of these tables is used for conversion. Is what you do. The default value of this note conversion table type is "no conversion (no conversion)" for a rhythm part, a note conversion table 1 suitable for a base part for a bass part, and a chord part. Is a note conversion table 1 suitable for a chord part.

The note limit defines the upper limit and the lower limit of the range so that when the note number is converted by the note conversion, the range of the converted note number falls within a certain range. The channel switch is a memory switch for setting a channel to be sounded when a chord route and a chord type currently being depressed are a specific type, and corresponds to all chord routes and chord types. It consists of data of "0" or "1" indicating ON / OFF. When one performance part is composed of a plurality of channels, this channel switch can be used to switch channels according to the type of chord. The default value of this channel switch is "all channels are always sounded".

As shown in FIG. 2 (G), the default CTAB includes a channel number CH, a musical instrument name, a part number, a part edit bit (PEB), a source route for each channel, similarly to the CTAB of FIG. 2 (F). , Source type, note conversion table type, note limit, and channel switch. In this embodiment, predetermined default values are set for channel numbers "1" to "5", and no default values are set for other channel numbers "6" to "16".

In the default CTAB, no instrument name is set. As for the part number, the channel number “1” is the rhythm part 1 of the part number “1”, the channel number “2” is the rhythm part 2 of the part number “2”, and the channel number “3” is the part number “3”. Is set so that the channel number "4" becomes the code 1 part of the part number "4" and the channel number "5" becomes the code 2 part of the part number "5". Part edit bit (P
For EB), all channel numbers “1” to
“0” is set for “5”. For the source route, the channel numbers "1" to "5" will have "C"
Is set. For the source type, major 7th (maj7) is assigned to channel numbers "1" to "5".
Is set. For the note conversion table type, the channel numbers “1” and “2” of the rhythm part
"None (no conversion)", a note conversion table 1 suitable for the bass part for the channel number "3" of the base part, and a chord part for the channel numbers "4" and "5" of the chord part Note conversion table 1
Are set respectively. Although the note limit is not shown, the upper limit and the lower limit are set to “none”. As for the channel switch, "all channels are always sounded" is set.

The keyboard 1A is provided with a plurality of keys for selecting the pitch of a musical tone to be produced, has a key switch corresponding to each key, and is provided with a pressing force detecting device or the like as necessary. It has touch detection means. The keyboard 1A is a basic operator for music performance, and it goes without saying that other keyboard operators may be used. The key press detection circuit 13 includes a key switch circuit provided for each key of the keyboard 1A for designating the pitch of a musical tone to be generated. The key press detection circuit 13 detects a change from the key release state of the keyboard 1A to the key press state and outputs a key-on event,
A key-off event is output by detecting a change from a key-depressed state to a key-released state, and a key code (note number) indicating the pitch of a key for each key-on event and key-off event is output. The key press detection circuit 13 also discriminates a key press operation speed, a key press force, and the like at the time of key depression, and outputs the data as velocity data or after touch data.

The switch detection circuit 14 is provided corresponding to each of the operators provided on the panel 1B, and outputs operation data corresponding to the operation status of each of the operators as event information. The display circuit 15 controls display contents of a display means (LCD2) provided on the panel 1B.
The panel 1B is provided with various controls and an LCD 2. The controls provided on the panel 1B include:
Style selection switch with numbers "0" to "9" and "+""-", Yes switch with "Yes", No switch with "No", "Rhythm 1", " Rhythm 2 ”,“ bass ”,“ chord 1 ”, part selection switch with“ chord 2 ”,“ intro ”,“ fill in ”,“ main ”,“ ending ”
Section selection switch, recording switch with “REC”, clear switch with “clear”, custom switch with “custom”, start / stop with “start / stop” There are switches and so on. In addition, the panel 1B has various controls for selecting, setting, and controlling the timbre, volume, pitch, effect, and the like of the musical tone to be generated. I will explain only.

The style selection switch is a switch for selecting any one style number by inputting a style number from “00” to “99”. The style name selected by the style selection switch is displayed on the LCD 2. The yes switch and the no switch are used by the operator to reply to a message from the electronic musical instrument displayed on the LCD 2. The part selection switch is a switch for designating a performance part to be edited. The section selection switch is a switch for specifying a section to be edited.
The recording switch is a switch for designating a mode for editing performance data of the section and part selected by the section selection switch and the part selection switch. In this embodiment, when the recording switch and the part selection switch are operated at the same time, a transition is made to an editing mode for editing performance data of the operated performance part. The clear switch is a switch for erasing the performance data in the edit mode. The custom switch is a switch for copying data selected by the style selection switch from the style numbers “01” to “99” to the custom area of the RAM 11 as user style data of the style number “00”. The start / stop switch is a switch for controlling start / stop of automatic performance.

The tone generator circuit 16 is capable of simultaneously generating musical tone signals on a plurality of time-division tone generation channels (16 channels in this embodiment), and provides data and performance data (compliant with the MIDI standard) provided via an address bus 1D. Compliant data) and a tone signal is generated based on the performance data. In addition, it is possible to generate musical tones with 16 kinds of timbres (parts) at the same time corresponding to 16 MIDI channels. Any tone signal generation method may be used in the tone generator 16. For example, a memory reading method for sequentially reading out musical tone waveform sample value data stored in a waveform memory according to address data that changes in accordance with the pitch of a musical tone to be generated, or a method in which the address data is used as phase angle parameter data at a predetermined frequency A known method such as an FM method for performing a modulation operation to obtain musical tone waveform sample value data, or an AM method for performing a predetermined amplitude modulation operation using the above address data as phase angle parameter data to obtain musical sound waveform sample value data. You may employ suitably.

The tone signal generated from the tone generator 16 is a sound system 1C composed of an amplifier and a speaker.
Pronounced via The timer 17 generates a tempo clock pulse for counting a time interval and setting a tempo of automatic performance. The frequency of the tempo clock pulse is determined by a tempo switch (not shown) on the panel 1B. Will be adjusted by The tempo clock pulse from the timer 17 is given as an interrupt command to the CPU 10, and the CPU 10 executes various processes of the automatic performance by the interrupt process. In this embodiment, it is assumed that the tempo clock pulse is generated 96 times per quarter note. MIDI interface (I /
The F) 18 and the disk drive 19 are interfaces for outputting performance data to the outside and for inputting performance data from the outside. In addition to these devices, performance data may be exchanged via a public line, various networks, an HDD, or the like.

Next, an example of the processing of the electronic musical instrument executed by the CPU 10 will be described with reference to the flowcharts of FIGS. FIG. 3 is a diagram illustrating an example of a custom style creation process that is performed by the CPU 10 of the electronic musical instrument of FIG. In this custom style creation processing, the operator sets the style number “0”.
Panel 1B when creating user style data
This is a process performed by operating the upper switch. This custom style creation processing is executed sequentially in the following steps.

Step 31: The operator selects a style selection switch "0" while watching the style name displayed on the LCD 2.
-By operating "9", "+" or "-", a style number from "00" to "99" is input, and one style number is selected. Step 32: The operator switches the custom switch “Custom”
Is operated (turned on), the CPU 10 responds accordingly.
The performance data of the style number selected in step 31 is copied to the custom area of M11 as the user style data of the style number “00”.

Step 33: The operator selects a section selection switch "intro" corresponding to the section to be edited,
Operate “Fill in”, “Main” or “Ending”. Step 34: While operating (turning on) the recording switch "REC", the operator selects the part selection switches "Rhythm 1", "Rhythm 2",
Operate (turn on) "base", "code 1" or "code 2". Step 35: The CPU 10 checks the part edit bit of the channel corresponding to the selected section and part according to the switch operation of steps 33 and 34. That is, the CTAB of the selected section
The contents of the part edit bit in the CTAB corresponding to the part number selected from the above are read out. Step 36: The CPU 10 determines whether or not the part edit bit (PEB) read in step 35 is “1”. If “1” (YES), the process proceeds to the next step 37, where “0” ( If NO), the process jumps to step 3D.

Step 37: The fact that the part edit bit is determined to be "1" in step 36 means that the performance data of the part selected in steps 33 and 34 cannot be edited.
The message "This part cannot be edited. Can I delete it?" Step 38: The operator who confirms this message operates (turns on) either the yes switch “Yes” or the no switch “No”, so the CPU 10 determines whether the yes switch “Yes” has been operated (turned on). If it is determined that the operation has been performed (YES), the process proceeds to the next step 3A, and if the operation has not been performed (NO), the process proceeds to step 39. Step 39: At step 38, the yes switch "Ye
s "has not been operated, so this time the CPU
The reference numeral 10 determines whether the no switch "No" has been operated (turned on). If it has been operated (NO), the process proceeds to the next step 3E, and if it has not been operated (NO), the process returns to step 38. That is, the determinations in steps 38 and 39 are repeated until the operator operates (turns on) either the yes switch “Yes” or the no switch “No”.

Step 3A: Since it is determined in step 38 that the operator has operated the yes switch "Yes",
The CPU 10 deletes the message from the LCD 2. Step 3B: The CPU 10 deletes the sequence data of the channel corresponding to the performance part selected in steps 33 and 34. In other words, the event with the channel number is searched and erased from the sequence data to recreate the sequence data. If the performance part is composed of a plurality of channels, the sequence data of all the channels is deleted. Step 3C: The CPU 10 sets the CTAB of the channel corresponding to the part selected in steps 33 and 34 to RO.
Rewrite the default CTAB in M11. At the time of this rewriting, data unique to the CTAB such as a channel number, a musical instrument name, a part number, and the like are maintained as they are, and other values are rewritten to default CTAB values.

Step 3D: The operator records or edits new sequence data in place of the sequence data deleted in step 3B. The creation, recording, and editing of new sequence data includes real-time input (overdubbing processing) according to the operation of the keyboard 1A, step input processing according to the operation of other switches (not shown), clear processing, and quantization. This is performed by processing or the like. Step 3E: Since it is determined in step 39 that the operator has operated the no switch “No”, the CPU 10
The message is deleted from D2. Step 3F: It is determined whether or not the start / stop switch has been operated (ON). If the switch has been operated (YES), the process is terminated, the process returns to the main routine (not shown), and the switch has not been operated (NO). If so, step 33
And the processing after step 33 is repeated.

FIG. 4 is a diagram showing an example of a start process performed by the CPU 10 when the start / stop switch on the panel 1B is operated by the operator to instruct the start of the automatic performance. In this start processing, when the electronic musical instrument has a plurality of rhythm parts (rhythm 1 part and rhythm 2 part) as in this embodiment, the tone generator 16 separates the sounds of both parts into independent MIDs.
Even if it is a sound source that can be sounded on the I channel, even if it is a sound source of a GM (General Midi) system in which the rhythm part sound is fixed to one of the MIDI channel numbers “10”, it can be sounded without any problem. For the process.

That is, when there are two rhythm parts, such as a rhythm 1 part and a rhythm 2 part, and the tone generator circuit 16 is a GM system tone generator, the sound of both parts is the MIDI channel number “10”. ] Must be output. At this time, if there are multiple events that must not be sounded simultaneously from both parts at the same timing (for example, opening and closing of a hi-hat, events of the same type with different velocities), the time will be delayed. The event output from is preferentially sounded. Therefore, in this embodiment, one of a plurality of rhythm parts is set as a main rhythm part, and the remaining rhythm parts are set as sub rhythm parts.
When an event occurs at the same timing, the event of the main rhythm part is output last. As a result, the sound of the main rhythm part is always generated, so that the inconvenience that the performance sound of the main part is not generated is eliminated, and a musically preferable performance can be achieved.

The start process is executed sequentially in the following steps. Step 41: Various settings such as timbre are performed for each MIDI channel of the tone generator circuit 16 based on the initial setting data of FIG. Step 42: It is determined whether the current sounding mode is the first sounding mode. If the current sounding mode is the first sounding mode (YES), the process proceeds to the next step 43, and if the current sounding mode is the second sounding mode (NO), the process returns. Here, the first sounding mode means that the performance data of two rhythm parts, rhythm 1 part and rhythm 2 part, are merged into performance data for one MIDI channel, and the second sounding mode is used. This means that the performance data of the two rhythm parts are generated as performance data of different MIDI channels. The tone generation mode is set by operating a mode selection switch (not shown), or
May be automatically set by detecting whether is a sound source of the GM system. In this case, if the tone generator 16 is a GM system, the first sounding mode is selected, and if not, the second sounding mode is selected.

Step 43: It is determined whether or not the channel number "10" is a rhythm one part. If it is a rhythm one part (YES), the process proceeds to a step 45, and if it is other than the rhythm one part (NO), a step 44 is performed. move on. Step 44: Since it is determined in step 43 that the channel number of the rhythm 1 part is a channel number "n" other than "10", the tone of the channel number "10" is changed to the tone of the rhythm 1 part here. The tone color of the channel number “10” before the change is changed to the tone color of the channel number “n”. That is, the tones are exchanged.

Step 45: A channel exchange table is created so that the performance data of the rhythm 1 part and the rhythm 2 part have the channel number "10". That is, if it is determined in step 43 that the channel number “10” is the rhythm 1 part (YES), the channel exchange table for the rhythm 2 part for changing the performance data of the rhythm 2 part to the channel number “10” is set. create. In step 43, it is determined that the channel number "10" is not a rhythm one part (NO),
When the timbre is exchanged in step 44, a channel exchange table is created so that the performance data of the rhythm 1 part and the rhythm 2 part have the channel number "10". If the channel number "10" is the rhythm 2 part at the time of the determination in the step 43, the timbre exchange is performed in the step 44 and the rhythm 1 for changing the performance data of the rhythm 1 part to the channel number "10". Create a channel swap table for parts.

FIG. 5 is a diagram showing an example of a reproducing process executed by 96 timer interrupts per quarter note. This reproduction process is sequentially executed in the following steps. Step 51: It is determined whether or not the value of the timing register TIME is "0". If "0" (YES), it means that it is time to read the next data from the sequence data of FIG. 2A. Next Step 5
The process proceeds to step 2 and if it is other than "0" (NO), the process proceeds to step 5B.

Step 52: Since it is determined in step 51 that the sequence data read timing has come, the next data is read from the song data in FIG. 2A. Step 53: It is determined whether or not the data read in step 52 is delta time data. If the data is delta time data (YES), the process proceeds to step 58; otherwise, the process proceeds to step 54.

Step 54: Since it is determined in step 53 that the read data is not delta time data, it is determined whether or not the read data is a marker indicating a section break. In the case of (YES), the process proceeds to step 57, and in the case of data other than the marker (NO), the process proceeds to step 55. Step 55: Since it is determined that the data is not section break (NO) in step 54, the data read out in step 52 is event data.
Processing is performed based on TAB and the note conversion table. However, in the case of an event other than the note event, the processing in step 55 is omitted.

FIG. 6 is a diagram showing the details of the processing in step 55. This process is executed in the following steps in order. Step 61: It is determined whether or not the CTAB corresponding to the note event data read in step 52 exists in the CTAB group based on the currently playing section and the channel number in the event data, and exists (YES). ), Jump to step 63,
If it does not exist (NO), the flow proceeds to step 62. Step 62: Since it is determined in step 61 that the corresponding CTAB does not exist, the default CTAB is applied here as the CTAB for the event.

Step 63: It is determined whether or not the CTAB is other than the rhythm part based on the part number in the CTAB. If the CTAB is a base part other than the rhythm part and a chord part (YES), the process proceeds to the next step 64,
In the case of the rhythm part (NO), the routine returns and proceeds to step 56 in FIG. Step 64: It is determined whether or not the channel switch data in the CTAB corresponding to the current chord route and chord type pressed by the operator is "1" (on), that is, whether or not the part should be sounded. If the channel switch data is "1" and it is determined that the part should be sounded (YES), the process proceeds to the next step 65, where it is determined that it is "0" and the part does not sound (NO). If so, the process proceeds to step 67.

Step 65: A note conversion table is selected based on the note conversion table type data in CTAB. Step 66: The note data is converted based on the data in the CTAB, the selected note conversion table and the current chord route and chord type depressed by the operator or the chord route and chord type reproduced by a chord sequencer (not shown). Fix it. Note that C
If the source root and the source type in the TAB are not sea major 7th (Cmaj7), the note data is temporarily converted so that the source root and the source type correspond to the sea major 7th (Cmaj7). Then, the converted note data is further corrected according to the note conversion table and the current chord route and chord type, and the process proceeds to step 56 in FIG.

Step 56: The note event whose note number has been corrected in step 55 (the processing of FIG. 6) is written in the buffer, and the process returns to step 52. Step 57: In step 54, the section break (Y
ES), it is determined in step 52
Means that it is determined that the data read out is a marker indicating a section delimiter, so that the processing shifts to the head of the section or ends. When shifting to the head, the delta time at the head of the section is read out, stored in the timing register TIME, and waits until the next interrupt timing.

Step 58: Since it is determined in step 53 that the read data is delta time data, here, the delta time data is stored in the timing register TIME. Step 59: Determine whether the stored value of the timing register TIME is “0”, that is, whether the delta time data read in step 52 is “0”,
In the case of "0" (YES), it corresponds to the same timing, so the flow returns to step 52, where the event data corresponding to the delta time is read out and steps 54 to 57 are executed.
Is performed, and if it is other than "0" (NO), step 5
Go to A.

Step 5A: The data in the buffer is output to the tone generator 16 and the operation proceeds to step 5B. Step 5B: In step 51, the timing register TI
It is determined that the value of ME is not "0", or a value other than "0" is stored in the timing register TIME in step 58, and the timing register TIME is stored in step 59.
Is determined not to be "0", the value of the timing register TIME is decremented by 1 and the process returns, and waits until the next interrupt timing. FIG. 7 is a diagram showing details of the processing in step 5A. This process is executed in the following steps in order. Step 71: It is determined whether or not the sounding mode is the first sounding mode. When the sounding mode is the first sounding mode (YES), the process proceeds to the next step 72. When the sounding mode is the second sounding mode (NO), the process jumps to step 75. I do.

Step 72: Since it has been determined in step 71 that the first tone generation mode (YES) has been reached, step 4 in FIG.
The channel numbers are exchanged based on the channel exchange table created by the process of No. 5. As a result, the channel numbers of the rhythm 1 part and rhythm 2 part events are changed to “10”. Step 73: It is determined whether or not both note-on events of the rhythm 1 part and the rhythm 2 part exist in the buffer. If both exist (YES), the process proceeds to step 74; if not (NO), the process proceeds to step 75. .

Step 74: The sequence of data in the buffer is changed so that the event output order, that is, the note event of the rhythm 2 part is output before the note event of the rhythm 1 part. That is, in this embodiment, one rhythm part is set as a part with a high priority. Step 75: Output the note-on events in the buffer to the tone generator 16 in accordance with the arrangement order in the buffer, and wait for the next interrupt timing.

By the processing of steps 74 and 75, even if an event occurs at the same timing from both rhythm 1 part and rhythm 2 part, the rhythm 1 part event is output later than the rhythm 2 part event. When the events of both parts correspond to the same sounding timing, and the events are incompatible with each other (for example, when both events are a hi-hat open event and a hi-hat close event, or when both events are Sound source circuit 1
No. 6 gives priority to only the sound corresponding to the event of the rhythm one part. Although the case where the output timings of the note events of the rhythm 1 part and the rhythm 2 part are adjusted has been described here, the note events of the rhythm 2 part may be deleted when the events are incompatible with each other. Needless to say.

Further, in the above-described embodiment, the electronic musical instrument incorporating the tone generator circuit and the automatic performance device has been described. However, the sequencer module for performing the automatic performance process and the tone source module including the tone generator circuit are separately configured, and It goes without saying that the present invention can be similarly applied to a device configured to exchange data between modules according to the well-known MIDI standard. Further, in the above-described embodiment, a case has been described in which the present invention is applied to an automatic accompaniment that repeatedly reads performance data including a rhythm, a bass, and a chord part. However, the present invention is not limited to this, and may be applied to a sequencer-type automatic performance. It goes without saying that it is good.

In the above-described embodiment, the case where the part edit bit (PEB) is provided for each channel has been described, but it may be provided for each part. That is, in the embodiment, information such as which part each channel belongs to is provided for each channel.
Information such as which channel belongs to each part may be provided for each part, and information indicating whether or not the part may be edited may be stored therein. Further, the number of rhythm parts may be three or more. In this case, a priority may be given between the parts so that the sound of the part with the higher priority is preferentially generated.

In the above-described embodiment, a case has been described where two or more rhythm parts, rhythm 1 part and rhythm 2 part, are merged and sounded by events of both parts. It is needless to say that the chord 1 part) may be similarly merged and sounded. Also, when not only merging events of multiple parts and sounding them, but also merging events of multiple channels and sounding them, a priority channel is set in the same way so that events of that channel are sounded first. You may.

[0055]

According to the present invention, it is possible to perform music without any inconvenience.

[Brief description of the drawings]

FIG. 1 is a block diagram of a hardware configuration showing an embodiment of an electronic musical instrument to which an automatic performance device according to the present invention is applied.

FIG. 2 is a diagram showing contents of style data and contents of a default CTAB stored in a ROM and a RAM of FIG. 1;

FIG. 3 is a diagram illustrating an example of a custom style creation process that is performed by the CPU of the electronic musical instrument of FIG. 1 in response to the operation of each switch on the panel of FIG.

FIG. 4 is a diagram illustrating an example of a start process performed by a CPU when a start / stop switch on a panel is operated by an operator to instruct start of automatic performance.

FIG. 5 is a diagram showing an example of a reproducing process executed by 96 timer interrupts per quarter note;

FIG. 6 is a diagram showing details of the processing in step 55 of FIG. 5;

FIG. 7 is a diagram showing details of a process in step 5A of FIG. 5;

[Explanation of symbols]

10 CPU, 11 ROM, 12 RAM, 13 key depression detection circuit, 14 switch detection circuit, 15 display circuit, 16 sound source circuit, 17 timer, 18 MIDI interface, 19 disk drive, 1A ... keyboard, 1B ... panel, 1C ... sound system, 1D ... data and address bus, 2 ... LCD

────────────────────────────────────────────────── ─── Continuation of the front page (56) References JP-A-4-36797 (JP, A) JP-A-2-300794 (JP, A) JP-A-3-269594 (JP, A) (58) Field (Int.Cl. ⁷ , DB name) G10H 1/00 101-102 G10H 1/36-1/42

Claims (4)

(57) [Claims] Storage means for storing, for each part or each channel, automatic performance data comprising a plurality of parts or channels together with editable data or non-editable data indicating whether or not the data can be edited; and editing means for edited the previous SL automatic performance data means, when the automatic performance data edited stored together with the edit impossible data, not to perform the edit with respect to the automatic performance data by the edit means Edit control means for controlling the
When one part of the automatic performance data is constituted by data of a plurality of channels, the non-editable data is stored in all the data of the channels. 2. The automatic performance data stored in the storage means together with the non-editable data is erasable, and the edit control means controls the automatic performance data before the automatic performance data is edited by the edit means. By deleting the performance data from the storage means,
2. The automatic performance apparatus according to claim 1, wherein editing of the automatic performance data by the editing means is virtually impossible. 3. A storage unit for storing automatic performance data of a plurality of parts, a selection unit for selecting a part to be edited with respect to the automatic performance data stored in the storage unit, and a performance part selected by the selection unit Editing means for editing the automatic performance data of the performance part; and, when the performance part selected by the selection means is composed of a plurality of channels, the editing means edits the automatic performance data of the performance part by the editing means. An automatic performance device, comprising: control means for performing control so as not to be performed. Wherein said control means, when playing part selected by the selecting means is one that consists of multiple channels, before editing a more automatic performance data of this the performance part to said editing means 4. The editing of the automatic performance data of the performance part by the editing means is substantially impossible by erasing the automatic performance data of all the channels of the performance part from the storage means. The automatic performance device as described.