JP4174950B2 - Music editing method and recording medium recording the method - Google Patents

Description

[0001]
BACKGROUND OF THE INVENTION
The present invention relates to a music editing method and a recording medium on which the method is recorded. More specifically, the playback time of music data that is played in synchronization with video data is matched to the video data, and each of the two continuous video data The present invention relates to a music editing method for processing music data so that corresponding music data has a natural connection, and a recording medium on which the method is recorded.
[0002]
[Prior art]
In recent years, with the improvement in performance of computers such as personal computers, video data taken with a digital video camera or the like can be taken into a personal computer or the like. In addition, many people enjoy adding a piece of music that they think is appropriate to this video data imported to a personal computer, and outputting this music and video data together from a personal computer to a video, etc., into a single “work”. ing.
[0003]
[Problems to be solved by the invention]
However, while video data shot with a digital video camera etc. has different shooting times depending on the photographer and shooting scene, for example, the playback time of music that seems to be suitable for video data, such as a song song, is Often constant. Therefore, when both music and video data that are suitable for video data are output from a personal computer or the like to a video or the like, there is a “deviation” between the shooting time and the playback time.
[0004]
In order to solve this problem, it is common to change the tempo of the music or repeat the music several times. However, if the tempo of the music is changed significantly, it is originally appropriate for the video data. The music that I thought might not be appropriate. For example, if the shooting time is 4 minutes and 30 seconds and the music is 1 minute per performance, the video data ends in the middle of the music regardless of whether the number of repeats is 4 or 5.
[0005]
Especially in digital video cameras used on an individual basis, after shooting a certain scene, such as shooting an athletic meet relay, and then shooting the award ceremony, a completely different scene is shot. That's not uncommon. In such a case, fast-tempo music is appropriate in the relay scene, but such music is not appropriate in the award ceremony, and different music is usually selected.
[0006]
In this way, when video data with different scenes are continuous, it is necessary to contain the music exactly at the end of the previous scene. Furthermore, when the video data in such a case is reproduced, the video data changes suddenly at the transition of the scene, so the music also changes suddenly. Therefore, there is a problem that the music flows unnaturally at the change of the scene.
[0007]
The present invention has been made to solve the above-mentioned problems, and the reproduction time of music data that is played in synchronization with video data is matched to the video data, and the music data corresponding to two consecutive video data has a natural connection. An object of the present invention is to provide a music editing method for processing music data and a recording medium on which the method is recorded.
[0008]
[Means for Solving the Problems]
In the music editing method according to the present invention for solving the above-described problem, the first video data for a predetermined time and the first music data corresponding to the first video data are synchronously output,
The desired performance time desired by the user based on at least the first video data, the rhythm standard tempo corresponding to the rhythm of the first music data, and the melody data, code data, and melody length measures corresponding to the first music data Based on the actual performance melody data, actual performance code data, actual performance tempo,
The actual performance rhythm data is determined based on the rhythm accompaniment data corresponding to the rhythm of the first music data, the actual performance chord data, and the actual performance tempo,
A music editing method for generating first music data based on actual performance melody data and actual performance rhythm data,
Multiply the desired performance time by the rhythm standard tempo to calculate the optimal number of measures,
Divide the optimal number of measures by the number of melody length measures to calculate the number of melody repeats,
Multiply the melody length by the number of melody repetitions to calculate the number of actual performance measures,
Divide the number of actual performance bars by the desired performance time to calculate the actual performance tempo,
If the difference between the actual performance tempo and the standard rhythm tempo is within a predetermined range, the melody and chord data are repeated as many times as the number of melody repetitions to obtain the actual performance melody data and actual performance chord data. If the actual tempo is slower or faster than the standard rhythm tempo, if it is slower, add 1 to the number of melody repeats and return to the step of calculating the actual performance measure again. Repeat as many times as the number of melody repetitions to make provisional performance melody data and provisional performance code data,
Calculate the number of extra bars by subtracting the optimal number of bars from the actual number of bars,
Delete the data for the number of extra bars from the end of the tentative melody data and the end of the tentative performance chord data, respectively, to obtain actual performance melody data and actual performance chord data,
Subtract the number of surplus bars from the actual number of bars,
Calculate the actual performance tempo again by dividing the number of actual performance bars by reducing the number of extra bars by the desired performance time.
Based on the actual performance melody data, the actual performance code data, the actual performance tempo, and the rhythm accompaniment data, the first music data is output from the sound source.
[0009]
The second video data is continuous with the first video data, and the second music data corresponding to the second video data is output in synchronization with the second image data.
After subtracting the number of surplus bars from the actual number of bars,
The chord type of the last bar of the actual performance chord data, the chord type of the chord immediately before the chord of the last bar, and the chord type of the chord data of the second music data are corrected. It is preferable to do.
[0010]
It is also preferable that each scale of the rhythm accompaniment data used when the first music data is output from the sound source is translated based on each code data of the first music data. Furthermore, if necessary, intro data and ending data may be added before and after the first music data, respectively.
[0011]
Furthermore, after subtracting the number of extra bars from the number of actual performance bars,
Modifying the chord type of the last measure of the actual performance chord data based on the chord type of the last bar of the actual performance chord data, the chord type of the chord immediately before the chord of the last bar, and the chord type of the chord data of the ending data Is preferred. When intro data and ending data are added before and after the first music data, the chord type of the last bar of the chord data of the intro data, the chord type of the chord immediately before the chord of the last bar, and the It is preferable to correct the chord type of the last measure based on the chord type of the chord data of one musical piece.
[0012]
A recording medium in which a processing program for causing a computer to execute these music editing methods is recorded on a computer-readable medium is also included in the spirit of the present invention.
[0013]
DETAILED DESCRIPTION OF THE INVENTION
Hereinafter, the present invention will be described in detail with reference to the drawings.
(Embodiment 1)
FIG. 1 shows a process schematic diagram when a program for executing the music editing method according to the present invention is executed on a computer. In the present embodiment, the video data is not particularly corrected or processed.
[0014]
When a program for executing a music editing method according to the present invention is executed on a computer, a melody selection unit 1 and a performance time input unit are provided in a writable / readable storage means called a “RAM (random access memory)”. 2. A rhythm accompaniment selection unit 3, a melody & chord data editing unit 4, and an automatic accompaniment reproduction unit 5 are virtually created.
[0015]
The melody selection unit 1 is input with a song that the user desires to play through a keyboard, a mouse, or the like. Then, the melody selection unit 1 reads the melody, chord, and melody length measure number of the input music from the melody storage unit 6. The melody storage unit 6 stores a lot of music data including at least a melody, a chord, and a melody length measure. The melody storage unit 6 may be on the above-mentioned RAM or ROM (Read Only Memory), or on a predetermined homepage on the Internet or a server connected by a predetermined dedicated telephone line. There may be. The melody, chord, and melody length measure number read from the melody storage unit 6 are transmitted to the melody & chord data editing unit 4, respectively.
[0016]
The performance time input unit 2 is input with a time desired by the user to play the music as a desired performance time via a keyboard or the like. This music is a music that the user thinks is appropriate for the video data output in synchronization with this music. In general, the desired shooting time is the shooting time of the scene in which the music is to be played. At this time, it is possible to extract the shooting time of the scene where the music is to be played from the video data and use it as the desired playing time. In this case, it is not necessary for the user to input the time for playing the music from the keyboard or the like. This saves the user time and eliminates the need to be aware of the desired performance time. The desired performance time input to the performance time input unit 2 is transmitted to the melody & chord data editing unit 4.
[0017]
The rhythm accompaniment selection unit 3 receives a rhythm that the user desires to accompany through a keyboard, a mouse, or the like. The rhythm accompaniment selection unit 3 reads the rhythm standard tempo and rhythm accompaniment data of the input rhythm from the rhythm storage unit 7. The rhythm storage unit 7 stores a large number of rhythm data including at least a rhythm standard tempo and rhythm accompaniment data. Similar to the melody storage unit 6, the rhythm storage unit F may be located anywhere as long as the user can connect to the homepage, server, etc. as well as the above-described RAM and ROM. The data is transmitted to the rhythm standard tempo melody & chord data editing unit 4 read from the rhythm storage unit 7. On the other hand, the rhythm accompaniment data is transmitted to the automatic accompaniment reproduction unit 6.
[0018]
As described above, the melody & chord data editing unit 4 reads the melody, chord, and melody length measure read from the melody storage unit 6, the desired performance time input to the performance time input unit 2, and the rhythm accompaniment. The rhythm standard tempo read from the storage unit 7 is received. The melody & chord data editing unit 4 that has received them receives the received melody so that the music that is finally output to the sound source and played has the same playing time as the desired playing time by the method described below. The chord and the rhythm standard tempo are processed into the actual performance melody data, the actual performance chord data, and the actual performance tempo, respectively.
[0019]
In the following, for ease of explanation, unless otherwise specified, the first scene is the athletic meet relay scene (1.75 minutes), the second scene is the award ceremony scene (2 minutes), The desired performance time of the music that is synchronously output (hereinafter referred to as “first music”) is the same as that of the relay scene (ie, 1.75 minutes). The tempo of this music is 30 bars / minute, and the number of melody length bars (the length of the first music is expressed in bars) is 12 bars. Normally, the tempo is often defined by how many quarter notes are played in one minute, but here the tempo unit is “measure / minute” for easy understanding. If 30 bars / minute is converted into the tempo used in musicology, it is about 120, and it is a melody of normal speed.
[0020]
First, the optimum number of measures is calculated by multiplying the desired performance time by the rhythm standard tempo. That is, when the desired tempo of the rhythm desired by the user is multiplied by the desired performance time and the music is played for the desired performance time, the number of bars to be played is determined. Here, 1.75 (minutes) × 30 (bars) = 52.5 (bars).
[0021]
Next, the number of melody repetitions is calculated by dividing the optimum number of bars obtained as described above by the number of melody length bars. If the first song is played only once, if the melody length measure of the first song is 24 seconds (that is, the first song ends in 24 seconds), the remaining 1 minute 21 seconds During this period, the music will not flow. Therefore, as long as the first scene continues, the first music is played repeatedly, and the number of repetitions is obtained here. In the above specific example, the optimal number of bars is 52.5 (bars), so 52.5 (bars) ÷ 12 bars = 4.375 (times). In addition, when a decimal part occurs when it is divided, it is rounded off.
[0022]
The actual performance measure number is calculated by multiplying the melody length measure number by the melody repetition number obtained as described above. That is, for example, as described above, the actual number of bars to be played is obtained when the first music piece is repeatedly played four times. In the above example, 12 bars × 4 times = 48 bars.
[0023]
Next, the actual performance tempo is calculated by dividing the number of actual performance bars by the desired performance time. That is, in order to play the first music piece by the number of measures that are actually played within the desired playing time, it is determined how much tempo should actually be played. In the above example, 48 bars / 1.75 minutes = 27.43 bars / minute.
[0024]
Here, the calculated actual performance tempo and the rhythm standard tempo are compared. In other words, the rhythm standard tempo is the standard tempo of the rhythm, and if the actual performance tempo that is the actual tempo is significantly different from the rhythm standard tempo, the first music is played at an extremely fast or slow tempo. It will be played, the image of the first music will change significantly, and the corresponding first scene will be “unsuitable”. Therefore, the calculated actual performance tempo is compared with the standard rhythm tempo, and if the difference is within a predetermined range, it is determined that there is no problem, and the melody and chord data are repeated as many times as the number of melody repetitions. Data and actual performance chord data.
[0025]
On the other hand, when the above difference is outside the predetermined range, the following processing is performed because there is a problem. In the above example, for example, if it is determined that there is no problem if the difference is within 5% in advance, 27.43 (measures / minute) ÷ 30 (measures / minute) × 100 (%) = 91.43 (% Since there is a problem, the following processing is performed.
[0026]
The calculated actual performance tempo and the rhythm standard tempo are compared, and if the difference is outside the predetermined range, it is once determined whether the actual performance tempo is slower or faster than the rhythm standard tempo. If it is late, the process returns to the step of adding 1 to the number of melody repetitions and calculating the actual performance measure number again. In the above example, 91.43 (%) is “slow”. Therefore, the first music is played five times by adding 1 to the number of repetitions, and the calculation is performed again. Then, the actual performance measure number is 12 (measures) × 5 (times) = 60 measures, and the actual performance tempo is 60 (measures) ÷ 1.75 (minutes) = 34.28 (measures / minute). And the rhythm standard tempo is 34.28 (measures / minute) ÷ 30 (measures / minute) = 114.2 (%), which is “too fast”.
[0027]
On the other hand, if it is fast, the melody and chord data are repeated as the melody and chord data by the number of melody repetitions, respectively, to obtain provisional performance melody data and provisional performance code data. In the above example, the data obtained by repeating the melody of the first music five times becomes provisional performance melody data, and the data obtained by repeating the chord data five times becomes provisional performance code data.
[0028]
Next, the number of surplus bars is calculated by subtracting the optimum number of bars from the actual number of bars. Then, data corresponding to the number of extra measures is deleted from the end of the provisional performance melody data and the end of the provisional performance code data, respectively, to obtain actual performance melody data and actual performance code data. In other words, we decided to return to the original tempo here, and delete the remaining bars from the end of the provisional melody data in order to match the actual number of bars played to the optimal number of bars. The performance melody data. In the above example, the actual performance measure number is 60 (measures), the optimum number of measures is 52.5 (measures), and the difference is 7.5 measures. Therefore, provisional performance melody data having data for 60 measures is provided. Only 7.5 bars are deleted from the end of the melody data to obtain actual performance melody data. However, if there is a fractional part of the number of extra bars, round off. The same applies to code data. In this case, only 8 bars are deleted.
[0029]
As described above, in order to match the actual number of bars to be played with the optimal number of bars, the number of surplus bars is subtracted from the actual number of bars, and the calculated value is used as the new number of actual performance bars. In the above example, 60 (bars) −8 (bars) = 52 bars.
[0030]
Finally, the actual performance tempo is calculated again by dividing the new actual performance bars by the desired performance time. This is because unless this is done, the tempo will not be restored. In the above example, 52 (measures) ÷ 1.75 (minutes) = 29.71 (measures / minute).
[0031]
Based on the actual performance melody data, actual performance code data, actual performance tempo, and rhythm accompaniment data processed or calculated as described above, the first music data is output from the sound source.
[0032]
As described above, in the present invention, in order to play a song for a desired performance time, first, the tempo of the music is changed based on the desired performance time and the calculated actual performance tempo deviates from the standard rhythm tempo. If it is within the range suitable for the corresponding first scene (5% in the above example), the first music is played at the speed of the actual performance tempo. On the other hand, if it is out of range, the end of the performance data is deleted and the music is played for the desired performance time. As described above, in the present invention, the first musical sound and the first scene can be synchronously output by matching the reproduction time of the music data that is played in synchronization with the video data to the reproduction time of the video data. Even if the second scene continues immediately after the tune, the music (first tune) can be stored exactly at the end of the first scene.
[0033]
By the way, in the present invention, the second music continues immediately after the first music is played for the desired performance time. If the difference between the calculated actual performance tempo and the standard rhythm tempo is within a predetermined range (5% in the above example), the first music is played to the end, so the second music is immediately after the second music. There is no problem even if it flows with the scene (synchronized output). However, if it is out of range, the actual performance melody data is data obtained by deleting only the extra measures from the end of the provisional performance melody data. The second music is played along with the second scene.
[0034]
In that case, the second music is continuous with the first music that ends in the middle, but if the connection of these music is unnatural, it is played between the first scene and the second scene. Music will sound unnatural. Therefore, in the present invention, after subtracting the number of surplus bars from the number of actual performance bars, the type of chord of the last bar of the actual performance chord data, the type of chord immediately before the chord of the last bar, and the second music It is preferable to correct the code type of the last bar based on the type of the beginning code of the data code data. Hereinafter, a specific correction method will be described.
[0035]
In the following description, as a specific example, as shown in FIG. 2, the provisional performance chord data of the first music ends in the order of F, G, C, Am, F, and G, and the second music It is assumed that code data starts in the order of C and Am. The number of surplus bars is three.
[0036]
Since the number of surplus bars is three, the last three (Am, F, and G) of the provisional performance chord data of the first music are deleted, and the deletion ends in the order of F, G, and C after deletion. The chord data becomes actual performance chord data. After the deletion, if the first music and the second music are played after the actual performance code as they are, they will be played in the order of F, G, C, C, Am, and it may be unnaturally heard by some people. May be.
[0037]
Therefore, the actual performance chord data is corrected based on the conversion table as shown in FIG. First, chords (G, C, etc.) are classified into tonics, subdominants, and dominants in terms of musicology. In order to prevent unnatural sound, as shown in Fig. 3, if both chords before and after a bar are both tonic, break the bar into two on the chord and Play sub-dominant chords and the second half with dominant chords. In the specific example as shown in FIG. 2, the actual performance chord data of the first music ends with C (tonic), but the chords of the bars before and after this bar with chord C are G (dominant), C ( 3, the last C chord of the actual performance chord data of the first music is the first music if the first half is changed to tonic (C) and the second half is changed to dominant (G). To 2 large pieces of music will be heard naturally. For the sake of convenience, in FIG. 2, the measure corresponding to the last C code to be modified is referred to as “−1 measure”, and the measures before and after it are “−2 measure” and “1 measure”, respectively. If the actual performance code data of the first music is processed in this way, the music data corresponding to the continuous first and second scenes are played with natural connections.
[0038]
The rhythm accompaniment data is preferably translated and scaled as necessary based on the chord data of the first music piece. Usually, since the rhythm accompaniment data is stored in the rhythm storage unit as being C major, the chord data of the first music is assumed to be continuous in the order of F, G, C, Am, F, G. However, the rhythm accompaniment data read from the rhythm storage unit 7 will be continuous in the order of C, C, C, C, C, and C. Therefore, parallel movement and scale correction as necessary are performed so as to correspond to the chord data arranged in the order of F, G, C, Am, F, and G. Specifically, for each rhythm accompaniment data, the first data C of the rhythm accompaniment data is translated up to 5 semitones up to F, and the next data C is translated up to 7 semitones up to G. Do it. If the chord data is a minor chord such as Am, and the chord data is a scale of D # (le sharp), E (mi), and B (si), one semitone in advance Move it down to the chord data of the first song after lowering it.
[0039]
In the above description, for the sake of illustration, there are two scenes and two songs corresponding to each scene. Of course, there may be three or more songs, and the second and subsequent songs are also supported in the same manner as described above. It can be edited according to the playback time of each scene.
[0040]
(Embodiment 2)
In the description of the first embodiment, the first scene, which is a relay scene, and the second scene, which is an award ceremony scene, are continuous. In the second embodiment, the first scene is synchronized with one scene. Also in the music editing method for determining the actual performance melody data, the actual performance chord data, and the actual performance tempo of the first music so that the first music desired to be output fits within the playback time of this one scene. The present invention can be applied.
[0041]
More specifically, for example, one scene is set to 1.75 minutes, and the desired performance time of the music (ie, the first music) output in synchronization with this scene is the same as that of this scene (ie, 1.. 75 minutes). The tempo of this music is 30 bars / minute, and the melody length is 12 bars.
[0042]
In this case, calculation is performed in exactly the same manner as in the first embodiment, and the first music is repeated five times, and the last eight bars are deleted in the last five times. The first musical piece is played with an actual performance tempo of 29.71 (measures / minute), and is output in synchronization with the scene.
[0043]
As described above, also in the second embodiment, in order to perform the music for the desired performance time, first, the tempo of the music is changed based on the desired performance time and the calculated actual performance tempo is changed from the rhythm standard tempo. If it is within a range that does not deviate so much and sounds appropriate for the corresponding scene, the first music is played at the speed of the actual performance tempo. On the other hand, if it is out of range, the end of the performance data is deleted and the music is played for the desired performance time. As described above, since the first musical sound and the scene can be synchronously output by matching the playback time of the music data that is played in synchronization with the video data to the playback time of the video data, the music ( First music).
[0044]
Intro and ending may be added to the beginning and end of the first music piece, respectively. Even in this case, the present invention can be applied. For example, it is assumed that one scene is 2 minutes, the length of the intro is 4 bars, and the length of the ending is 4 bars. Usually, the intro length and the ending length are fixed. In the same manner as described above, the tempo of this music is 30 bars / minute, and the melody length bar number is 12 bars.
[0045]
Next, as in the first embodiment, actual performance melody data, actual performance code data, actual performance tempo, rhythm accompaniment data, and actual performance rhythm data are determined. Specifically, first, the optimal number of bars is calculated. Here, 2 (minutes) × 30 (bars) = 60 (bars). The optimal number of melodic bars is calculated by subtracting the number of intro and ending bars from this optimal number of bars. Here, 60−4−4 = 52 (bars).
[0046]
Next, the number of melody repetitions is calculated by dividing the optimum number of melody measures obtained as described above by the number of melody length measures. If the first song is played only once, if the total number of melodies, intros, and ending length bars in the first song is 40 seconds (ie, the first song ends in 40 seconds) The music will not flow for the remaining 1 minute 20 seconds. Therefore, as long as the first scene continues, the melody portion of the first music is played repeatedly, and the number of repetitions is obtained here. In the above specific example, since the optimum number of measures in the melody is 52 (measures), 52 (measures) ÷ 12 measures = 4.33 (times). In addition, when a decimal part occurs when it is divided, it is rounded off.
[0047]
The actual performance measure number is calculated by multiplying the melody length measure number by the melody repetition number obtained as described above and further adding the intro / ending measure number. That is, for example, as described above, the actual number of bars to be played is obtained when the first music piece is repeatedly played four times. In the above example, 12 bars × 4 times + 4 bars + 4 bars = 56 bars.
[0048]
Next, the actual performance tempo is calculated by dividing the number of actual performance bars by the desired performance time. That is, in order to play the first music piece by the number of measures that are actually played within the desired playing time, it is determined how much tempo should actually be played. In the above example, 56 bars ÷ 2 minutes = 28 bars / minute.
[0049]
Here, the calculated actual performance tempo and the rhythm standard tempo are compared. In other words, the rhythm standard tempo is the standard tempo of the rhythm, and if the actual performance tempo that is the actual tempo is significantly different from the rhythm standard tempo, the first music is played at an extremely fast or slow tempo. It will be played, the image of the first music will change significantly, and the corresponding first scene will be “unsuitable”. Therefore, the calculated actual performance tempo is compared with the standard rhythm tempo, and if the difference is within a predetermined range, it is determined that there is no problem, and the melody and chord data are repeated as many times as the number of melody repetitions. The intro is connected with an ending at the end to obtain actual performance melody data and actual performance code data.
[0050]
On the other hand, when the above difference is outside the predetermined range, the following processing is performed because there is a problem. In the above example, for example, if the above difference is within 5% in advance, there is no problem, 28 (bars / minute) ÷ 30 (bars / minute) × 100 (%) = 93.33 (%) Since there is a problem, the following processing is performed.
[0051]
The calculated actual performance tempo and the rhythm standard tempo are compared, and if the difference is outside the predetermined range, it is once determined whether the actual performance tempo is slower or faster than the rhythm standard tempo. If it is late, the process returns to the step of adding 1 to the number of melody repetitions and calculating the number of actual performance bars again. In the above example, since it is “slow” at 93.33 (%), the melody portion of the first music is played five times by adding 1 to the number of repetitions, and the calculation is performed again. Then, the number of actual performance measures is 12 (measures) × 5 (times) +4 measures + 4 measures = 68 measures, and the actual performance tempo is 68 (measures) / 2 (minutes) = 34 (measures / minute). And rhythm standard tempo is 34 (measures / minute) ÷ 30 (measures / minute) = 113.33 (%), which means “too fast”.
[0052]
On the other hand, if it is fast, the melody and chord data, the melody and chord data are repeated as many times as the number of melody repetitions, and an intro at the beginning and an ending at the end are used as temporary performance melody data and provisional performance chord data. In the above example, the melody of the first song is repeated 5 times, the intro at the beginning of the data, the ending at the end is the tentative performance melody data, the intro at the beginning of the data where the chord data is repeated 5 times, Temporary performance chord data is the one with an ending at the end.
[0053]
Next, the number of surplus bars is calculated by subtracting the optimum number of bars from the actual number of bars. Then, data corresponding to the number of extra measures is deleted from the end of the provisional performance melody data and the end of the provisional performance code data, respectively, to obtain actual performance melody data and actual performance code data. In other words, we decided to return to the original tempo here, and delete the remaining bars from the end of the provisional melody data in order to match the actual number of bars played to the optimal number of bars. The performance melody data. In the above example, the number of actual performance bars is 68 (bars), the optimal number of bars is 60 (bars), and the difference is 8 bars. Therefore, the provisional performance having data for 68-4-4 = 60 bars. Only 8 bars are deleted from the end of the melody data (not including the intro / ending) to obtain the actual performance melody data. However, if there is a fractional part of the number of extra bars, round off. The same applies to code data. In this case, only 8 bars are deleted.
[0054]
As described above, in order to match the actual number of bars to be played with the optimal number of bars, the number of surplus bars is subtracted from the actual number of bars, and the calculated value is used as the new number of actual performance bars. In the above example, 68 (bars) -8 (bars) = 60 bars.
[0055]
Finally, the actual performance tempo is calculated again by dividing the new actual performance bars by the desired performance time. This is because unless this is done, the tempo will not be restored. In the above example, 60 (measures) ÷ 2 (minutes) = 30 (measures / minute).
[0056]
In addition, when an intro and an ending are added to the beginning and end of a song as described above, these have a natural connection between the intro and the song itself and between the song itself and the ending. The end of the intro and the end of the music itself can be corrected and processed according to the procedures described in paragraph numbers 0033 to 0039.
[0057]
【The invention's effect】
According to the present invention, the playback time of music data that is played in synchronization with video data can be matched to the video data, so that the first music and the second music are played in correspondence with the second scene that is continuous with the first scene. In this case, the time at which the first music is played can be matched with the playback time of the first scene. Also, the chord type of the last bar of the actual performance chord data, the chord type of the chord immediately before the chord of the last bar, and the chord type of the chord data of the second music data, the chord type of the last bar Is corrected, the first music and the second music corresponding to the continuous first scene and second scene, respectively, are played with natural connections.
[0058]
In addition, even in the case where a piece of music that is desired to be output in synchronization with one scene is to be kept within the playback time of the one scene, the present invention can be used to synchronize with the video data of one scene. Since the music and the scene can be synchronously output by matching the playback time of the music data that is played in the same way as the playback time of the video data, the music can be stored exactly at the end of the scene. In addition, even if an intro and an ending are added before and after the music, the intro and the music itself and between the music and the ending can be played with a natural connection. it can.
[Brief description of the drawings]
FIG. 1 is a schematic diagram of processing when a program for executing a music editing method according to the present invention is executed on a computer.
FIG. 2 is a diagram for explaining a specific method for correcting the chord type of the last measure.
FIG. 3 is a diagram showing a conversion table used for correcting actual performance chord data
[Explanation of symbols]
1: Melody selection section
2: Performance time input section
3: Rhythm accompaniment selection part
4: Melody & chord data editor
5: Automatic accompaniment playback section
6: Melody storage
7: Rhythm memory

Claims (7)

The first video data for a predetermined time and the first music data corresponding to the first video data are synchronously output,
A desired performance time desired by a user based on at least the first video data, a rhythm standard tempo corresponding to the rhythm of the first music data, and melody data, code data, and the melody corresponding to the first music data Based on the number of measures in length, actual performance melody data, actual performance chord data, actual performance tempo are determined,
Determining actual performance rhythm data based on the rhythm accompaniment data corresponding to the rhythm of the first music data, the actual performance chord data, and the actual performance tempo;
A music editing method for generating first music data based on the actual performance melody data and the actual performance rhythm data,
Multiply the desired playing time by the rhythm standard tempo to calculate the optimal number of measures,
Divide the optimal number of bars by the number of melody length bars to calculate the number of melody repetitions,
Multiply the melody length measure by the number of melody repetitions to calculate the actual performance measure number,
Divide the number of actual performance bars by the desired performance time to calculate the actual performance tempo,
If the difference between the actual performance tempo and the rhythm standard tempo is within a predetermined range, the actual performance melody data and the actual performance code are repeated by repeating the melody and the chord data by the number of repetitions of the melody, respectively. If it is out of range, it is determined whether the actual performance tempo is slower or faster than the standard rhythm tempo, and if it is slower, the process returns to the step of calculating the number of actual performance bars by adding 1 to the number of melody repetitions, If it is fast, the melody and the chord data are repeated as many times as the number of melody repetitions, respectively, and are used as provisional performance melody data and provisional performance chord data,
Subtracting the optimal number of bars from the actual number of bars to calculate the number of extra bars,
Deleting the data corresponding to the number of extra measures from the end of the provisional performance melody data and the end of the provisional performance code data, respectively, to obtain actual performance melody data and actual performance code data;
Subtract the number of surplus bars from the actual number of bars,
Divide the number of actual performance bars by subtracting the number of extra bars by the desired performance time, and recalculate the actual performance tempo.
A music editing method in which first music data is output from a sound source based on the actual performance melody data, the actual performance code data, the actual performance tempo, and the rhythm accompaniment data. Second video data is continuous with the first video data, and second music data corresponding to the second video data is output in synchronization with the second image data,
After subtracting the number of surplus bars from the number of actual performance bars,
The chord type of the last bar of the actual performance chord data, the chord type of the chord immediately before the chord of the final bar, and the chord type of the chord data of the second music data The music editing method according to claim 1, wherein: 3. The scale of the rhythm accompaniment data used when the first music data is output from a sound source is translated based on the chord data of the first music data. 4. Music editing method. The music editing method according to claim 1, wherein intro data and ending data are respectively added before and after the first music data. After subtracting the number of surplus bars from the number of actual performance bars,
The chord type of the last measure of the actual performance chord data, the chord type of the chord immediately before the chord of the last bar, and the chord type of the chord data of the ending data The music editing method according to claim 4, wherein correction is performed. After subtracting the number of surplus bars from the number of actual performance bars,
The chord type of the last bar of the chord data of the intro data, the chord type of the chord immediately before the chord of the last bar, and the chord type of the chord data of the first music The music editing method according to claim 4, wherein the type of music is corrected. A recording medium recording a processing program for causing a computer to execute the music editing method according to claim 1 on a computer-readable medium.

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