Playing device, method, and program

Abstract

To allow a user to easily recognize execution of inappropriate playing operation.SOLUTION: A playing device comprises multiple playing operators and at least one processor. At least one processor determines whether a first pitch corresponding to playing operation is a pitch of a code constituting sound of music under progress when detecting the playing operation for a playing operator, and generates at least a musical sound in a first pitch, and a musical sound in a second pitch that is the code constituting sound when the first pitch is not a pitch of the code constituting sound.SELECTED DRAWING: Figure 4

Description

[Technical Field]

[0001] The present disclosure relates to a performance device, a method, and a program. [Background technology]

[0002] There are known musical performance devices that assist users who are not good at playing musical instruments. For example, Patent Document 1 describes a specific configuration of this type of musical performance device.

[0003] The performance device described in Patent Document 1 automatically converts input sounds made by a user operation into pitches that match the chords using a chord-compatible conversion table, and then produces the converted sounds. Furthermore, the performance device controls the production so that performance sounds that do not match the accompaniment being played at the same time are not produced. [Prior art documents] [Patent documents]

[0004] [Patent Document 1] Japanese Patent Application Laid-Open No. 2004-206073 Summary of the Invention [Problem to be solved by the invention]

[0005] In Patent Document 1, even if the user operates an inappropriate performance control, a musically appropriate musical tone is produced. Therefore, it is difficult for the user to recognize that an inappropriate performance operation has been performed. In other words, the performance device described in Patent Document 1 has room for improvement in terms of making the user recognize that an inappropriate performance operation has been performed.

[0006] In view of the above circumstances, an embodiment of the present disclosure aims to provide a performance device, method, and program that makes it easy for a user to recognize that an inappropriate performance operation has been performed. [Means for solving the problem]

[0007] A performance device according to an embodiment of the present disclosure includes a plurality of performance controls and at least one processor. When the at least one processor detects a performance operation on the performance controls, it determines whether a first pitch corresponding to the performance operation is the pitch of a chord constituent note of the song in progress, and if the first pitch is not the pitch of the chord constituent note, it sequentially produces at least a musical note of the first pitch and a musical note of a second pitch that is the chord constituent note. [Effects of the Invention]

[0008] According to one embodiment of the present disclosure, a performance device, method, and program are provided that make it easy for a user to recognize that an inappropriate performance operation has been performed. [Brief explanation of the drawings]

[0009] [Figure 1] 1 is a block diagram illustrating a configuration of an electronic musical instrument according to an embodiment of the present disclosure. [Figure 2] FIG. 2 is a diagram showing a portion of a musical score corresponding to song data stored in an electronic musical instrument according to an embodiment of the present disclosure. [Figure 3] 1A and 1B are diagrams illustrating exemplary musical tones generated by an electronic musical instrument according to an embodiment of the present disclosure. [Figure 4] 1A and 1B are diagrams illustrating exemplary musical tones generated by an electronic musical instrument according to an embodiment of the present disclosure. [Figure 5] FIG. 2 is a functional block diagram showing the functions of the electronic musical instrument when a key is pressed. [Figure 6] 1 is a flowchart illustrating processing executed by a processor of an electronic musical instrument according to an embodiment of the present disclosure. [Figure 7] This is a subroutine of the performance operation process in step S105 of FIG. [Figure 8] 7 is a subroutine of the passing sound sound generation process shown in the flowchart of FIG. 6. [Figure 9] FIG. 2 is a diagram showing information stored in a buffer of an electronic musical instrument according to an embodiment of the present disclosure. DETAILED DESCRIPTION OF THE INVENTION

[0010] The following description relates to a performance device, method, and program according to an embodiment of the present disclosure. Common or corresponding elements are denoted by the same or similar reference numerals, and duplicate descriptions will be appropriately simplified or omitted.

[0011] 1 is an example of a musical performance device, such as an electronic keyboard. The electronic musical instrument 1 may be an electronic keyboard instrument other than an electronic keyboard, such as an electronic piano. The electronic musical instrument 1 may also be another type of electronic musical instrument, such as an electronic percussion instrument, an electronic wind instrument, or an electronic string instrument.

[0012] The electronic musical instrument 1 is a computer, and its hardware configuration includes a processor 10, RAM (Random Access Memory) 11, ROM (Read Only Memory) 12, flash memory 13, keyboard 14, switch panel 15, key scanner 16, sound source LSI (Large Scale Integration) 17, D / A converter 18, amplifier 19, and speaker 20. The various components of the electronic musical instrument 1 are connected via a bus 21.

[0013] The processor 10 reads out programs and data stored in the ROM 12. The processor 10 controls the electronic musical instrument 1 in an integrated manner by using the RAM 11 as a work area.

[0014] The processor 10 may be, for example, a single processor or a multi-processor, and includes at least one processor. When multiple processors are included, the processor 10 may be packaged as a single device, or may be configured as multiple devices that are physically separated within the electronic musical instrument 1. The processor 10 may be called, for example, a control unit, a CPU (Central Processing Unit), an MPU (Micro Processor Unit), or an MCU (Micro Controller Unit).

[0015] RAM 11 temporarily stores data and programs. RAM 11 stores various data such as various programs and waveform data read from ROM 12. A portion of the memory area of ​​RAM 11 is reserved as buffer 11A. As will be described in detail later, buffer 11A stores information indicating the correspondence between key-pressed note numbers and sounded note numbers. For convenience, the note number associated with a pressed key is referred to as the "key-pressed note number." The note number associated with a released key is referred to as the "key-released note number." The note number of the musical tone to be sounded is referred to as the "sounded note number."

[0016] The ROM 12 stores a control program 12A. The processor 10 executes the control program 12A to perform various processes according to an embodiment of the present disclosure.

[0017] The flash memory 13 stores multiple pieces of song data 13A. Although each piece of song data 13A is data for a different song, for convenience they are all given the same reference number 13A. The song data 13A is created in, for example, the SMF (Standard MIDI File) format. The song data 13A includes multiple events. The events include delta time, command type, command data, etc.

[0018] The processor 10 sequentially reads the events in the music data 13A and progresses the music in accordance with the delta time described in each event.

[0019] The song data 13A includes accompaniment data. The song data 13A including accompaniment data can also be called chord progression data. The song data 13A is not limited to data stored in the flash memory 13. The song data 13A can be obtained from an external terminal such as a USB (Universal Serial Bus) memory, or can also be obtained from a server on a network.

[0020] Flash memory 13 stores chord constituent note table 13B. Chords and their constituent notes are registered in association with each other in chord constituent note table 13B. For example, for an A7 chord, the note names A, C♯, E, and G (or note number 9, 1, 4, 7) are registered in association with each other as chord constituent notes. For convenience, the chord constituent notes of the A7 chord are circled on the keyboards shown in FIGS. 3 and 4.

[0021] The flash memory 13 stores an output speed table 13C. The output speed table 13C is a table for determining the note value when a passing note, which will be described later, is generated.

[0022] The keyboard 14 has 88 keys that are performance controls. Specifically, the keyboard 14 has 52 white keys and 36 black keys. Each key is associated with a different pitch. The electronic musical instrument 1 produces musical tones in response to the depression of a key on the keyboard 14. The number of keys on the keyboard 14 is not limited to 88. The keyboard 14 may have other numbers of keys, such as 61 keys or 76 keys.

[0023] The switch panel 15 includes various controls for operating the electronic musical instrument 1. The various controls include a power button, a record button, a play / stop button, etc. The various controls also include controls for adjusting parameters such as volume and tone.

[0024] The key scanner 16 monitors key presses and releases on the keyboard 14. For example, when the key scanner 16 detects a key press by the user, it outputs a key press event to the processor 10. The key press event includes information about the pitch of the key related to the key press (key number). The key number is also called a key number, a MIDI (Musical Instrument Digital Interface) key, or a note number. The pitch is also called a note.

[0025] In this embodiment, a separate means is provided for measuring the key pressing speed (velocity), and the velocity measured by this means is also included in the key press event. Illustratively, multiple contact switches are provided for each key. The velocity is measured based on the difference in the time that each contact switch remains conductive when the key is pressed. Velocity can be considered a value that indicates the strength of the key press operation, and also a value that indicates the loudness (volume) of the musical sound. Note that an electronic musical instrument 1 that does not have a velocity detection function also falls within the scope of the embodiments of the present disclosure.

[0026] The waveform data is stored in the ROM 12 or another memory (not shown). This waveform data is loaded into the RAM 11 during startup of the electronic musical instrument 1 so that musical tones are quickly generated in response to key presses. When the key scanner 16 detects a key press, the processor 10 instructs the sound source LSI 17 to read the corresponding waveform data from the waveform data loaded into the RAM 11. The waveform data to be read is determined, for example, by the tone color selected by the user and the key press event.

[0027] The tone generator LSI 17 generates musical tones based on waveform data read from the RAM 11 under the instruction of the processor 10. The tone generator LSI 17 has, for example, 128 generator sections and can simultaneously generate up to 128 musical tones. In this embodiment, the processor 10 and the tone generator LSI 17 are configured as separate processors, but in another embodiment, the processor 10 and the tone generator LSI 17 may be configured as a single processor.

[0028] The digital musical sound data generated by the sound source LSI 17 is converted into an analog signal by a D / A converter 18, and then amplified by an amplifier 19 and output to a speaker 20.

[0029] FIG. 2 shows a portion of the musical score S1 corresponding to the song data 13A. As shown in FIG. 2, the musical score S1 includes a melody and an accompaniment. The melody is represented by a staff, and the accompaniment is represented by chords on top of the staff. For convenience, the section of the measure containing the A7 chord is referred to as section PD1. The section of the measure containing the Gm7 chord is referred to as section PD2.

[0030] In this embodiment, processor 10 sequentially reads events in music data 13A corresponding to musical score S1 and automatically advances the chords (accompaniment) attached to the music according to the delta time described in each event. Additionally, processor 10 can determine which section the current time belongs to (in other words, which chord is to be played in which section) according to the delta time described in each event. The user can play the melody along with the automatically played accompaniment.

[0031] In conventional assistive music playing devices, when a user presses an inappropriate key (a key with a pitch that is hardly musically appropriate), the pitch is converted to a musically appropriate pitch within the device before the musical tone is produced, making it difficult for the user to recognize that they have performed an inappropriate performance operation.

[0032] Furthermore, with conventional assistive music playing devices, the movement of the user's fingers may not be synchronized with the musical notes that are produced. For example, consider the case where a user plays "Si" and "Do" in order to a "Re" and "Re" melody in a song (for convenience, this will be referred to as "Performance Example A"). In Performance Example A, even though the user moves their fingers from "Si" to "Do," the same musical note (the correct note, "Re") is produced twice. This can be a strange feeling for the user, as the same musical note is produced even though the user has moved their fingers to press different keys.

[0033] Therefore, when an inappropriate performance operation is performed, the electronic musical instrument 1 according to this embodiment produces musical tones that change in pitch, either stepwise or continuously, from the pitch corresponding to the performance operation (a pitch that is hardly musically appropriate) to a musically appropriate pitch. In this embodiment, such musical tones that change stepwise or continuously are referred to as "passing tones." In this embodiment, the passing tones sound like ornaments that are similar to, for example, post-beat tones or pre-beat tones.

[0034] In this embodiment, musical tones corresponding to the keys pressed by the user are generated, so the user's sense of performance is not impaired. Furthermore, during a performance operation, musical tones that are difficult to describe as musically appropriate are first generated, making it easy for the user to recognize that an inappropriate performance operation has been performed. The fact that musical tones that are connected in stages or without stages are generated immediately after the musical tones that are difficult to describe as musically appropriate are also makes it easy for the user to recognize that an inappropriate performance operation has been performed. Ultimately, musically appropriate musical tones are generated (in other words, chord constituent tones are generated so as not to sound out of place with the chords of the song in progress), resulting in a musically natural melody.

[0035] Consider the case where a user plays "Si" and "Do" in the same order as in the performance example A above, using the electronic musical instrument 1 according to this embodiment, for a melody of "Do" and "Do" in a song. In this case, for example, "SiDoDo♭Do" and "DoDo♭Do" are produced in that order. That is, a musical note that is hardly musically appropriate is first produced, and then the pitch changes toward the correct note, "Do." In this example, the pitch changes by half a scale. Because the musical note produced changes depending on the key press, the link between the user's finger movement and the musical note is ensured. This makes it less likely that the user will feel uncomfortable.

[0036] By recognizing that an inappropriate performance operation has been performed, the user can correct the performance, improve the performance level, and enjoy playing.

[0037] From another perspective, the user can intentionally perform inappropriate performance operations to change the pitch of the musical tones produced stepwise or continuously. In other words, the user can use the electronic musical instrument 1 to create new performance expressions by changing the pitch at any point.

[0038] When you play a musical note while gradually changing the pitch, a passing note that changes chromatically (by half steps) is played. Changing the pitch chromatically tends to produce a passing note that is pleasant to the ear.

[0039] When musical tones are produced while continuously changing pitch, smoother transitions (i.e., performances that mimic portamento playing) are reproduced. Because musical tones are generated electronically, pitch changes occur at a pitch that conforms to the minimum resolution at which musical tones can be produced (i.e., in steps). In other words, pitch changes in steps that are so minute that they can be considered essentially stepless. For this reason, the continuous pitch changes in electronic musical instrument 1 can also be accurately described as step changes.

[0040] For instruments such as piano, harmonica, and saxophone, where the pitch can be specified with the fingers, the tone tends to sound natural when the musical tone is played as a gradually changing passing tone.For instruments such as trombone and guitar, where the pitch can be changed continuously, the tone tends to sound natural when the musical tone is played as a continuously changing passing tone.

[0041] 3 and 4, musical tones produced by the electronic musical instrument 1 will be described by way of example. In the example of FIG. 3, the key with pitch A4 is pressed in section PD1. Pitch A4 is a constituent note of the A7 chord. Therefore, pitch A4 is a musically appropriate pitch for section PD1. Therefore, in the example of FIG. 3, the pitch A4 corresponding to the key pressed by the user is produced as is.

[0042] In the example of Figure 4, the key with the pitch F4 is pressed in the section PD1. The pitch F4 is not a constituent note of the A7 chord, so it is difficult to say that the pitch F4 is a musically appropriate pitch for the section PD1.

[0043] In the example of Figure 4, the musical tones are produced while changing chromatically from the pitch F4 to the pitch G4 (see sheet music S2). Alternatively, the musical tones are produced while changing continuously (at finer pitches) from the pitch F4 to the pitch G4 (see sheet music S3). The pitch G4 is a constituent note of the A7 chord. By finally producing the chord note G4, a musically natural melody is created.

[0044] In Fig. 4, symbol S1a indicates the musical score when pitch F4 is pressed in section PD1. As can be seen by comparing musical score S1a with musical score S2 (or musical score S3), in this embodiment, pressing just one key (single note operation) produces a passing tone in which the musical tone changes stepwise or continuously.

[0045] 5, music data 13A, which is accompaniment data, is input to processor 10. Processor 10 automatically progresses chords (accompaniment) in accordance with music data 13A.

[0046] When a key press event occurs, the note is input to the processor 10. The processor 10 performs a note conversion determination (see symbol B1).

[0047] Specifically, processor 10 identifies the chord constituent notes of the song in progress by referring to chord constituent note table 13B. Processor 10 determines whether the pitch of the identified chord constituent notes includes the note of the key press event.

[0048] If the note of the key press event is included in the pitch of the chord of the song in progress, the processor 10 outputs a note (see symbol B3). Specifically, the processor 10 instructs the sound source LSI 17 to generate a musical tone at the pitch corresponding to the key pressed by the user.

[0049] If the note of the key press event is not included in the pitch of the chord notes of the ongoing song, the processor 10 performs passing note processing (see symbol B2). Specifically, the processor 10 determines the change method (see symbol B2a), identifies the chord notes (see symbol B2b), and determines the time (see symbol B2c).

[0050] In the change method determination B2a, it is determined whether the musical tone will change stepwise or continuously. The change in musical tone is determined, for example, according to the currently set tone color. For example, if the tone color is set to piano, a stepwise change is determined. For example, if the tone color is set to guitar, a continuous change is determined.

[0051] The change method may be determined according to genre information (classical, jazz, etc.) included in the song data 13A. Alternatively, information on the change method may be included in advance in the song data 13A. In other words, the change method may be determined in advance for each song.

[0052] In the chord note identification B2b, the chord note to be sounded at the end of the passing note (a musical note that changes stepwise or continuously) is identified. For example, among the chord notes of the song in progress, a chord note that is higher than and closest to the pitch of the key pressed by the user is identified. As shown in the example of Fig. 4, a chord note G4 that is higher than and closest to the pitch F4 of the key pressed by the user is identified.

[0053] Acoustic instruments often use ascending transitions. Generally, ascending transitions tend to sound more pleasant to the ear. To make a passing note transition in ascending form, a chord note higher than the pitch of the key pressed by the user is identified from among the chord notes of the song in progress. In another embodiment, a chord note higher than the pitch of the key pressed by the user and nth closest to that pitch (n is 2 or greater) may be identified from among the chord notes of the song in progress. Note that a "passing note" is a note between the pitch of the key pressed by the user and the pitch of the chord note identified above.

[0054] For some people, a descending pitch sounds more pleasant. In other words, musical sensibilities vary from person to person. Therefore, the chord notes identified above are not limited to "chord notes that are higher than and closest to the pitch of the key pressed by the user." In order to transition the passing note in a descending pitch, a chord note that is lower than and m-th closest to the pitch of the key pressed by the user (m is 1 or greater) may be identified from among the chord notes of the ongoing song. In the example of FIG. 4, the chord note E4 that is lower than and closest to the pitch F4 of the key pressed by the user may be identified.

[0055] In the time determination B2c, the note value of the passing sound or the entire sound duration of the passing sound is determined. Specifically, when the passing sound is changed stepwise, the note value of the passing sound is determined to be a predetermined note value. Information on the predetermined note value is stored in the flash memory 13 (for example, the output speed table 13C). The note value of the passing sound is determined to be an appropriate length (for example, about 1 / 30 to 1 / 120 seconds) so that the length of the passing sound falls within a natural range. When the passing sound is changed continuously, the entire sound duration of the passing sound is determined to be a predetermined time.

[0056] In the time determination B2c, a predetermined note value (or the sounding time of all passing notes) is called from the output speed table 13C and determined as the note value of each passing note (or the sounding time of all passing notes).

[0057] In another embodiment, the note value of the passing note may be determined based on the performance conditions. When the passing note changes in stages, the passing note is a note for each chromatic scale from the pitch of the key pressed by the user to the pitch of the chord notes. As an example, consider a case where the pitch of the key pressed by the user is B♭4 and the pitch of the chord notes is C♯4. In this case, the pitches B♭4, B4, C4, and C♯4 are passing notes.

[0058] In another embodiment, the output speed table 13C stores note values ​​for gradually changing passing notes, each corresponding to a performance condition (e.g., tempo). For example, a thirty-second note value is registered for a tempo of less than 120. For example, a one-hundred-twenty-eighth note value is registered for a tempo of 120 or more. In the time determination B2c, for gradually changing passing notes, the note value corresponding to the tempo specified in the song data 13A is called from the output speed table 13C and determined as the note value of each passing note.

[0059] By shortening the note value of each passing note, the total time it takes from the musical note corresponding to the key pressed by the user to the chord notes is also shortened. Therefore, by shortening the note value of each passing note the faster the tempo, it is possible to finish sounding the passing notes before the next melody note is played, regardless of the tempo of the song.

[0060] In another embodiment, the output speed table 13C stores a corresponding sounding time for the entire passing sound for each performance condition (e.g., tempo) for a passing sound that changes continuously. In the time determination B2c, for a passing sound that changes continuously, the sounding time corresponding to the tempo defined in the song data 13A is retrieved from the output speed table 13C and determined as the sounding time for the entire passing sound.

[0061] In the case of a continuously changing passing tone, a passing tone is sounded within a determined sounding time from the pitch of the key pressed by the user to the pitch of the chord constituent notes. By shortening the sounding time of the passing tone as the tempo becomes faster, it is possible to finish sounding the passing tone by the time the next melody note is played, regardless of the tempo, just as in the case of a gradually changing passing tone.

[0062] After completing the passing note process B2, the processor 10 outputs a note (see symbol B3). Specifically, the processor 10 instructs the sound source LSI 17 to generate a passing note while gradually or continuously changing the pitch from the key pressed by the user to the pitch of the chord constituent note.

[0063] A flowchart of the processing executed by the processor 10 in one embodiment of the present disclosure will be described using Fig. 6. For example, when the power supply of the electronic musical instrument 1 is turned on, the execution of the processing shown in Fig. 6 begins.

[0064] The steps of the flowcharts shown in the present embodiment may be reordered to the extent that they are consistent. For example, although the present disclosure presents the processing of various steps using an exemplary order, the order is not limited to the presented order. Furthermore, the steps of the flowcharts shown in the present embodiment may be executed in parallel or in parallel to the extent that they are consistent.

[0065] 6, the processor 10 executes an initialization process (step S101). In the initialization process, each component is initialized.

[0066] Processor 10 executes switch processing (step S102). In the switch processing, the operation states of various controls on switch panel 15 are acquired. For example, volume information, tone information, and the on / off state of an auto-harmonize function (described later) are acquired.

[0067] The processor 10 executes function processing (step S103), in which a function corresponding to the operation state of each of the controls acquired in step S102 is executed.

[0068] For example, when the playback start button is pressed, a process to start playing a song is executed. When the song selection button is pressed, the selected song data 13A is loaded from the flash memory 13 to the RAM 11. Also, the change method (whether the passing sound is changed stepwise or continuously) is determined according to the set tone color.

[0069] Processor 10 executes music progression processing (step S104). In the music progression processing, the music (accompaniment in this embodiment) progresses as time passes (according to the delta time described in each event).

[0070] Processor 10 executes a performance operation process (step S105). In the performance operation process, processing is executed in accordance with the performance operation of the user.

[0071] Processor 10 repeatedly executes the processes of steps S102 to S105 until the end of playback of the song is detected. For example, when the event in which an EOT (End of Track) command is described in song data 13A is reached, processor 10 detects the end of playback of the song and ends the process shown in FIG.

[0072] The subroutine of the performance operation processing (step S105 in FIG. 3) will be described with reference to FIG. 7. As shown in FIG. 7, processor 10 detects whether a key press event has occurred (step S201). If a key press event has not occurred (step S201: NO), processor 10 terminates the subroutine of the performance operation processing (step S105 in FIG. 3). If a key press event has occurred (step S201: YES), processor 10 registers the key press note number included in this key press event in buffer 11A (step S202).

[0073] Processor 10 determines whether the pitch of the pressed note number registered in buffer 11A is the pitch of a chord constituent note of the song in progress (step S203). Processor 10 can determine to which section the current time belongs, based on the delta time described in each event. In other words, processor 10 can identify the chord constituent note that serves as the basis for determination in step S203, by determining which chord is sounded in the section.

[0074] In this way, when processor 10 detects a key press (an example of a performance operation) on a key (an example of a performance operator), it determines whether the pitch of the pressed note number (an example of a first pitch corresponding to the key press operation) is the pitch of a chord constituent note of the song in progress.

[0075] It should be noted that any reference to an element using a designation such as "first," "second," etc., used in this disclosure does not generally limit the quantity or order of those elements. These designations are used for convenience to distinguish between two or more elements. Thus, reference to a first and a second element does not imply, for example, that only two elements are employed, that the first element must precede the second element, etc.

[0076] If the pitch of the pressed note number is the pitch of a chord of the currently playing song (step S203: YES), processor 10 determines whether the auto-harmonize function is turned on (step S204).

[0077] The auto-harmonize function is a function that produces chords even when the user presses a single note. For example, the auto-harmonize function produces a chord in which the single note pressed by the user is the highest chord constituent note.

[0078] The user can switch the auto-harmonize function on and off by operating the switch panel 15. The user can also make detailed settings, such as setting the chords generated by the auto-harmonize function to triads or tetrads. To distinguish them from accompaniment notes, the chords generated and generated by the auto-harmonize function are referred to as "harmony notes."

[0079] If the auto-harmonize function is on (step S204: YES), the processor 10 instructs the sound source LSI 17 to generate harmonic notes (step S205). The harmonic notes instructed to be generated here are chords whose highest chord note is the pitch of the pressed note number. For example, in the case of FIG. 3, with the auto-harmonize function on, assume that the user presses the key with pitch A4 in section PD1. In this case, the musical note with pitch A4 pressed by the user is generated, and simultaneously, musical notes with pitches included in the corresponding chord A7 in section PD1 (e.g., pitches E4 and C#4) are generated. In this way, even if the user presses a single note, the generated notes are chords (harmonic notes), resulting in a vibrant performance. This allows the electronic musical instrument 1 to generate harmonic notes in parallel with the automatically progressing accompaniment. When instructing the generation of the harmonic notes, the processor 10 registers each generated note number corresponding to the harmonic note in the buffer 11A in association with the pressed note number.

[0080] If the auto-harmonize function is turned off (step S204: NO), the processor 10 instructs the sound source LSI 17 to generate a key-press sound (a musical sound of the key-press note number) (step S206). As a result, the electronic musical instrument 1 generates the key-press sound in parallel with the automatically progressing accompaniment.

[0081] When processor 10 issues a command to generate a harmonic sound (step S205) or a command to generate a key-pressed sound (step S206), it ends the subroutine of the performance operation process (step S105 in FIG. 3). Although not shown in the flowchart, when a key-release event occurs, processor 10 searches buffer 11A for a key-pressed note number that matches the key-release note number included in the key-release event. Processor 10 deletes the key-pressed note number and the corresponding sound-generating note number found in the search from buffer 11A, and also instructs sound source LSI 17 to mute the musical tone of that sound-generating note number. This mutes the harmonic sound or key-pressed sound.

[0082] In this way, when the pitch of the pressed note number (an example of a first pitch) is the pitch of a chord note in the currently playing song, the electronic musical instrument 1 produces the musical tone of that pressed note number (or a harmonic tone including the musical tone of that pressed note number). In other words, the electronic musical instrument 1 produces the chord note corresponding to the key pressed by the user. This allows the melody to be played in a way that is natural to the chords of the currently playing song.

[0083] If the pitch of the pressed note number is not the pitch of the chord of the song in progress (step S203: NO), processor 10 determines the passing note (chord note) to be finally sounded in response to the key press event (step S207).

[0084] In the example of FIG. 4 , for F4 (note number 65) included in the key press event, G4 (note number 67), a chord constituent note, is determined as the passing note that will ultimately be sounded. That is, in this embodiment, under the assumption that many users prefer ascending pitches, a chord constituent note that is higher than and closest to the pitch of the pressed key among the chord constituent notes of the ongoing song is determined as the passing note that will ultimately be sounded in response to the key press event. For convenience, the pitch of a key press note number that is not a chord constituent note and is included in the key press event is referred to as a "first passing note." The chord constituent note that will ultimately be sounded in response to the key press event is referred to as a "final passing note."

[0085] In this way, the pitch of the final transitive note (an example of a second pitch) is the pitch of the chord constituent notes that is higher than the pitch of the first transitive note (an example of a first pitch) and closest to the pitch of the first transitive note. If you want to make the transitive note transition in a descending form, the pitch of the final transitive note should be the pitch of the chord constituent notes that is lower than the pitch of the first transitive note and closest to the pitch of the first transitive note.

[0086] The processor 10 determines the note values ​​of the passing notes (or the sounding duration of all the passing notes) so that the sounding of the first through final passing notes is completed by the performance timing of the next melody note (step S208). Specifically, the processor 10 determines the note value of each passing note to be a predetermined length, as described above. Alternatively, the processor 10 determines the sounding duration of all the passing notes to be a predetermined length, as described above.

[0087] In this way, the processor 10 determines the note value of each musical tone to be sounded, from the pitch of the first passing tone (an example of the first pitch) to the pitch of the final passing tone (an example of the second pitch), to a predetermined length. Alternatively, the processor 10 determines the time it takes from the first passing tone (an example of a musical tone of the first pitch) to the pitch of the final passing tone (an example of a musical tone of the second pitch) (the sounding time of all the passing tones) to a predetermined length.

[0088] The processor 10 determines whether the auto-harmonize function is turned on (step S209). If the auto-harmonize function is turned on (step S209: YES), the processor 10 instructs the sound source LSI 17 to sequentially generate the first through final transitional notes, and also instructs the sound source LSI 17 to continuously generate the chord constituent notes of the current song other than the final transitional note while the transitional notes are being generated (step S210).

[0089] As a result, the electronic musical instrument 1 generates chords (harmonic notes) while gradually or continuously changing from the first passing note to the final passing note, in parallel with the automatically progressing accompaniment. An example will be given of the passing notes of musical score S2 (the passing notes in the order F4, G♭4, and G4). In this case, the musical note with the pitch F4 pressed by the user is generated, and simultaneously, the chord notes included in the corresponding chord A7 in section PD1 are generated. The chord notes of chord A7 generated simultaneously with the passing note F4 are lower than the musical note with the pitch F4, which is the passing note, and are chord notes other than the final passing note G4, such as pitches E4 and C#4. Next, the chord notes of chord A7 are generated simultaneously with the musical note with the pitch G♭4, and finally, the chord notes of chord A7 are generated simultaneously with the musical note with the pitch G. In this way, even if the user presses a single note, the passing notes are generated as harmonic notes, resulting in a gorgeous melody. The passing note is the highest note among the harmonic notes. Furthermore, the chord constituent notes that are sounded simultaneously with each passing note may always be the same (for example, pitches E4 and C#4), or may be different for each passing note.

[0090] If the auto-harmonize function is turned off (step S209: NO), the processor 10 instructs the sound source LSI 17 to sequentially generate the first through final passing notes (step S211). As a result, the electronic musical instrument 1 generates passing notes that change stepwise or continuously from the first through final passing notes in parallel with the automatically progressing accompaniment.

[0091] When processor 10 issues a sound generation instruction (step S210 or step S211), it ends the subroutine of the performance operation process (step S105 in FIG. 3).

[0092] In this way, when the first passing note (an example of a first pitch) is not the pitch of a chord note, the electronic musical instrument 1 produces a sound by gradually or continuously changing the pitch from the first passing note to the final passing note (an example of a second pitch).

[0093] 4, in which the passing notes change stepwise, when the G♭4 key is pressed, two passing notes are produced: G♭4 (first passing note) and G4 (final passing note). Therefore, it can also be written that "when the first passing note (an example of a first pitch) is not the pitch of a chord note, the electronic musical instrument 1 at least sounds the first passing note (an example of a musical note of the first pitch) and the final passing note (an example of a musical note of the second pitch) in that order."

[0094] The final passing note (an example of a musical note with a second pitch) may be sounded at a higher velocity (in other words, at a louder volume) than the passing notes other than the final passing note. In the example of Figure 4, the passing notes not included in the A7 chord are sounded softly, and the chord constituent notes included in the A7 chord are sounded loudly, so that the passing notes sound clean and without any sense of incongruity.

[0095] The subroutine for the passing tone sound generation process included in steps S210 and S211 in Fig. 7 will be described with reference to Fig. 8 and Fig. 9. Here, an example in which the passing tone is changed in stages will be described.

[0096] 8, in the passing tone sounding process, the processor 10 instructs the sound source LSI 17 to sound a first passing tone (step S301). The first passing tone is, for example, a musical tone of pitch F4 corresponding to pressed note number 65. When instructing to sound the first passing tone, the processor 10 registers the value 65 in the buffer 11A as the sounding note number of the first passing tone (see reference numeral S401 in FIG. 9).

[0097] In the buffer 11A, multiple pairs of key press note numbers and sound note numbers can be registered so that when multiple keys are pressed simultaneously, musical tones corresponding to the key presses can be simultaneously sounded. In the buffer 11A, the value -1, which indicates an invalid state, is stored in the empty elements.

[0098] The processor 10 determines whether it is time to sound the next passing sound (step S302). If a time equivalent to the note value determined in step S208 of Fig. 7 has elapsed since the start of sounding the currently sounding passing sound, it is time to sound the next passing sound. In this case (step S302: YES), the processor 10 instructs the sound source LSI 17 to mute the currently sounding passing sound (step S303) and instructs the sound source LSI 17 to sound the next passing sound (step S304).

[0099] In addition, the processor 10 deletes the sounding note number of the passing tone currently being sounded from the buffer 11A, and registers the sounding note number of the next passing tone in the buffer 11A. In the example of reference numeral S402 in Fig. 9, the sounding note number 65 (F4) of the first passing tone is deleted, and the sounding note number 66 (G♭4) of the next passing tone is registered in the buffer 11A. In the example of reference numeral S403 in Fig. 9, the sounding note number 66 (G♭4) of the passing tone currently being sounded is deleted, and the sounding note number 67 (G4) of the final passing tone is registered in the buffer 11A.

[0100] Processor 10 determines whether or not the final transitional tone is being sounded (step S305). If the final transitional tone is not being sounded (step S305: NO), processor 10 repeats the processes of steps S302 to S305. If the final transitional tone is being sounded (step S305: YES), processor 10 detects whether or not a key-release event has occurred (step S306).

[0101] When the occurrence of a key-release event is detected (step S306: YES), the processor 10 executes note-off processing (step S307) and terminates the subroutine of the passing tone sound generation processing. Specifically, the processor 10 searches the buffer 11A for a key-pressed note number that matches the key-release note number included in the key-release event. The processor 10 deletes the key-pressed note number and the corresponding sound note number found by the search from the buffer 11A (see reference numeral S404 in FIG. 9), and instructs the sound source LSI 17 to mute the musical tone of the sound note number (i.e., the final passing tone). As a result, the final passing tone is mute.

[0102] If the occurrence of a key release event is not detected (step S306: NO), the processor 10 does not instruct the sound source LSI 17 to mute the final transitional tone. Therefore, the final transitional tone continues to sound.

[0103] 8, the note-off process is not executed until the final passing note is sounded. That is, when a passing note is sounded (in other words, when the first passing note (an example of the first pitch) is not the pitch of a chord constituent note), the notes are sounded in order up to the final passing note (an example of the second pitch) regardless of whether a key-release operation is performed (i.e., whether the performance operation is turned off). Because the final passing note, which is a chord constituent note, is sounded, a musically natural melody is produced.

[0104] In another embodiment, the passing notes may be immediately muted upon occurrence of a key-release event, regardless of whether the final passing note is being sounded. In the example of FIG. 9, if a key-release event is detected while the passing note with note number 66 (G♭4) is being sounded, the processor 10 instructs the sound source LSI 17 to mute the passing note at that time, and deletes the pressed note number 65 (F4) and the note number 66 (G♭4) from the buffer 11A. In other words, the passing notes end without sounding the final passing note with note number 67 (G4). Because the passing notes are immediately muted after the key-release operation, the user's operational sense is less strange.

[0105] According to this embodiment, musical tones corresponding to the keys pressed by the user are generated, so the user's sense of performance is not impaired. Furthermore, during a performance operation, musical tones that are difficult to describe as musically appropriate are first generated, making it easy for the user to recognize that an inappropriate performance operation has been performed. The fact that musical tones that are connected in a stepwise or seamless manner are generated immediately after the musical tones that are difficult to describe as musically appropriate are also makes it easy for the user to recognize that an inappropriate performance operation has been performed. Ultimately, musically appropriate musical tones are generated (in other words, chord-constituting tones are generated so as not to sound out of place with the chords of the song in progress), resulting in a musically natural melody.

[0106] The above is a description of exemplary embodiments of the present disclosure. The embodiments of the present disclosure are not limited to those described above, and various modifications are possible within the scope of the technical idea of ​​the present disclosure. For example, the embodiments of the present application also include appropriate combinations of embodiments explicitly shown in the specification or obvious embodiments. [Explanation of symbols]

[0107] 1: Electronic musical instrument, 10: Processor, 12A: Control program, 13: Flash memory, 13A: Song data, 13B: Chord composition note table, 13C: Output speed table, 14: Keyboard, 17: Sound source LSI

Claims

1. A plurality of performance controls; at least one processor; The at least one processor When a performance operation on the performance operator is detected, it is determined whether a first pitch corresponding to the performance operation is a pitch of a chord of the song being played; If the first pitch is not a pitch of the chord, at least a musical note of the first pitch and a musical note of a second pitch that is a chord of the song are sequentially sounded. performance equipment.

2. The at least one processor If the first pitch is not a pitch of the chord constituent notes, the pitch is generated while changing stepwise or continuously from the first pitch to the second pitch. The performance device according to claim 1 .

3. the second pitch is a pitch of a constituent note of the chord that is higher than the first pitch and closest to the first pitch, among the pitches of the constituent notes of the chord; The performance device according to claim 1 .

4. The at least one processor determining the note value of each musical tone to be sounded from the first pitch to the second pitch in accordance with the tempo of the song; The performance device according to claim 1 .

5. The at least one processor Among the musical tones to be generated from the first pitch to the second pitch, the musical tone of the second pitch is generated at a volume greater than the musical tones of the other pitches. The performance device according to claim 1 .

6. when the first pitch is not a pitch of the chord constituent notes, the at least one processor produces notes up to the second pitch in sequence regardless of whether the performance operation is turned off or not; The performance device according to claim 1 .

7. The at least one processor If the first pitch is the pitch of the chord constituent note, a musical tone of the first pitch is generated. The performance device according to claim 1 .

8. When a performance operation on a performance operator of the performance device is detected, it is determined whether a first pitch corresponding to the performance operation is a pitch of a chord of the song in progress; If the first pitch is not a pitch of the chord, the computer is caused to execute a process of sequentially sounding at least a musical tone of the first pitch and a musical tone of a second pitch that is a chord of the song. method.

9. When a performance operation on a performance operator of the performance device is detected, it is determined whether a first pitch corresponding to the performance operation is a pitch of a chord of the song in progress; If the first pitch is not a pitch of the chord, the computer is caused to execute a process of sequentially sounding at least a musical tone of the first pitch and a musical tone of a second pitch that is a chord of the song. program.

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