Musical piece production device and musical piece production program

Abstract

This musical piece production device comprises: a first acceptance unit that accepts designation of a first chord; a second acceptance unit that accepts a selection from a first operation symbol group with which a second chord to be recommended as a candidate for a chord that progresses after the first chord is associated in the pitch order of constituent tones of the second chord; and an assignment unit that assigns, as an assigned chord that is one of chord progressions of a musical piece being produced, the second chord associated with a first operation symbol the selection of which has been accepted.

Description

Music production device and music production program

[0001] The present invention relates to a music production device and a music production program.

[0002] As one technology for supporting music production, the following chord detection device has been proposed. For example, the chord detection device divides input musical tone data into a plurality of different section lengths, such as one bar, two bars, or four bars, extracts chord progression candidates for each section length, and then displays the chord progression candidates in a "recommended chord group" column and the optimal chord progression in a "chord" column. In this way, the user can edit the chord progression by referring to the chord progression candidates displayed in the "recommended chord group" column.

[0003] Japanese Patent No. 3567701 Japanese Patent Application Laid-Open No. 2013-24967

[0004] However, the conventional techniques represented by the above-mentioned chord detection device have room for improvement in terms of improving the operability of selecting the chord that follows the chord specified by the user.

[0005] In other words, the above-mentioned chord detection device merely presents a series of chord progressions corresponding to the input melody. Therefore, if some chords in the chord progression do not match the user's sensibilities, the user is left to edit the chords by inputting chords to replace those chords. Leaving chord editing up to the user in this way requires the user to perform cumbersome inputs, such as inputting chord names to replace chords that do not match the user's sensibilities, or inputting each constituent note of the chord.

[0006] In one aspect, an object of the present invention is to provide a music composition device and a music composition program that can improve operability in selecting the chord that follows a chord specified by the user.

[0007] In one aspect, the musical composition device has a first reception unit that receives the designation of a first chord, a second reception unit that receives a selection from a first group of operation symbols that are linked to the pitch order of the constituent notes of the second chord to recommend a second chord as a candidate for the chord progression following the first chord, and an assignment unit that assigns the second chord linked to the first operation symbol whose selection has been received as an assigned chord that is one of the chord progressions of the musical composition.

[0008] According to one embodiment, it is possible to improve the operability of selecting the chord that follows the designated chord.

[0009] FIG. 1 is a block diagram showing an example of the functional configuration of a music production device. FIG. 2 is a schematic diagram showing an example of a keyboard diagram. FIG. 3 is a diagram showing an example of relative value chords. FIG. 4 is a diagram showing an example of a data structure using relative value chords. FIG. 5 is a schematic diagram (1) explaining the advantages of relative value chords. FIG. 6 is a schematic diagram (2) explaining the advantages of relative value chords. FIG. 7 is a diagram (1) explaining the effect of reducing data volume. FIG. 8 is a diagram (2) explaining the effect of reducing data volume. FIG. 9 is a schematic diagram showing an example of generated graph data of a chord progression. FIG. 10 is a schematic diagram (1) explaining the extension of relative value chords. FIG. 11 is a schematic diagram (2) explaining the extension of relative value chords. FIG. 12 is a schematic diagram (1) showing an example of a chord progression DB 11. FIG. 13 is a schematic diagram explaining the modulation of a chord progression. FIG. 14 is a schematic diagram (2) showing an example of a chord progression DB 11. FIG. 15 is a diagram showing an example of an ID numbering method. Fig. 16 is a plan view showing an example of the layout of the operation unit. Fig. 17 is a diagram (1) showing a specific example of the operation procedure. Fig. 18 is a diagram (2) showing a specific example of the operation procedure. Fig. 19 is a diagram (3) showing a specific example of the operation procedure. Fig. 20 is a diagram showing an example of how chords input by the user are used. Fig. 21 is a flowchart showing the procedure for chord selection processing. Fig. 22 is a diagram showing an example of the hardware configuration.

[0010] Hereinafter, a description will be given of a form (hereinafter referred to as an "embodiment") for implementing a music production device and a music production program according to the present disclosure with reference to the accompanying drawings. Note that this embodiment merely illustrates one example or aspect, and the structure, operation, function, properties, characteristics, methods, uses, etc. according to the present disclosure are not limited by such an example.

[0011] <First Embodiment> <Usage Scene> Fig. 1 is a block diagram showing an example of the functional configuration of a music production device 10. Fig. 1 illustrates the music production device 10 that provides, as part of its music production functions, a chord selection function that accepts the selection of a second chord that is recommended as a candidate for the chord progression following a first chord specified by user input.

[0012] Hereinafter, the first chord specified by user input may be referred to as the "Current chord," and the second chord recommended as a candidate for the chord that progresses from the Current chord may be referred to as the "Next candidate chord."

[0013] The music production device 10 is a device that provides the above-described music production functions. In one aspect, the music production device 10 may be realized by a hardware sequencer. In another aspect, the music production device 10 may be realized as a computer that executes sequence software such as a DAW (Digital Audio Workstation).

[0014] <Configuration of Musical Piece Production Apparatus 10> Next, a functional configuration of the musical piece production apparatus 10 according to this embodiment will be described. For example, Fig. 1 shows a block diagram of functions related to the chord selection function of the musical piece production apparatus 10.

[0015] 1, the music production device 10 includes a chord progression database (DB) 11, an operation unit 12, a first reception unit 13, a search unit 14, an assignment unit 15, a second chord storage unit 15A, a second reception unit 16, an assignment unit 17, and an assigned chord storage unit 17A. Note that Fig. 1 only shows a selection of functional units related to the chord selection function, and the music production device 10 may also include other functional units that are standard features of a sequencer or the like, such as a display unit, a communication unit, and an audio output unit.

[0016] The chord progression DB 11 is a database in which chord progressions are registered. In one embodiment, the chord progression DB 11 may have a graph structure that includes nodes corresponding to individual chords, edges connecting the nodes, and properties that represent attribute information of the nodes.

[0017] The "edge" referred to here may also be called a link. Both "link" and "edge" may be used as terms that have the same meaning in a graph representation. Furthermore, a "node" may also be called an entity or an object. These may also be used as terms that have the same meaning in a graph representation.

[0018] Here, relative value codes are used to express codes in properties. Before describing relative value codes, we will first explain code theory.

[0019] <Chords> Chords refer to the harmony used in music. Chords that are easy to use musically have names. For example, well-known chords include "C", "Dm", "Em7", "Fadd9", and "Gsus4". In order to use such chords, you first need to memorize the names of the chords. For example, in the case of "Am", the lowest note is A (= La), so by adding "Do" and "Mi" which correspond to the m (= minor) structure, it becomes "A Do Mi".

[0020] <Chord progressions> After the chords, you need to memorize the chord progressions. For example, there is a theory that after C (Do Mi So), it is easy to go to F (Fa La Do), or after G (So Si Re), it is easy to go back to C (Do Mi So) and finish.

[0021] However, in modern times, music created solely based on these typical theories rarely attracts attention. Rather, music created without regard for theory is often appreciated as new music.

[0022] One aspect is that interpretations can vary depending on the person or instrument. For example, "Do Mi So," "Do Mi So Do," "Do So Mi," "Do So Do Mi," and "Do So Do Mi So" are all C major chords, and even when played in different octaves, they are still C chords. While these are all C chords, their constituent notes differ, resulting in slightly different sounds. Ideally, each C chord has its own purpose, so they should be used appropriately. Using them incorrectly can sound unnatural musically. Thus, when someone instructs you to "play a C chord," the resulting sound can vary depending on the person or instrument. Furthermore, the constituent notes of "FM7" are Fa, La, Do, and Mi. If the chord is composed of "Fa," "La," "Do," and "Mi," it may be interpreted as an FM7 chord, but the actual arrangement of the notes can create unnatural sounds. Changing the order or pitch can result in no unnatural sounds, while other chords can produce dissonance. Furthermore, the basic chord progression from C to G is "Do Mi So" to "So Si Re", but interpretations vary from person to person, with some saying "It should be "Do Mi So" to avoid moving too much" or "It should be "Do Mi So" to "Si So Re", and it is difficult to clearly explain why.

[0023] Another aspect is that the line between what is correct and what is incorrect varies depending on the person and the instrument. Even if a chord progression seems correct from a chord theory perspective, there are some that feel unnatural from a musical perspective. Conversely, there are also cases where a progression that does not seem unnatural from a musical perspective is interpreted as "wrong from a chord theory perspective" and becomes a topic of discussion.

[0024] Modern chord theory has aspects that allow you to compose songs without having to memorize anything. To be more precise, each person has their own way of doing things that "works well." These are rules of thumb that are specific to instruments, sound sources, equipment, and environments, and it's safe to say that a universal theory has not yet been defined.

[0025] For the above reasons, in this embodiment, emphasis is placed on expressing and sharing codes more accurately than on theorizing when recommending next candidate codes in the code selection function.

[0026] <Relative Value Chord> Next, a relative value chord according to this embodiment will be described. As an example, an example of defining a relative value chord for a C major chord (C4E4G4) will be given below.

[0027] FIG. 2 is a schematic diagram showing an example of a keyboard. In FIG. 2, a piano keyboard is shown, and each key is labeled with a note number according to the MIDI (Musical Instrument Digital Interface) standard. As shown in FIG. 2, the note number is assigned to each key, with the C4 key in the middle (hatched portion in the figure) defined as 60. The note number increases by one for each semitone up, and decreases by one for each semitone down.

[0028] When using such note numbers, consider a data structure in which C4, which corresponds to the root note of the C major chord, the lowest note, is represented as 60, E4 is represented as +4 notes from the root note, and G4 is represented as +7 notes from the root note.

[0029] FIG. 3 is a diagram showing an example of a relative value chord. FIG. 3 shows an example in which a chord is expressed by the chord number, the note number of the first note, and the relative values ​​from the first note to the second to sixth notes. As shown in FIG. 3, in the case of a C chord of C-E-G, the chord number is expressed as "3." The note number of the first note is expressed as "60" (corresponding to C4). Furthermore, the second note is expressed as +4 relative to the first note (corresponding to E4). Furthermore, the third note is expressed as +7 relative to the first note (corresponding to G4). From there, the fourth to sixth notes are expressed as 0 relative to the first note.

[0030] In this way, if the chord is a triad, the fourth and subsequent notes are not used and are therefore stored as "0." One of the reasons that keys are provided for up to the sixth note is that most common chords can be expressed using triads to six notes.

[0031] While Figure 3 shows an example in which the upper limit is six chords, it goes without saying that the upper limit for the number of chords can be six or more. Also, while Figure 3 shows an example in which the number of chords is expressed, the number of chords does not necessarily have to be expressed as data. Even if the number of chords is not expressed as data, the number of chords can be calculated as the number of chords just before the relative value becomes 0.

[0032] A chord in which the constituent notes of the chord other than the root note are expressed as relative values ​​from the root note is referred to as a "relative value chord."

[0033] FIG. 4 shows an example of a data structure that uses relative value chords. As shown in FIG. 4, a relative value chord is defined by a data structure consisting of an ID, a root note, and a chord type. Here, "ID" refers to identification information that identifies a relative value chord. A "root note" can be expressed as a note number ranging from 0 to 127. A "chord type" refers to a relative value that defines the constituent notes of a chord other than the root note, for example, the second to sixth constituent notes. For example, the second to sixth notes of a chord are arranged in ascending order of pitch.

[0034] <Advantage 1 of Relative Value Chords> One advantage of using such relative value chords is that all mutually similar chords can be expressed as different chords. Figure 5 is a schematic diagram (1) that explains the advantages of relative value chords. Figure 5 shows three types of relative value chords for C major. As shown in Figure 5, C major with constituent notes C-E-G (C4E4G4), C major with constituent notes C-So-Mi (C4G4E5), and C major with constituent notes C-So-Do-Mi-So (C3G3C4E4G4) can all be expressed as different chords.

[0035] <Advantage 2 of Relative Value Chords> Another advantage of using the relative value chords is that they allow for easy calculation of modulations. Figure 6 is a schematic diagram (2) illustrating the advantages of relative value chords. As shown in Figure 6, the relative value chord of D major (Re Fa # La: D4F#4A4) can be calculated simply by increasing the pitch of the root note of the relative value chord of C major (Do Mi So: C4E4G4) by two increments in the positive direction from 60. Furthermore, the relative value chord of E major (E So # Si: E4G#4B4) can be calculated simply by increasing or decreasing the pitch of the root note of the relative value chord of D major (Re Fa # La: D4F#4A4) by two increments in the positive direction from 62. Because modulation chords can be calculated by shifting the pitch of the root note of the relative value chords in this way, calculation of modulation chords is simplified by eliminating the need to calculate the relative values ​​of the chords.

[0036] <Advantage 3 of Relative Value Chords> Furthermore, one of the advantages of using the relative value chords is that the amount of data can be reduced compared to a MIDI sequence (musical score) without losing the richness of the chords.

[0037] In a typical MIDI sequence, one byte is required to represent one note number. In other words, six bytes are required for a six-note chord. In contrast, the relative chord type can assume that it is a chord, so the data assigned to notes 2 through 6 can be varied as needed.

[0038] For example, when expressed as a relative value from the root note, note 2 can be kept within 4 bits (+15) at most. Even if a chord does not fall within the +15 range, it is possible to restrict the registration of that chord to a note number. Also, even for note 6, it is possible to restrict the registration of a chord whose relative value from the root note is a certain number of octaves, for example, 5 octaves or more.

[0039] When relative value chords are used under these constraints, the following reduction in data volume can be achieved compared to using MIDI sequences. FIG. 7 is a diagram (1) illustrating the data volume reduction effect. As shown in FIG. 7, each note from note 2 to note 6 is sorted in ascending order of pitch and expressed by a relative value from the root note. Therefore, notes closer to note 2 can be expressed using fewer bits, while notes closer to note 6 can be expressed using more bits. For example, in the example of relative value chords shown in FIG. 7, if the relative value from the root note for note 2 is limited to a range of +15, the data volume can be reduced to 4 bits. Furthermore, if the relative value from the root note for note 6 is limited to a range of +63, the data volume can be reduced to 6 bits. In this way, the data volume required to represent each chord can be kept within a total of 32 bits (= 4 bytes). Therefore, without being restricted by the chord scale being limited to one octave, the data volume can be reduced compared to using MIDI sequences. Therefore, rich chords commonly used in music can be expressed as they are.

[0040] Furthermore, the constraints imposed on the data type of the relative value chord are not limited to the example shown in FIG. 7 and can be changed depending on the design concept. For example, it is possible to further reduce the amount of data compared to the relative value chord shown in FIG. 7. FIG. 8 is a diagram (2) illustrating the effect of reducing the amount of data. FIG. 8 shows a relative value chord that differs from the relative value chord shown in FIG. 7 in that the upper limit of the number of chords is reduced from six to five chords and note numbers are not included in the bit field. In the example of the relative value chord shown in FIG. 8, by limiting the relative value from the root note for each note from note 2 to note 5 to a range of +15, each note from note 2 to note 5 can be expressed in 4 bits, and the amount of data representing each chord can be kept within a total of 16 bits (= 2 bytes).

[0041] The relative value codes explained so far can be handled only numerically, without using code theory. Therefore, the relative value codes according to this embodiment can prevent differences in interpretation of the "code" depending on the person. Furthermore, because they are easy to handle in a program, they can also improve compatibility with products that incorporate the codes.

[0042] <Chord progressions using relative chords> It is not realistic to make a list of all chords and set edges, that is, relations, corresponding to all frequently used chord progressions.

[0043] Therefore, in this embodiment, when setting edges in a graph structure, graph data is generated by focusing on each chord and narrowing down the candidates for next chords that can proceed after that chord.

[0044] 9 is a schematic diagram showing an example of chord progression graph data generation. Fig. 9 illustrates an example in which a relative value chord of C major (C-E-S-C: C4E4G4C5E5) is used as a base chord, i.e., a current chord, and potential next candidate chords that may follow from the current chord are registered. In the example shown in Fig. 9, examples of next candidate chords for the relative value chord of C major (C-E-S-C: C4E4G4C5E5) identified by ID "X" include a relative value chord of "5" (D3C4E4F#4C5) identified by ID "Y," a relative value chord of "5" (G3B3D4G4B4) identified by ID "Z," a relative value chord of "5" (G3D4G4B4D5), a relative value chord of "5" (G#3C4D#4G#4C5), and a relative value chord of "5" (A3C#4E4A4C#5). By repeating the process of setting nodes corresponding to these current chords and next candidate chords, and setting edges corresponding to the direction progressing from the current chord to the next candidate chord, graph data corresponding to a series of chord progressions can be generated.

[0045] By setting the edge in the opposite direction, it is possible to obtain graph data equivalent to that generated when focusing on each chord and narrowing down the focus to the original chords (previous candidate chords) that can progress to that chord.

[0046] In this case, if we focus on the relationship between Current and Next, not only within the same chord but also within a specific chord included in a chord progression, for example, the constituent notes of a chord other than the starting chord, can be expressed as relative values ​​from the root note of the specific chord.

[0047] FIG. 10 is a schematic diagram (1) illustrating the extension of relative value chords. As shown in FIG. 10, each Next candidate chord can be expressed as a relative value from the root note "N" of the Current chord identified by ID "X." For example, if the root note of the Current chord is "N," the first note of the Next candidate chord identified by ID "Y" can be expressed as a relative value "N-10," and the first note of the Next candidate chord identified by ID "Z" can be expressed as a relative value "N-5." The first notes of other Next candidate chords can also be expressed as relative values ​​in a similar manner. In this way, the Current chord and Next candidate chord can be set simultaneously by simply setting the root note of the Current chord.

[0048] In addition, the expression of relative value chords can be further simplified. FIG. 11 is a schematic diagram (2) illustrating the extension of relative value chords. FIG. 11 shows an example in which the first note and chord type of the relative value chord shown in FIG. 10 are described as functions, and the properties of the edges connecting the nodes of the relative value chords are modified to describe the relative value from the root note and the chord type. In the example shown in FIG. 11, adding −10 to the root note of chord X and changing the chord type of chord X to Type(Y) means progressing to chord Y. Furthermore, adding −5 to the root note of chord X and changing the chord type of chord X to Type(Z) means progressing to chord Z. The same applies to other chords. In other words, adding +δ to the root note of chord X and changing the chord type of chord X to Type(τ) can be generalized to a description that progresses to chord φ.

[0049] <Chord Progression DB> Up to this point, the explanation has focused on the relationship between two adjacent chords. However, further Next candidate chords can also be linked to the Next candidate chord. FIG. 12 is a schematic diagram (1) showing an example of the chord progression DB 11. As shown in FIG. 12, the chord progression DB 11 can be generated by repeatedly linking Next candidate chords that can progress from the Current chord, starting with Chord X. Repeated linking of Next candidate chords in this manner may result in the appearance of chords with the same root note and chord type as Chord X, i.e., chords with the same ID. For example, a natural musical loop sound source can be generated, such as "C major → F major → G major → C major." Increasing the number of links through such loops allows for the construction of a rich variety of chord progressions. In this case, the ID serves as the key in the database, and three types of chords appear when the progression goes "C major → F major → G major → C major." In this case, duplicate registration of the relative value from the root note and chord type for the previously mentioned C major chord is prohibited.

[0050] Furthermore, as explained in the section on relative value chord merit 2, relative value chords allow for easy calculation of modulation chords by increasing or decreasing the root note, so chord progressions using relative value chords can also be modulated in the same way. Figure 13 is a schematic diagram for explaining the modulation of a chord progression. Figure 13 shows an example in which a +A shift amount is added to the root note for each relative value chord shown in Figure 11. As shown in Figure 13, when a +A shift amount is added to the root note N(X) of chord X, the chord progression modulation is achieved by also adding +A to the root notes of all Next candidate chords.

[0051] Chord progressions that have been modulated in this way can also be registered in the chord progression DB 11. FIG. 14 is a schematic diagram (2) showing an example of the chord progression DB 11. As shown in FIG. 14, the chord progression DB 11 can register the chord progression shown in FIG. 13 and modulated chord progressions obtained by adding a +A shift amount to the root note of each relative value chord included in the chord progression shown in FIG. 13. When a chord progression is modulated in this way, the relative value chord W that serves as the starting point of the modulated chord progression may match the chord W included in the chord progression shown in FIG. 13. Furthermore, the next candidate chord V of the modulated chord progression may match the chord V included in the chord progression shown in FIG. 13.

[0052] Here, when generating a modulated chord progression from a chord progression that uses relative value chords, restrictions can be imposed on the shift amount added to the root note. In one aspect, if the note number of the highest note of the relative value chord after adding the shift amount exceeds a predetermined note number, for example, 127, the relative value chord can be invalidated. In another aspect, if the root note of the relative value chord after adding the shift amount is below a predetermined octave, for example, octave 2, the relative value chord can be invalidated. In a further aspect, if the highest note of the relative value chord after adding the shift amount is above a predetermined octave, for example, octave 7, the relative value chord can be invalidated. In another aspect, if the relative value chord after adding the shift amount contains multiple notes below a predetermined octave, for example, octave 3, the relative value chord can be invalidated.

[0053] In this way, a unique ID is assigned to each relative value chord registered in the chord progression DB 11. FIG. 15 shows an example of an ID numbering scheme. FIG. 15 shows, as an example only, an ID numbering scheme using 64-bit variables. For example, according to the ID numbering scheme shown in FIG. 15, the ID for a C major chord (C4E4G4) would be assigned as follows: Since the note number for C4 is 60, the bit area for the first note is "0x3c." Furthermore, since the note number for E4 is 64, the bit area for the second note is "0x40." Furthermore, since the note number for G4 is 67, the bit area for the third note is "0x43." Since a C chord (C4E4G4) is a triad and the fourth and subsequent notes are not used, the ID for the C chord (C4E4G4) is set to "0x003c404300000000." This ID is an identifier that can uniquely identify C4E4G4, and unique IDs can also be assigned to all other chords.

[0054] 15, chords are limited to six notes, and are therefore expressed using 8 to 55 bits, but this is not limiting. For example, if eight bits are filled in, up to eight chords can be expressed, and if seven bits are filled in, up to nine chords can be expressed.

[0055] <Operation Unit> The operation unit 12 is a functional unit that accepts various instruction inputs to the music production device 10. Fig. 16 is a plan view showing an example layout of the operation unit 12. As shown in Fig. 16, the operation unit 12 may include various operation symbols related to music production, and examples of operation symbols related to the chord selection function may include a touch key group 121, a pad group 122, a cruiser button 123, and page navigation buttons 124-125.

[0056] Each of the touch key group 121, pad group 122, cruiser button 123, and page navigation buttons 124 to 125 may be formed of a switch operator capable of detecting an on operation and an off operation. Furthermore, each of the touch key group 121, pad group 122, cruiser button 123, and page navigation buttons 124 to 125 may be integrated with a display unit such as an LED (Light Emitting Diode) to notify the state of each operator.

[0057] The touch key group 121 includes touch keys 121A to 121M. For example, the touch keys 121A to 121M are arranged in an array corresponding to the time sequence of a chord progression. An assignment chord that is assigned as one of the chord progressions of a composed piece of music by an assignment unit 17 (described later) can be assigned to the touch keys 121A to 121M.

[0058] The pad group 122 includes pads 122A to 122P. For example, pads 122A to 122P may be rectangular operation symbols. This is merely an example; the shapes of pads 122A to 122P are not limited to rectangles and may be polygonal or elliptical. They may also be formed as icons corresponding to characters, symbols, or images. Alternatively, pads 122A to 122P may be formed as a list containing elements corresponding to each of pads 122A to 122P. For example, when pads 122A to 122P are represented by a software GUI (Graphical User Interface), they may be realized as a list box. Furthermore, pads 122A to 122P may be arranged in a four-row, four-column matrix. Next candidate codes may be assigned to these pads 122A to 122P by the assignment unit 15, which will be described later.

[0059] The cruiser button 123 is a button for switching the operation mode of the music production device 10 to a cruiser mode that recommends next candidate chords.

[0060] The page navigation buttons 124 and 125 are buttons for moving between pages of the next candidate codes assigned to the pads 122A to 122P. Of these page navigation buttons 124 and 125, the page navigation button 125 is a button for moving to the next page, while the page navigation button 124 is a button for moving to the previous page.

[0061] <First Receiving Unit> The first receiving unit 13 is a processing unit that receives the designation of a Current chord. In one aspect, the first receiving unit 13 can receive, as the Current chord, an assignment chord that is assigned to a Touch Key whose selection has been accepted from the Touch Key group 121 after switching to the Cruiser mode by turning on the Cruiser button 123.

[0062] <Search Unit> The search unit 14 is a processing unit that searches for a Next candidate chord to be recommended as a candidate for the chord progression following the Current chord accepted by the first accepting unit 13 from the chord progressions stored in the chord progression DB 11.

[0063] In one embodiment, the search unit 14 searches the graph data of chord progressions stored in the chord progression DB 11 for nodes that match the ID of the Current chord accepted by the first accepting unit 13. Then, for each node that matches the ID of the Current chord, the search unit 14 extracts a Next candidate chord adjacent to that node.

[0064] <Allocating Unit> The allocating unit 15 is a processing unit that allocates the next candidate code obtained as a search result by the searching unit 14 to the pad group 122 .

[0065] In one aspect, the allocation unit 15 sorts the next candidate chords obtained as a result of the search by the search unit 14 in order of the pitch of their constituent notes. For example, the allocation unit 15 sorts the next candidate chords in ascending order of the pitch of their root notes. At this time, if there are next candidate chords with the same root note pitch, the allocation unit 15 sorts the next candidate chords with the same root note pitch in ascending order of the pitch of the note with the next lowest pitch after the root note.

[0066] The allocation unit 15 then performs the following process for each of the M sorted next candidate chords. That is, the allocation unit 15 allocates the m-th next candidate chord to the m-th pad in the pad group 122. The allocation unit 15 then stores the correspondence between the ID of the m-th next candidate chord and the ID of the m-th pad in the second chord storage unit 15A. The allocation unit 15 then determines whether the m-th next candidate chord is within a specific scale. Examples of such a scale include a specific octave number or a specific keyboard key, such as the white keys, that can be set by the user. If the m-th next candidate chord is within the specific scale, the allocation unit 15 lights up the pad to which the m-th next candidate chord is allocated. On the other hand, if the m-th next candidate chord is not within the specific scale, the allocation unit 15 dims the pad to which the m-th next candidate chord is allocated. In this way, by differentiating the pad display mode depending on the scale of the next candidate chord, it is possible to indicate whether the next candidate chord is on-scale. As a result of allocating M next candidate codes, the allocation section 15 turns off the light of any pad to which no next candidate code has been allocated.

[0067] The display of scale information realized by changing the display format of the pads in this way may be provided as an optional function for users who also want to know the scale information. In other words, the display format of the pads does not necessarily have to be differentiated according to the scale, and pads to which Next candidate chords are assigned may be displayed in the same display format, or the display format may be differentiated based on criteria other than the scale.

[0068] <Second Receiving Unit> The second receiving unit 16 is a processing unit that receives a selection from among the pad group 122. As one mode, the second receiving unit 16 validates the selection of a pad that is lit or dimly lit among the pads 122A to 122P, that is, a pad for which the allocation result of the ID of the next candidate code is registered in the second code storage unit 15A.

[0069] <Assignment Unit> The assignment unit 17 is a processing unit that assigns, as an assignment code, a next candidate chord associated with a pad whose selection has been accepted by the second accepting unit 16 .

[0070] In one aspect, the assignment unit 17 assigns, as an assignable chord, a next candidate chord stored in the second chord storage unit 15A that corresponds to a pad for which a valid selection has been accepted by the second accepting unit 16. At this time, the assignment unit 17 assigns the assigned chord to the touch key located next to the touch key assigned to the current chord, and stores the correspondence between the ID of the touch key and the ID of the assigned chord in the assignable chord storage unit 17A. Thereafter, the assignment unit 17 lights up the touch key to which the assigned chord has been assigned, among the touch keys 121. In this way, a chord progression can be constructed by linking the assigned chords stored in the assignable chord storage unit 17A in chronological order.

[0071] 17 to 19 are diagrams (1) to (3) showing specific examples of the operation procedure. As shown in Fig. 17, by accepting an ON operation of the cruiser button 123, the operation mode of the music production device 10 is switched to the cruiser mode, which recommends next candidate chords (step S1). When the operation mode is switched to the cruiser mode, the cruiser button 123 may be lit from the side to notify the state.

[0072] The first accepting unit 13 then accepts the selection of the touch key 121F from the touch key group 121 (step S2). The assigned chord assigned to the selected touch key 121F is accepted as the current chord, and the searching unit 14 searches for a next candidate chord from the chord progressions stored in the chord progression DB 11. The next candidate chord obtained as a result of the search by the searching unit 14 is then assigned to the pad group 122 by the assignment unit 15.

[0073] For example, Figure 18 shows an example in which 14 Next candidate codes are obtained as a result of the Next candidate code search. These 14 Next candidate codes are assigned to pads 122A to 122N. Of the pads 122A to 122N, pads 122A to 122J are lit, while pads 122K to 122N are dimmed.

[0074] This allows the user to be notified that, out of the 14 Next candidate chords, the 10 Next candidate chords assigned to pads 122A to 122J are within the range of a specific scale, and also notifies the user that the 4 Next candidate chords assigned to pads 122K to 122N are outside the range of the specific scale.

[0075] Here, when accepting the selection of the next candidate code, the selection of the next candidate code can be validated by simultaneously accepting the ON operation of pad 122J and the Touch Key 121G to which the next candidate code assigned to pad 122J is to be assigned (step S3).

[0076] The Next candidate chord corresponding to the pad 122J whose selection has been accepted in this way is assigned as the assigned chord. That is, as shown in Fig. 19, the assigned chord is assigned to the touch key 121G located next to the touch key 121F assigned to the current chord, and the touch key 121G to which the assigned chord is assigned is lit up (step S4).

[0077] Although an example in which the next candidate code is assigned as the assigned code has been given here, it is not necessary that only the next candidate code is assigned as the assigned code.

[0078] In one aspect, the sequencer has preset chord sets for each musical genre, such as R&B, rock, jazz, etc. To utilize such preset chord sets, a chord included in the preset chord set may be assigned as an assign chord by the assignment unit 17. In this case, the first accepting unit 13 can accept a chord included in the preset chord set as a current chord, and thereby recommend a next candidate chord for that current chord.

[0079] As another aspect, the sequencer can accept note input from a user. For example, by switching the operating mode of the music production device 10 to sequencer mode, input from the Touch Keys 121 can be switched to input from a MIDI keyboard. In addition to such MIDI keyboard input, note input from a user can be accepted via an electronic musical instrument or the like connected to the music production device 10 via a communication port or the like. In this case, the chords accepted as note input from the user may not necessarily be chords used in the chord progression. To confirm this, the chords accepted as note input from the user can be compared with the chord progression DB 11. FIG. 20 shows an example of how chords accepted as note input from a user are used. As shown in FIG. 20 , if a chord matching the chord (C4E4G4) accepted as note input from the user exists in the chord progression DB 11, the chord (C4E4G4) accepted as note input from the user may be assigned as an assign chord by the assignment unit 17. In this case, the first accepting unit 13 can accept the chord for which note input has been accepted from the user as a Current chord, and can recommend a Next candidate chord for the Current chord. This allows the user to create their own Current chord if they have an idea or in mind of a chord they would like to register as a Current chord.

[0080] As a further aspect, in order to reduce the number of steps required for operation, the first accepting unit 13 can also accept the assigned chord assigned by the assigning unit 17 as the next Current chord. This allows the selection of the Next candidate chord and the selection of the next Current chord to be linked, thereby reducing the number of steps required for operation when constructing a chord progression.

[0081] <Processing Flow> Fig. 21 is a flowchart showing the procedure of the code selection process. This process can be started when the first accepting unit 13 accepts the designation of the Current code, by way of example only.

[0082] As shown in FIG. 21, when a Current chord is specified (step S101), the search unit 14 searches for a Next candidate chord to be recommended as a candidate for the chord progression following the Current chord accepted in step S101 from among the chord progressions stored in the chord progression DB 11 (step S102).

[0083] Next, the allocation unit 15 sorts the next candidate chords obtained as the search results in step S102 in the order of the pitches of the constituent notes of the next candidate chords (step S103).

[0084] Thereafter, the allocation unit 15 executes loop process 1, which repeats the processes from step S104 to step S108 a number of times corresponding to the M Next candidate codes after sorting in step S103. Note that although an example in which the processes from step S104 to step S108 are repeated has been given here, these processes may also be executed in parallel.

[0085] That is, the allocation unit 15 allocates the mth next candidate chord to the mth pad in the pad group 122 (step S104). After that, the allocation unit 15 stores the correspondence between the ID of the mth next candidate chord and the ID of the mth pad in the second chord storage unit 15A (step S105). Then, the allocation unit 15 determines whether the mth next candidate chord is within a specific scale range (step S106).

[0086] At this time, if the mth Next candidate chord is within the range of the specific scale (Yes in step S106), the allocation section 15 lights up the pad to which the mth Next candidate chord is allocated (step S107).

[0087] On the other hand, if the mth Next candidate chord is not within the range of the specific scale (No in step S106), the allocation section 15 dims the pad to which the mth Next candidate chord is allocated (step S108).

[0088] By repeating this loop process 1, the sorted M Next candidate codes are assigned to the pad group 122.

[0089] Thereafter, if the second receiving unit 16 receives a valid pad selection (Yes in step S109), the assigning unit 17 assigns, as the assigned code, the next candidate code stored in the second chord storage unit 15A that corresponds to the pad for which a valid selection was received in step S109 (step S110).

[0090] Then, the assignment unit 17 assigns the assignment code assigned in step S110 to the touch key located next to the touch key assigned to the current code, stores the correspondence between the ID of the touch key and the ID of the assignment code in the assignment code storage unit 17A (step S111), and ends the process.

[0091] <One Aspect of Effect> In one aspect, the musical composition production device 10 according to this embodiment accepts the specification of a Current chord, searches for a Next candidate chord that will follow the Current chord from among the chord progressions stored in the chord progression DB 11, accepts a selection from among the Next candidate chords, and assigns the selected Next candidate chord as an assignable chord, which is one of the chord progressions for the musical composition. Therefore, the musical composition production device 10 according to this embodiment allows a user to select the next chord progression without having knowledge of chord theory.

[0092] In another aspect, the music production device 10 according to this embodiment accepts the specification of a current chord, accepts a selection of a next candidate chord recommended as a candidate for the chord progression following the current chord from among the pad group 122 associated with the next candidate chord in the pitch order of the constituent notes of the next candidate chord, and assigns the next candidate chord associated with the pad whose selection has been accepted as an assignable chord, which is one of the chord progressions for the music being produced. Therefore, the music production device 10 according to this embodiment can improve operability in selecting the chord that will follow the user-specified chord.

[0093] Second Embodiment Although the embodiments of the present disclosure have been described above, various applications are possible, and further, the present disclosure may be implemented in various different forms other than the above-described embodiments.

[0094] <Exercise of Creativity> The matters described in the first embodiment, such as the number and shape of the Touch Keys and the number and shape of the pads, are merely examples and can be changed. In addition, the order of processing in the flowchart described in the first embodiment can also be changed within a consistent range.

[0095] <System> The information, including the processing procedures, control procedures, specific names, various data, and parameters shown in the above documents and drawings, can be changed as desired unless otherwise specified. For example, any one or more of the functional units of the first receiving unit 13, the searching unit 14, the allocating unit 15, the second receiving unit 16, and the assigning unit 17 of the music production device 10 may be configured as separate devices.

[0096] Furthermore, the components of each device shown in the figure are functional concepts and do not necessarily have to be physically configured as shown. In other words, the specific form of distribution and integration of each device is not limited to that shown. In other words, all or part of them can be functionally or physically distributed and integrated in any unit depending on various loads, usage conditions, etc. Note that each configuration may also be a physical configuration.

[0097] Furthermore, all or any part of the processing performed by the illustrated device may be realized by a program executed by a hardware processor such as an MPU (Micro-Processing Unit) or a CPU (Central Processing Unit), or may be realized as hardware using wired logic.

[0098] <Hardware> Next, an example of the hardware configuration of the music production device described in the above embodiment will be described. Fig. 22 is a diagram showing an example of the hardware configuration. As shown in Fig. 22, the music production device 10 has a communication device 10a, a storage device 10b, a memory 10c, and a processor 10d. Note that the components shown in Fig. 22 may be connected to each other via a bus or the like.

[0099] The communication device 10a is a network interface card, etc. The storage device 10b is a storage device such as a hard disk drive (HDD) or a solid state drive (SSD). For example, the storage device 10b stores programs and databases that operate the functions shown in FIG.

[0100] The processor 10d reads out a program that executes the same processing as the processing unit shown in FIG. 1 from the storage device 10b or the like and loads it into the memory 10c, thereby operating a process that executes the functions described in FIG.

[0101] Such a process realizes the same functions as the processing units of the music production device 10. For example, the processor 10d reads from the storage device 10b or the like a program having the same functions as the first reception unit 13, the search unit 14, the allocation unit 15, the second reception unit 16, the assignment unit 17, etc. Then, the processor 10d executes a process that executes the same processing as the first reception unit 13, the search unit 14, the allocation unit 15, the second reception unit 16, the assignment unit 17, etc.

[0102] In this way, the music production device 10 operates as an information processing device that executes a music production method by reading and executing a program. The music production device 10 can also realize the same functions as the above-described embodiment by reading the program from a recording medium using a media reader and executing the read program. Note that the program in these other embodiments is not limited to being executed by the music production device 10. For example, the present invention can also be applied in a similar manner to cases where another computer or server executes the program, or where these execute the program in cooperation with each other.

[0103] The above program can be distributed via a network such as the Internet. The above program can also be recorded on any recording medium and executed by a computer by reading it from the recording medium. For example, the recording medium can be a hard disk, an SSD, a flexible disk (FD), a CD-ROM, a magneto-optical disk (MO), a digital versatile disc (DVD), or the like.

[0104] REFERENCE SIGNS LIST 10 Music composition device 11 Chord progression DB 12 Operation unit 121 Touch key group 122 Pad group 13 First reception unit 14 Search unit 15 Allocation unit 15A Second chord storage unit 16 Second reception unit 17 Assignment unit 17A Assigned chord storage unit

Claims

1. A musical composition device comprising: a first reception unit that receives the designation of a first chord; a second reception unit that receives a selection from a first group of operation symbols that are linked to the pitch order of the constituent notes of the second chord, to recommend a second chord as a candidate for the chord progression following the first chord; and an assignment unit that assigns the second chord linked to the first operation symbol whose selection has been received as an assigned chord that is one of the chord progressions of the musical composition to be composed.

2. The music composition device according to claim 1, wherein the display form of the first operation symbol is controlled in accordance with the scale of the second chord.

3. A music production device as described in claim 1 or 2, characterized in that the display form of the first operation symbol is changed depending on whether the constituent notes of the second chord are within a specific scale range.

4. A music production device as described in claim 1, 2 or 3, characterized in that the first operation symbol is lit when the constituent notes of the second chord are within a specific scale range, and is dimmed when the constituent notes of the second chord are not within the specific scale range.

5. The music production device according to claim 4, wherein the first operation symbol is turned off when the second code is not associated with the first operation symbol.

6. A music production device according to any one of claims 1 to 5, characterized in that the first operation symbols are linked in ascending order of the pitch of the root notes of the second chords.

7. The music production device described in claim 6, characterized in that when the root notes of the second chord are the same pitch, the first operation symbol is linked to the pitch order of the note with the next lowest pitch after the root note.

8. The music production device according to any one of claims 1 to 7, wherein the first operation symbol is a rectangular pad.

9. The music production device according to claim 8, wherein the pads are arranged in a matrix.

10. A music production device as described in any one of claims 1 to 9, characterized in that the first reception unit receives the first chord by receiving a selection from a second group of operation symbols that are linked to the time series of the chord progression, and which are assigned chords that have already been assigned to the chord progression.

11. The music production device according to claim 10, wherein the first reception unit receives an assignment chord assigned to the chord progression from a preset chord set as the first chord.

12. The music production device according to claim 10, wherein the first accepting unit accepts an assigned chord assigned by inputting notes as the first chord.

13. The music production device according to claim 10, wherein the first reception unit receives an assignment chord assigned by the assignment unit as the first chord.

14. A music production program that causes a computer to execute the following processes: accept the specification of a first chord; accept a selection from a first group of operation symbols that are linked to the pitch order of the constituent notes of the second chord as a second chord to be recommended as a candidate for the chord progression following the first chord; and assign the second chord linked to the first operation symbol whose selection has been accepted as an assigned chord, which is one of the chord progressions of the music being produced.

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