JP2015179142A - A modulation device, a modulation method, and a modulation program - Google Patents

Abstract

PROBLEM TO BE SOLVED: To provide a program capable of automatically achieving natural modulation responding to a desired modulation instruction on a desired segment in a music.SOLUTION: A first smoothing modulation section 102 rewrites one or more code data in a predetermined segment immediately prior to a segment, to which an instruction of modulation is given through a modulation instruction section 101 in the music data 106, with a code data other than a tonic code data in a diatonic chord of a scale corresponding to the tonality after the modulation. A second smoothing modulation section 103 rewrites one or more code data in a predetermined segment positioned at the last in a segment, to which an instruction of modulation is given through the modulation instruction section 101 in the music data 106, with a code data other than tonic code data in a diatonic chord of a scale corresponding to the tonality before the modulation. An instructed segment modulation section 104 rewrites code data in a segment, to which an instruction of modulation is given through the modulation instruction section 101 in the music data 106, with a code data corresponding to the tonality after the modulation.

Description

  The present invention relates to a modulation device, a modulation method, and a modulation program that modulate music data.

  Shifting to another tonality in a song is called “transformation” and is a technique frequently used in composition and arrangement to change the atmosphere of a song.

  However, this technique requires a considerable level of proficiency in order to produce the desired effect, and even for those who know music to some extent, it is not possible to make an optimal transition based on empirical and uncomfortable situations. It was difficult.

  Also, in general, in karaoke, a song is selected and sung with his / her voice on the reproduced karaoke. However, the chorus part (the part that swells) has a high sound range, and sometimes the voice becomes thinner or out of place.

  In order to be able to cope with such a situation, the conventional karaoke apparatus is provided with a function for changing the tonality of the entire music at a low or high level during reproduction. However, when the user's own sound range is narrower than that of the musical piece to be sung, there has been a problem that the low or high sound range is not generated.

Also, if you transpose in the middle of a song in order to put only the difficult parts to sing in the range that is convenient to you, a great sense of incongruity will occur at the switching part, and it will no longer be a song that you can hear. It has resulted in discomfort for some people.
A conventional technique for smoothly controlling chord progression for given melody data is known (for example, the technique described in Patent Document 1 or 2). It is not a technique that can smoothly control the chord progression in response to the modulation instruction, and the above-described problem cannot be solved.

Japanese Patent No. 3565107 JP 2005-173492 A

  Accordingly, an object of the present invention is to automatically realize natural modulation in response to an arbitrary modulation instruction for an arbitrary section in a music piece.

  In an example of the aspect, a modulation instruction unit for instructing modulation to an arbitrary tone in an arbitrary section of music data, and one or more code data in a predetermined section immediately before the section where the modulation is specified in the music data A first smooth modulation section that changes the chord data other than the tonic code data in the diatonic code of the scale corresponding to the tonality after the modulation, and the code data of the section in which the modulation is instructed in the music data, An instruction section modulation section for changing to chord data corresponding to the tonality after modulation, and an output section for outputting the music data changed by the first smooth modulation section and the instruction section modulation section as the modulated music data And comprising.

  According to the present invention, it is possible to automatically realize a natural modulation in response to an arbitrary modulation instruction for an arbitrary section in a music piece.

It is a block diagram of embodiment of the modulation apparatus by this invention. It is a chart which shows the kind of a general triad (3 chords) and the main 7th system (4 chords). It is explanatory drawing of a diatonic code. It is explanatory drawing of the function of a code | cord. It is operation | movement explanatory drawing of this embodiment. It is a block diagram of the computer system which is embodiment of the karaoke apparatus provided with the function of the modulation | alteration apparatus. It is a figure which shows the data structural example of music data. It is a flowchart which shows the example of a karaoke control process. It is a flowchart which shows the detailed example of a switch process. It is a flowchart which shows 1st Embodiment of a musical tone change process. It is a figure (the 1) which shows the data structural example of smooth modulation list data. It is a figure (the 2) which shows the data structural example of smooth modulation list data. It is FIG. (3) which shows the data structural example of smooth modulation list data. It is FIG. (4) which shows the data structural example of smooth modulation list data. It is a flowchart which shows the detailed example of the smooth modulation automatic generation process in 2nd Embodiment of a musical tone change process. It is a figure which shows the example of a score corresponding to the music data used as the object of a modulation process. It is explanatory drawing of the example of designation | designated of the tone of the modulation | alteration destination with respect to the modulation request | requirement of FIG. It is a figure which shows the operation example of 2nd Embodiment of the tone change process in case the modulation | alteration from Cmajor (C major) to Gmajor (G major) is designated. It is a figure which shows the operation example of 2nd Embodiment of the musical tone change process in case the C part transposed to Gmajor (g major) ends and returns to the original B part (it is transposed again). An example of the operation of the second embodiment of the musical tone changing process in an example in which the A ′ part is repeated and transposed from the C ′ major (C major) A ′ part to the semitone semitone D ′ major (A second major) A ′ part is shown. FIG.

  Hereinafter, embodiments for carrying out the present invention will be described in detail with reference to the drawings. FIG. 1 is a configuration diagram of an embodiment of a modulation device according to the present invention. The modulation device 100 is, for example, a device that realizes a modulation function in a device for editing music data configured based on the MIDI (Musical Instrument Digital Interface) standard, or a modulation function of a karaoke device. The modulation apparatus 100 includes a modulation instruction unit 101, a first smooth modulation unit 102, a second smooth modulation unit 103, an instruction section modulation unit 104, an output unit 105, and a smooth modulation list storage unit 108.

  The modulation instruction unit 101 instructs the user to perform modulation to an arbitrary tone for an arbitrary section of the music data 106. Here, the user is an editor who edits with a music editing device or a user who sings karaoke with a karaoke device.

  In the music data 106, the first smooth modulation unit 102 is a predetermined section (for example, the first bar immediately before) of the section (for example, a plurality of bars constituting a specific part of the music) for which modulation is instructed by the modulation instruction unit 101. One or more of the chord data is rewritten with chord data other than the tonic chord data in the diatonic chord of the scale corresponding to the tonality after the modulation. The music data 106 is, for example, MIDI data.

  The second smooth modulation unit 103 includes one or more chord data in the last predetermined section (for example, the last measure in the section) in the section in which the modulation is instructed by the modulation instruction unit 101 in the music data 106. Rewrite with code data other than tonic code data in the diatonic code of the scale corresponding to the tonality before modulation.

  Rewriting with code data other than the tonic code data may include rewriting with code data of 5 degrees in the diatonic code of the scale to which the code data belongs. Further, the rewriting may include rewriting with the chord data twice in the diatonic code of the scale before rewriting with the chord data of the fifth degree.

  In this case, the modulation instructing unit 101 further gives an instruction to rewrite only the code data of the 5th degree, rewrite using the code data of the 2nd time, and the rewrite thereof for each section immediately before and at the end of the section where the modulation is instructed. Subsequently, the user may be allowed to perform either a rewrite instruction based on the 5th code data or an instruction not to perform either the 2nd or 5th rewrite.

The designated section modulation unit 104 rewrites the code data of the section in which the modulation is instructed by the modulation instruction unit 101 in the music data 106 to code data corresponding to the tonality after the modulation.
The output unit 105 outputs the music data rewritten by the first smooth modulation unit 102, the second smooth modulation unit 103, and the designated section modulation unit 104 as the modulated music data 107.

  The smooth modulation list storage unit 108 will be described later.

  Before explaining the operation principle of the modulation apparatus 100 shown in FIG. 1, first, some basic knowledge of music necessary for explaining the present embodiment will be explained.

  The music expressed by the music data 106 is composed of groups of musical sounds that determine the music image, and this is called a key. A key that gives a bright image is called a major key. A key that gives a sad or sad image is called a minor key.

  The musical notes in the key are arranged in the order of the first to seventh notes within one octave (8 degrees) (hereinafter, each note is described as I, II, III, IV, V, VI, VII) Is called a scale.

  In the major (scale key) scale, the interval between the third note III and fourth note IV, the seventh note VII and eighth note I becomes a semitone, and the other adjacent pitches become full notes. . Such a major scale is called a major scale. In the minor (minor key) scale, the interval between the 2nd sound II and the 3rd sound III, the 5th sound V and the 6th sound VI becomes a semitone, and the other adjacent pitches become the whole sound. The scale (scale) is called a minor scale.

  A musical piece has a range determined by the key. For example, in a karaoke performance, when the user cannot produce the key range of the song, the key is changed to change the tone of the song so that the singer can produce the tone range.

  As described above, conventionally, the whole music has been transposed. In this case, the tonality of the modulation source is simply translated in parallel with the tonality of the modulation destination over the entire music. However, there were cases in which a sense of incongruity musically occurred when only the parallel movement was performed. In the present embodiment, for example, when the range of the chorus part is so wide that it cannot be sung well, it is possible to transpose only the bar group in that section. In this case, if a measure having the tonality after the modulation comes suddenly from the measure having the tonality before the modulation, a great musical discomfort occurs. Therefore, in this embodiment, smooth modulation is realized by the modulation device 100 shown in FIG.

  For example, in the accompaniment of a song in karaoke, a chord consisting of multiple sounds that are pronounced simultaneously or almost simultaneously at a certain moment is used for a melody sound that progresses in time within a predetermined tonality. It is done. A chord (chord) refers to a plurality of sounds in which sounds having different pitches from the root sound are accumulated three times. Triad (3 chords) of 3rd-order chords consisting of the root sound, the 3rd sound whose pitch is 3 degrees higher than the root sound, and the 5th sound whose pitch is 3rd higher than the 3rd sound That's it. Among these, the chords accumulated in the order of the third major and the third minor from the root are called major triads. Chords accumulated in the order of 3rd minor and 3rd major from the root are called short triads. Chords accumulated in the order of 3rd long and 3rd long from the root are referred to as augmented triads. Chords accumulated in the order of 3rd minor and 3rd minor from the root are called reduced 3 chords (diminished triads). That is, there are four types of triads (three chords) as shown in FIG.

  Four chords obtained by accumulating sounds of the third, third, or exceptionally three degrees with respect to the highest sounds of the four types of triads are called sevenths. There are types of sevenths (four chords) as shown in FIG. In FIG. 2B, since the blank portion returns to the root tone of the original chord when the fourth tone is accumulated, it does not become a new seventh (four chords).

FIG. 3 (a) shows a triad group in which three notes of a pitch separated by 3 degrees are accumulated on a C major scale only by a scale note (scale note), and FIG. This shows a Seventh group that has four notes with pitches separated by 3 degrees on the C major scale. These are called diatonic codes. As can be seen from these figures, in major scale triads (3 chords), I, IV, and V are always major triads, II, III, and VI are always minor triads, and VII is always a diminished triad. In addition, the major scale Seventh series codes I and IV are always major sevenths, II, III, and VI are always minor sevenths, V is always sevenths, and VII is always minor seventh flatted fives. These relationships are the same even if the tonality changes. Therefore, regardless of the tonality, the diatonic code of the major scale is 301: in FIG. 3 (a): “I, IIm, IIIm, IV, V, VIm, VIIdim” or 302 in FIG. 3 (b). : Expressed as “Imaj7, IIm7, IIIm7, IVmaj7, V7, VIm7, VIIm7 (♭ 5)” in the seventh series. Such an expression is called a frequency notation, and each Arabic numeral indicates a frequency from the root note on the scale.

  The same frequency notation is possible in the minor scale, but it is omitted here.

  When the chord progression is performed in the accompaniment performance of the musical piece, each chord of the frequency on the scale (scale) has a role of showing an atmosphere (character) of calming or feeling of tension when using this chord. This role is called chord "function" in music theory. FIG. 4 is a diagram showing a list of chord functions for each frequency in the major scale.

  First, frequency I or frequency Imaj7 (and IIIm or IIIm7 and VIm or VIm7) is a code that has a function called a tonic, has a strong main character, and gives the most stable feeling in the key. . In particular, frequencies I and Imaj7 are called main chords (tonic chords).

  Next, frequency V or frequency V7 (and IIIm or IIIm7 and VIIdim or VIIm7 (♭ 5)) has a function called dominant, and has a strong tendency to advance to the main chord (I). Is decided. This function is particularly strong in the code of the frequency V, and the function of the frequency V7 becomes even stronger.

  The frequency IV or IVmaj7 (and IIm or IIm7) is a code having a function called a subdominant and having a character as a foothold to the dominant.

  In the chord function in the above major scale, the chord progression that changes from “IIm7 (subdominant) → V7 (dominant) → I (tonic)”, which is called “two five one”, is very natural for the listener. It is a chord progression that gives a feeling.

  Therefore, in the embodiment of FIG. 1, paying attention to the function of such a code, the first smooth modulation unit 102 instructs the modulation in accordance with the modulation of the designated section by the designated section modulation unit 104. One or more chord data in a predetermined section (for example, the previous bar) immediately before the set section is rewritten with code data other than the tonic code data in the diatonic chord of the scale corresponding to the tone after the modulation. In particular, for example, the first smooth modulation unit 102 rewrites the chord so that the chord progression of the scale diatonic code “IIm7 → V7” corresponding to the tonality after the modulation in the predetermined section immediately before the first smooth modulation unit 102. As a result, a very smooth chord progression from the immediately preceding predetermined section to the I code of the diatonic code after the leading modulation in the section where the modulation is instructed is realized.

  Note that also when moving from the section in which the modulation is instructed to the next section, a change in tonality from the tonality that has been modulated to the original tonality occurs, which is also a modulation. Therefore, in the present embodiment, the second smooth modulation unit 103 converts one or more code data in the last predetermined section (for example, the last measure in the section) in the section where the modulation is instructed before the modulation. Rewrite with chord data other than tonic chord data in the diatonic chord of the scale corresponding to the tonality. In particular, for example, the second smooth modulation unit 103 rewrites the chord in a predetermined section at the end thereof so that the chord progression “IIm7 → V7” of the scale diatonic code corresponding to the tonality before the modulation is performed. As a result, a very smooth chord progression from the predetermined predetermined section at the end to the I code of the diatonic code before the first modulation in the section immediately after the modulation is completed is realized.

  Here, the code data after rewriting does not necessarily have to be “IIm7 → V7”, and may be rewritten only with the “V7” code, or not rewritten at all. Also good. Then, the user may be able to instruct various patterns of rewriting from the modulation instruction unit 101. This makes it possible to add various music modulation effects in modulation.

  FIG. 5 is an operation explanatory diagram of the embodiment of the modulation device 100 shown in FIG. 1. Reference numeral 501 represents a measure of the music. The other parts are the same, but the number 501 is omitted. Reference numeral 502 denotes a part. Reference numerals 503 and 504 denote the traveling direction of the music. The music advances from the top to the lower part 502 as indicated by 504, and within one part 502, the music advances from the leftmost measure 501 to the rightmost measure 501 as indicated by 503. Now, the case where the music starts with a certain tonality, the part progresses in the order of A → A ′ → B → A ′, enters the chorus with part C, and then the part advances with B → A ′ → A ′. Think.

  Usually, rust is often developed and the pitch is often high, making it difficult to sing. Therefore, in the modulation device 100 of FIG. 1, it is assumed that the user instructs the modulation instruction unit 101 to modulate the four bars of the “C” part indicated by 506. In this case, if the key is suddenly shifted from the end of the A ′ part indicated by 505 in front of it, the sound cannot be captured.

  Therefore, in this embodiment, the smooth modulation process that can smoothly shift to the modulated C part is performed in the immediately preceding measure. By performing such smooth modulation processing in advance, it is possible to shift to a naturally modulated C part. Specifically, the first smooth modulation unit 102 in FIG. 1 uses the V7 code in the diatonic code in the scale of the new tonality after the modulation for the modulation in the C part, and the latter half of the immediately preceding measure 505 last. Rewrite the chord of the beat part. As a result, a natural chord progression is realized from the immediately preceding measure 505 last to the chord I of the diatonic chord after the first transposition of the C part of 506.

  In the B part of 507 following the 506 C part that has been modulated, the original tone is restored. Also in this case, the second smooth modulation unit 103 in FIG. 1 corresponds to the original tonality before the modulation for the second half of the chord data in the last measure 506last of the C part instructed to be modulated. Rewrite the IIm7 code and V7 code in the diatonic code of the scale to be played. As a result, it is possible to perform a natural audible transposition from the last measure 506last of the C part to the I code of the diatonic code before the first transposition of the B part immediately after the transposition is completed.

  Furthermore, since the A 'part of 508 following the B part and the A' part of the next 509 are repeat sections of the same performance, in order to give a change, the user makes a change to the A 'part of 509 in FIG. It is also possible to instruct a modulation from the modulation instruction unit 101. Accordingly, the first smooth modulation unit 102 in FIG. 1 uses the V7 code in the diatonic chord in the new tonality scale after the modulation for the modulation in the A ′ part of 509, and the immediately preceding measure 508last. Rewrite the chord for the second half of the beat. As a result, even when the same A ′ part is repeated, it is possible to add a natural transposition effect in terms of audibility.

  As described above, according to the embodiment of the modulation apparatus 100 shown in FIG. 1, natural modulation is automatically performed in response to an arbitrary modulation instruction for an arbitrary section in the music data 106 from the modulation instruction unit 101 by the user. Can be realized.

  In FIG. 1, a smooth modulation list storage unit 108 may be provided in order to realize the above-described modulation operation by the first smooth modulation unit 102 and the second smooth modulation unit 103. The smooth modulation list storage unit 108 stores code data other than tonic code data in the diatonic code of the scale corresponding to the second tonality when the first tonality is tonulated to the second tonity, for example, IIm ( The code data of 7) or the code data of V (7) is stored as smooth modulation list data. In this case, the first smooth modulation unit 101 designates the tonality before the modulation as the first tonality and the tonality after the modulation as the second tonality, and the smooth modulation list storage unit By referring to the smooth modulation list data stored in 108, code data to be rewritten is determined. In addition, the second smooth modulation unit 103 designates the tonality after the modulation as the first tonality, and designates the tonality before the modulation as the second tonality, and the smooth modulation list storage unit 108. The code data to be rewritten is determined by referring to the smooth modulation list data stored in the.

  In this case, the combination of the first tonality and the second tonity may include a combination of major and major, major and minor, minor and major, and minor and minor.

  Further, the smooth modulation list data described above may include priority order data indicating a priority order for each set of the first tonality and the second tonality when the set is referred to. In this case, the modulation instruction unit may further instruct the user of the effect of the modulation. The effect of modulation is, for example, a universal feeling, an unexpected feeling, or a rising feeling. These modulation effects may be displayed on the modulation instruction unit 101 as recommended effects. On the other hand, the first smooth modulation unit 102 or the second smooth modulation unit 103 has the first tonality corresponding to the tonality of the modulation source and the tonality of the modulation destination instructed by the modulation instruction unit 101. Among the one or more smooth modulation list data having the second tonality, the smooth modulation list data having priority data corresponding to the modulation effect instructed by the modulation instruction unit 101 is referred to. Good.

  This makes it possible to obtain a modulation effect that further reflects the user's intention.

  FIG. 6 is a block diagram of a computer system which is an embodiment of a karaoke apparatus 600 having the function of the modulation apparatus 100 of FIG. The karaoke apparatus 600 has a configuration in which a CPU 601, a memory 602, a sound source 603, an audio device 604, an operation unit 605, a display unit 606, and a MIC (microphone) input 607 are connected to each other via a bus 609. The configuration shown in FIG. 6 is an example of a computer system that can realize the karaoke apparatus 600, and such a computer system is not limited to this configuration.

  The CPU 601 controls the karaoke apparatus 600 as a whole. The memory 602 stores a karaoke control program including the function of the modulation apparatus 100 of FIG. The CPU 601 realizes a control function for the karaoke apparatus 600 by executing the karaoke control program stored in the memory 602. The memory 602 stores music data (corresponding to 106 in FIG. 1). The CPU 601 executes the karaoke control program to execute the function of the modulation device 100 of FIG. 1 while reading the music data from the memory 602 based on the user's modulation designation from the operation unit 605, and the modulated music Data (corresponding to 107 in FIG. 1) is written back to the memory 602.

  When the user instructs the reproduction of the karaoke song from the operation unit 605 while displaying the karaoke song candidate on the display unit 606, the CPU 601 reads the song data from the memory 602 by the song playing function included in the karaoke control function. Based on the read music data, the sound source 603 is instructed to play music. The sound source 603 is, for example, an electronic musical instrument sound source that can reproduce music based on MIDI data. Musical sound data reproduced from the sound source 603 is emitted via the acoustic device 604. The acoustic device 604 converts the musical tone data input from the bus 609 into an analog musical tone signal, performs amplification, and emits the sound from the speaker. At this time, the singing voice sung by the user is input from the MIC input 607 and emitted through the sound device 604 and mixed with the musical sound data.

  A communication interface (I / F) 608 is a device for connecting a communication line of, for example, a LAN (local area network) or a WAN (wide area network). The karaoke apparatus 600 according to the present embodiment is realized by the CPU 601 executing a program equipped with the function of the modulation apparatus 100 of FIG. 1 realized by the flowcharts of FIG. 8 to FIG. The program may be distributed by being recorded on a portable recording medium (not shown), or may be acquired from the network by the I / F 608.

  As related to the function of the modulation apparatus 100 in FIG. 1, the operation unit 605 includes a music designation SW 610 (“SW” means a switch), a modulation mode SW 611, a modulation range designation SW 612, a modulation destination key designation SW 613, and other SW 614. , And recommended progress determination SW 615 and the like. The function of these switches will be described later.

  FIG. 7 is a diagram showing a data configuration example of music data 700 (corresponding to 106 in FIG. 1) stored in the memory 602 in FIG. 701, 702, 703,... Are note-on data, and include, for example, timing data time, pitch data note, and volume data velocity. Other control data may be included. The timing data time is the absolute time after the music starts. Also, the header portion 704 of the music data 700 contains data relating to the music structure, such as basic key (tonality), bar delimiter data, chord progression information, part information such as A melody, B melody, and C chorus. Stored in advance. This makes it easy to specify the range of music for which the user wants to perform the modulation described later.

  FIG. 8 is a flowchart illustrating an example of karaoke control processing realized by the CPU 601 in FIG. 6 executing the karaoke control program stored in the memory 602.

  When the karaoke device 600 is turned on, the CPU 601 executes initialization processing such as initialization of the memory 602 (step S801), and then performs switch processing (step S802), and then changes the musical tone to realize the function of the modulation device 100 of FIG. The process (step S803), the sound source process for reproducing the musical sound (step S804), and other processes including the display process (step S804805) are repeatedly executed.

  FIG. 9 is a flowchart showing a detailed example of the switch process in step S802 of FIG.

  First, the CPU 601 executes a process of inputting music designation information designated by the user operating the music designation SW 610 of the operation unit 605 in FIG. 6 (step S901).

Next, the CPU 601
A process of inputting the modulation range in the music specified by the user operating the modulation range specification SW 612 of the operation unit 605 in FIG. 6 is executed (step S902). The modulation range is specified by displaying the parts in the music on the display unit 606 in FIG. 6 for the music specified in step S901 in FIG. Is displayed on the display unit 606 to allow the user to specify a modulation range on the score.

  Next, the CPU 601 executes processing for inputting the tonality after the modulation designated by the user by operating the modulation designation SW 613 of the modulation destination of the operation unit 605 in FIG. 6 (step S903).

  Subsequently, the CPU 601 determines whether or not the modulation mode SW611 has been turned on (step S904).

  If the determination in step S904 is YES, the CPU 601 turns on the modulation flag stored in the memory 602 and turns off the normal mode flag (step S905).

  If the determination in step S904 is NO, the CPU 601 determines whether the modulation mode SW611 has been turned off (step S906).

  If the determination in step S906 is YES, the CPU 601 turns off the normal mode flag stored in the memory 602 and turns on the modulation flag (step S907).

  If the determination in step S906 is NO, the CPU 601 ends the process of the flowchart of FIG. 9 and ends the switch process of step S802 of FIG.

  As will be described later with reference to the flowchart of FIG. 10, when the modulation mode SW 611 is turned on by the user and the modulation flag is turned on in step S905, the CPU 601 performs control processing for modulation in the musical tone change processing in step S803 of FIG. Execute. When the modulation mode SW 611 is turned off by the user and the modulation flag is turned off in step S907, the CPU 601 does not execute the control process for modulation in the musical tone changing process in step S803 of FIG. Although not particularly shown, when the modulation mode SW 611 is turned on by the user and the normal mode flag is turned off in step S905, the CPU 601 does not execute the sound source processing in step S803 in FIG. Absent. When the modulation mode SW 611 is turned off by the user and the normal mode flag is turned on in step S907, the CPU 601 executes sound source processing in step S803 in FIG.

  After the processing in step S905 or S907, the CPU 601 executes other switch processing (step S805). When the user operates other SWs 614 such as timbre and volume change with the operation unit 605 in FIG. 6, the CPU 601 controls the sound source 603 and the acoustic device 604 in FIG. 6 to switch the timbre and volume in step S805. Processing is executed (step S908). Thereafter, the process of the flowchart of FIG. 9 is terminated, and the switch process of step S802 of FIG. 8 is terminated.

  FIG. 10 is a flowchart showing the first embodiment of the musical tone changing process in step S803 of FIG.

  First, the CPU 601 loads music data 700 (FIG. 7) corresponding to the music specified by the user in step S901 of FIG. 9 from the storage area on the memory into the work area (step S1001).

  Next, the CPU 601 determines whether or not the modulation flag on the memory 602 is turned on (step S1002).

  If the determination in step S1002 is NO, the process of the flowchart in FIG. 10 is terminated, and the musical tone change process in step S803 in FIG. 8 is terminated. Although not shown in particular, in this case, the CPU 601 in FIG. 8 for instructing the tone generator 603 of FIG. 6 to generate a musical tone based on the music data 700 taken into the work area of the memory 602 in step S1001. The sound source process of step S804 is executed. Thereby, the musical sound of karaoke is reproduced and emitted from the acoustic device 604 of FIG.

  If the determination in step S1002 is YES, the CPU 601 executes a series of control processes for the modulation from steps S1003 to S1007.

  First, the CPU 601 executes a key determination process (step S1003). For example, the memory 602 holds the data of the diatonic code as shown in FIG. 3, for example, for each tonality. Then, for example, the CPU 601 considers the inversion form of the chord sequentially specified by the music data 700 captured in the work area of the memory 602 in step S1001 and the diatonic code for each tonality held in the memory 602. Compare sequentially. As a result, the CPU 601 determines that the tonality corresponding to the diatonic code whose comparison result matches is the tonality of the music data 700.

  Next, the CPU 601 executes a smooth modulation automatic generation process (step S1004). Here, the CPU 601 executes processing corresponding to the function of the first smooth modulation unit 102 of FIG. That is, as described above with reference to FIG. 5 and the like, the CPU 601 uses, for example, the music data 700 captured in the work area of the memory 602 in step S1001, for example, within the measure before the modulation range captured in step S1001 in FIG. The chord data of the last beat is changed to the V7 chord data in the diatonic chord of the scale corresponding to the tone of the modulation destination (after modulation) fetched in step S1002 of FIG. 10 (step S1004).

  Next, the CPU 601 transposes the designated range (step S1005). Here, the CPU 601 executes processing corresponding to the function of the designated section modulation unit 104 in FIG. That is, as described above with reference to FIG. 1, the CPU 601 uses the music data 700 captured in the work area of the memory 602 in step S1001, and the code data of the modulation range captured in step S1001 in FIG. In step S1002, the code data corresponding to the tonality of the modulation destination (after the modulation) is rewritten.

  Next, the CPU 601 executes the smooth modulation automatic generation process for the last measure in the modulation range before returning to the original key (step S1006). Here, the CPU 601 executes processing corresponding to the function of the second smooth modulation unit 103 of FIG. That is, as described above with reference to FIG. 5 and the like, the CPU 601 uses, for example, the last in the last measure of the modulation range captured in step S1001 in FIG. 10 in the music data 700 captured in the work area of the memory 602 in step S1001. The chord code data is changed to V7 code data in the diatonic chord of the scale corresponding to the tonality (before the modulation) determined in step S1003 (step S1006). The effect of creating such a V7 area is the same as in step S1004.

  Finally, the CPU 601 writes the entire music data 700 in the work area in the memory 602 for which the modulation control has been completed into the reproduction buffer in the memory 602 (step S1007). After that, when the user turns off the modulation mode SW 611 using the operation unit 605 in FIG. 6, the CPU 601 executes the sound source process in step S804 in FIG. 8 by turning on the normal mode flag in step S907 in FIG. Although not specifically shown, the CPU 601 performs a reproduction process on the music data 700 written in the reproduction buffer of the memory 602 in this sound source process, and partially smoothly modulates the sound source 603 in FIG. Instructions for pronunciation of processed karaoke music.

  According to the first embodiment of the above tone change processing, in the smooth modulation automatic generation processing in step S1004 or S1006, by inserting the V7 code data into the measure immediately before the modulation, in most cases, the modulation does not feel uncomfortable. A unique “landing feeling” can be generated in the music. Thereby, it becomes possible to arrange a simple musical piece by adding a modern and comfortable transposition to an organic rich musical piece.

  In addition, if the two code data of IIm7 + V7 are inserted instead of the change to the code data of only V7, a more natural modulation effect can be obtained.

  Next, a second embodiment of the tone change process in step S803 in FIG. 8 will be described.

  Corresponding to the second embodiment of the musical tone changing process, the memory 602 in FIG. 6 holds the smooth modulation list data described in FIG. That is, the memory 602 functions as the smooth modulation list storage unit 108 in FIG.

  11 to 14 correspond to the second embodiment of the musical tone changing process, and the memory 602 in FIG. 6 is a diagram illustrating a data configuration example of the smooth modulation list data described in FIG. As shown in the upper left of FIG. 11, the first tonality described above, which is the tonality of the modulation base (before the modulation), is C in the major key (major key), and the destination of the modulation (after the modulation) The above-mentioned second tonality, which is the tonality, is B, B ＃ (A #), A, A ♭ (G #), G, G ♭ (F #), F, E, E ♭ (D #). FIG. 4 is a diagram illustrating an example of smooth modulation list data in the case of D, D ♭ (C #), and C major (major key). In FIG. 12, the first tonality is C (major key) C as shown in the upper left, and the second tonality is Bm, B ♭ m, Am, A ♭ m, Gm, F #. It is a figure which shows the example of smooth modulation | alteration list data in the case of the minor (minor key) of m, Fm, Em, E ♭ m, Dm, C # m, and Cm. FIG. 13 shows Cm in which the first tonality is minor (minor key) as shown in the upper left, and the second tonality is B, B ♭ (A #), A, A ♭ (G # ), G, G ♭ (F #), F, E, E ♭ (D #), D, D ♭ (C #), and an example of smooth modulation list data in C major (major key) FIG. FIG. 14 shows Cm in which the first tonality is minor (minor key) as shown in the upper left, and the second tonality is Bm, B ♭ m, Am, A ♭ m, Gm, It is a figure which shows the example of the smooth modulation list data in the case of F # m, Fm, Em, EＥm, Dm, C # m, and Cm minor (minor key).

  In the musical tone changing process shown in the flowchart of FIG. 10, as described in step S1004 or S1006, the chord data immediately before and at the end of the modulation range is simply rewritten to the code data of V7 or IIm7 + V7. Realizes natural chord progression. On the other hand, in the second embodiment of the musical tone change process, as shown in FIGS. 11 to 14, the modulation is performed with respect to the first tonality corresponding to the modulation source (before the modulation). Three sets of code data that are to be rewritten in the above-described second tonality corresponding to the first (after the modulation) are registered for each second tonality type. The first group is a group in which rewriting with any code data of IIm7 + V7 is not performed. The second group is a group in which rewriting is performed only with V7 code data. The third group is a group in which rewriting with IIm7 + V7 code data is performed.

  Furthermore, as illustrated in FIG. 11, the smooth modulation list data includes, for each set of the first tonality and the second tonality, priority data indicating the priority when the set is referred to. keeping. The priority order data is “proportional”, “unexpected”, “increased” according to the smoothness of each of the three tones of the code data set of the second tonality from the first tonality. The word “abrupt” holds the degree of modulation effect. The priority order data is also omitted in FIGS. 12 to 14, but is retained in the same manner as in FIG.

  The overall processing of the second embodiment of the tone change process is the same as that of the first embodiment of the tone change process shown in the flowchart of FIG. The difference between the second embodiment and the first embodiment is the processing of steps S1004 and S1006 in FIG.

  FIG. 15 is a flowchart illustrating a detailed example of the smooth modulation automatic generation process that replaces the processes of steps S1004 and S1006 of FIG.

  First, the CPU 601 determines the first tonality (step S1501). When executing the process of step S1501 of FIG. 15 in step S1004 of FIG. 10, the CPU 601 sets the tonality of the modulation source (before the modulation) determined in the key determination process of step S1003 of FIG. Determine as gender. Further, when executing the process of step S1501 of FIG. 15 in step S1006 of FIG. 10, the CPU 601 sets the first tonality of the modulation destination (after the modulation) specified by the user, which is acquired in step S1002 of FIG. Determined as tonality.

  Next, the CPU 601 determines the first tonality (step S1502). When executing the process of step S1502 of FIG. 15 in step S1004 of FIG. 10, the CPU 601 sets the second tonality to the tone of the modulation destination (after the modulation) specified by the user, which is captured in step S1002 of FIG. Determine as. Further, when executing the process of step S1502 of FIG. 15 in step S1006 of FIG. 10, the CPU 601 sets the tonality of the modulation source (before the modulation) determined in the key determination process of step S1003 of FIG. Determined as the tonality.

  Thereafter, the CPU 601 selects the smooth modulation list data having the first tonality determined in step S1501 from the smooth modulation list data illustrated in FIGS. 11 to 14 stored in the memory 602. The CPU 601 selects the above-described three sets of list data having the second tonality determined in step S1502 from the smooth modulation list data. At this time, the CPU 601 shifts the second tonality of each smooth modulation list data so that the first tonality in each smooth modulation list data matches the first tonality determined in step S1501. Then, three sets of list data whose shift results match the second tonality determined in step S1502 are selected (step S1503).

  Next, the CPU 601 displays information on three priorities (see FIG. 11) corresponding to the three sets of list data selected in step S1503 on the display unit 606 in FIG. Selection is prompted (step S1504).

  The CPU 601 waits until a priority is selected by the user (step S1505).

  If the determination in step S1505 is YES, the CPU 601 rewrites the code data of the measure to be rewritten with the code data set of the list data corresponding to the selected priority (step S1506). Specifically, when the CPU 601 executes the process of step S1506 of FIG. 15 in step S1004 of FIG. 10, the music data 700 captured in the work area of the memory 602 in step S1001 is captured in step S1001 of FIG. The code data in the measure before the modulation range is referred to the list data fetched in step S1503 corresponding to the priority selected in step S1505, and the code data set (V7) to be rewritten is referred to. Or IIm7 + V7 or none). Further, when the CPU 601 executes the process of step S1506 of FIG. 15 in step S1006 of FIG. 10, in the music data 700 captured in the work area of the memory 602 in step S1001, the modulation range captured in step S1001 of FIG. By referring to the list data fetched in step S1503 corresponding to the priority selected in step S1505, the code data in the last measure of (1) (V7 or IIm7 + V7, Or none).

  Thereafter, the CPU 601 ends the process of the flowchart of FIG. 15 and ends the smooth modulation automatic generation process in step S1004 or S1006 of FIG.

  As described above, according to the second embodiment of the musical tone changing process, it is possible to realize the modulation having the modulation effect desired by the user.

  In the second embodiment, smooth modulation list data as shown in FIG. 11 to FIG. 14 is used to change not only major to major, minor to minor, but also major to minor, minor to major, etc. Natural modulation is possible in the sense of hearing.

  Note that, as described above, the effect of the modulation corresponding to the priority order is not displayed on the display unit 606 of FIG. 6 on the operation unit 605 of FIG. By using the recommended progress determination SW 615 illustrated as an example, a method may be used in which several modulation cases are presented to the user in advance together with the effect of the modulation, and the user selects a modulation destination.

  Finally, a specific example of the modulation process based on the second embodiment of the above-described tone change process will be described below.

  FIG. 16 is a diagram illustrating an example of a score corresponding to the music data 700 to be subjected to the modulation process. Now, the pitch of the C part shown in 1601 is generally high and difficult to sing. Especially, since the key shown in 1602 is too high to sing, it is necessary to specify transposition so that the key of this C part is lowered. And

  FIG. 17 is an explanatory diagram of an example of specifying the tonality of the modulation destination for the modulation request in FIG. Consider transposing the C part from Cmajor (C major) to Gmajor (G major). Thereby, since the highest sound E5 before modulation falls to the highest sound B4 after modulation, the C part falls within the range of the singing range. Further, it is considered that the Gmajor (G major) tonality after the modulation is a tone with less sense of discomfort than the original Cmajor (C major) tonality.

  FIG. 18 is a diagram showing an operation example of the second embodiment of the tone change process when the modulation from Cmajor (C major) to Gmajor (G major) is designated. In this example, since the modulation is from major to major, smooth modulation list data in FIG. 11 is selected as shown in FIG. 18B. Furthermore, the list data indicated by 1801 in FIG. 18B is selected by the most appropriate priority order selected by the user. As a result, as shown in FIG. 18A, the chord of the last beat of the last measure of the A ′ part immediately before the C part that becomes the transfer range is V7 code data of the tonality Gmajor (G major) of the modulation destination. = D7. As a result, the chord progression from the chord data D7 of the last beat of the A 'part whose tonality is Cmajor (C major) to the first chord data G of the C part that has been transposed to Gmajor (G major) becomes natural for hearing. , It can be modulated without a sense of incongruity.

  FIG. 19 is a diagram illustrating an operation example of the second embodiment of the tone change process in the case where the C part that has been modulated to Gmajor (G major) is finished and then returns to the original B part (it is again modulated). . In this example, the beginning of Part B has been shifted to C major (C major) in a manner that has gradually shifted to A minor (C major parallel) and then returned to the original key. Therefore, since the modulation from the C part to the B part is a modulation from the major key to the minor key, the smooth modulation list data of FIG. 12 is selected as shown in FIG. 19B. Further, the list data indicated by 1901 in FIG. 19B is selected by the most appropriate priority order selected by the user. In the example of FIG. 19B, the C part is in G (G) major. When the transition from G to Am (Aminor) is slid to the key of the smooth modulation list data in FIG. 19 (first tone) = C (C) major, it means the modulation from C to Dm. Therefore, when Dm V7 = A7 is slid in accordance with the above, as shown in FIG. 19A, the chord of the last beat of the last measure of the C part that becomes the transfer range is the tonality of the beginning of the B part. Aminor V7 code data is rewritten to E7. As a result, the chord progression from the chord data E7 of the last part C to the first chord data Am7 of B part transposed to Aminor (in B minor) becomes natural in the sense of hearing and can be transposed without a sense of incongruity.

  FIG. 20 is the last A ′ part of the score of FIG. 16, and in order to make further changes, the A ′ part is repeated and the D′ major (in B major) of the semitone from the A ′ part of Cmajor (C major) is repeated. It is a figure which shows the operation example of 2nd Embodiment of the tone change process in the example which transposes to A 'part. In this example, since the modulation is from major to major, as shown in FIG. 20B, the smooth modulation list data of FIG. 11 is selected. Furthermore, the list data indicated by 2001 in FIG. 20B is selected by the selection of the most appropriate priority by the user. As a result, as shown in FIG. 20 (a), the chord of the last beat of the last measure of the upper A ′ part immediately before the lower A ′ part, which becomes the transfer range, is the tonality D ♭ major of the modulation destination. The code data of V7 in the second major key is rewritten to A ♭ 7. As a result, the code data A ♭ of the last beat of the A ′ part whose tonality is Cmajor (C major) is transposed from the code data A ♭ 7 of the last beat to D （major (in B major) and repeated at the beginning of the A ′ part code data D ♭. As the chord progresses to the semitone, the tone of the song rises and the tension of the song rises, resulting in a more exciting effect.

  As described above, for example, there are many cases in which rust does not come out at the karaoke site. However, according to the embodiment of the karaoke apparatus 600 shown in FIG. ), It is possible to sing the entire song with your own stable voice.

  According to this embodiment, there is no sense of incongruity in the modulation, and a “landing feeling” unique to the modulation can be generated in the music. This makes it possible to arrange a simple musical piece into an organic and rich piece of music with a modern style and a sense of incongruity.

Regarding the above embodiment, the following additional notes are disclosed.
(Appendix 1)
A modulation instruction unit for instructing modulation to an arbitrary tone in an arbitrary section of music data;
In the music data, one or more chord data in a predetermined section immediately before the section in which the modulation is instructed, and chord data other than the tonic code data in the diatonic code of the scale corresponding to the tonality after the modulation A first smooth modulation section to be changed to
In the music data, an instruction section modulation unit that changes the code data of the section in which the modulation is instructed into code data corresponding to the tonality after the modulation,
An output unit that outputs the music data changed by the first smooth modulation unit and the designated section modulation unit as modulated music data;
A modulation device comprising:
(Appendix 2)
The modulation device further includes, in the music data, one or more chord data in a predetermined section at the end of the section in which the modulation is instructed in a diatonic code of a scale corresponding to the tonality before the modulation. A second smooth modulation unit for changing to code data other than the tonic code data;
The output unit outputs the music data changed by the second smooth modulation unit as the modulated music data in addition to the first smooth modulation unit and the designated section modulation unit. The modulation device described.
(Appendix 3)
The change by the chord data other than the tonic chord data includes a change by the chord data of 5 degrees in the diatonic chord of the scale to which the chord data belongs,
The modulation apparatus according to Supplementary Note 1 or 2, characterized in that:
(Appendix 4)
The change by the code data other than the tonic code data further includes a change by the code data of twice in the diatonic code of the scale to which the code data belongs before the change by the code data of the fifth degree.
The modulation apparatus according to Supplementary Note 3, wherein
(Appendix 5)
The modulation instructing unit further includes an instruction to change only by the 5th code data, a change by the 2nd code data, and the change for each section immediately before and at the end of the section where the modulation is instructed. The user is given either a change instruction based on the 5th code data or an instruction not to change the 2nd and 5th degrees.
The modulation apparatus according to Supplementary Note 4, wherein
(Appendix 6)
A smooth modulation list that stores, as smooth modulation list data, code data other than the tonic code data in the diatonic code of the scale corresponding to the second tonality when translating the first tonality to the second tonality A storage unit;
The first smooth modulation unit designates the tonality before the modulation as the first tonality, and designates the ton after the modulation as the second tonality, and the smooth modulation list By referring to the smooth modulation list data stored in the storage unit, code data other than the tonic code data in the diatonic code of the scale corresponding to the tonality after the modulation is determined,
The second smooth modulation section designates the ton after the modulation as the first tonality, and designates the ton before the modulation as the second ton, and the smooth modulation list. By determining the code data other than the tonic code data in the diatonic code of the scale corresponding to the tonality before the modulation by referring to the smooth modulation list data stored in the storage unit;
The modulation apparatus according to any one of appendices 1 to 5, characterized in that:
(Appendix 7)
The combination of the first tonality and the second tonality includes a combination of major and major, major and minor, minor and major, and minor and minor.
The modulation device according to any one of appendices 1 to 6, characterized in that:
(Appendix 8)
The smooth modulation list data is priority data indicating a priority when the first tonality and the second tonality are referred to for each set of the first tonality and the second tonality. Including
The modulation instruction unit further instructs the user to effect the modulation,
The first smooth modulation unit or the second smooth modulation unit refers to the smooth modulation list data having priority data corresponding to the effect of the instructed modulation.
The modulation apparatus according to appendix 7, characterized by:
(Appendix 9)
The modulation device
Instructing the modulation to any tonality in any section of the music data,
In the music data, one or more chord data in a predetermined section immediately before the section in which the modulation is instructed, and chord data other than the tonic code data in the diatonic code of the scale corresponding to the tonality after the modulation To
In the music data, the code data of the section in which the modulation is instructed is changed to code data corresponding to the tone after the modulation,
A modulation method of outputting the changed music data as the modulated music data.
(Appendix 10)
A modulation instruction process for instructing modulation to an arbitrary tone in an arbitrary section of the music data;
In the music data, one or more chord data in a predetermined section immediately before the section in which the modulation is instructed, and chord data other than the tonic code data in the diatonic code of the scale corresponding to the tonality after the modulation A first smooth modulation process to be changed to
In the music data, an instruction section modulation process for changing the code data of the section in which the modulation is instructed into code data corresponding to the tonality after the modulation;
An output process for outputting the music data changed by the first smooth modulation process and the designated section modulation process as the modulated music data;
A modulation program that causes a computer to execute.

DESCRIPTION OF SYMBOLS 100 modulation | alteration apparatus 101 modulation | alteration instruction | indication part 102 1st smooth modulation | alteration part 103 2nd smooth modulation | alteration part 104 instruction | indication area modulation | alteration part 105 output part 106 music data 107 music data which were transposed 108 smooth modulation list memory | storage part 301, 302 frequency notation 501 Measure 502 Part 601 CPU
602 Memory 603 Sound source 604 Sound device 605 Operation unit 606 Display unit 607 MIC (microphone) input 608 I / F (communication interface)
609 bus 610 song selection SW (switch)
611 Modulation mode SW
612 Inversion range designation SW
613 Key designation SW for the modulation destination
614 Other SW
615 Recommended progress decision SW
701, 702, 703 Note-on data 704 Header

Claims (10)

A modulation instruction unit for instructing modulation to an arbitrary tone in an arbitrary section of music data;
In the music data, one or more chord data in a predetermined section immediately before the section in which the modulation is instructed, and chord data other than the tonic code data in the diatonic code of the scale corresponding to the tonality after the modulation A first smooth modulation section to be changed to
In the music data, an instruction section modulation unit that changes the code data of the section in which the modulation is instructed into code data corresponding to the tonality after the modulation,
An output unit that outputs the music data changed by the first smooth modulation unit and the designated section modulation unit as modulated music data;
A modulation device comprising: The modulation device further includes, in the music data, one or more chord data in a predetermined section at the end of the section in which the modulation is instructed in a diatonic code of a scale corresponding to the tonality before the modulation. A second smooth modulation unit for changing to code data other than the tonic code data;
The output unit outputs music data changed by the second smooth modulation unit as modulated music data in addition to the first smooth modulation unit and the designated section modulation unit. The modulation device described in 1. The change by the chord data other than the tonic chord data includes a change by the chord data of 5 degrees in the diatonic chord of the scale to which the chord data belongs,
The modulation device according to claim 1 or 2, wherein The change by the code data other than the tonic code data further includes a change by the code data of twice in the diatonic code of the scale to which the code data belongs before the change by the code data of the fifth degree.
The modulation apparatus according to claim 3. The modulation instructing unit further includes an instruction to change only by the 5th code data, a change by the 2nd code data, and the change for each section immediately before and at the end of the section where the modulation is instructed. The user is given either a change instruction based on the 5th code data or an instruction not to change the 2nd and 5th degrees.
The modulation device according to claim 4, wherein: A smooth modulation list that stores, as smooth modulation list data, code data other than the tonic code data in the diatonic code of the scale corresponding to the second tonality when translating the first tonality to the second tonality A storage unit;
The first smooth modulation unit designates the tonality before the modulation as the first tonality, and designates the ton after the modulation as the second tonality, and the smooth modulation list By referring to the smooth modulation list data stored in the storage unit, code data other than the tonic code data in the diatonic code of the scale corresponding to the tonality after the modulation is determined,
The second smooth modulation section designates the ton after the modulation as the first tonality, and designates the ton before the modulation as the second ton, and the smooth modulation list. By determining the code data other than the tonic code data in the diatonic code of the scale corresponding to the tonality before the modulation by referring to the smooth modulation list data stored in the storage unit;
A modulation apparatus according to any one of claims 1 to 5, wherein The combination of the first tonality and the second tonality includes a combination of major and major, major and minor, minor and major, and minor and minor.
A modulation apparatus according to any one of claims 1 to 6, wherein The smooth modulation list data is priority data indicating a priority when the first tonality and the second tonality are referred to for each set of the first tonality and the second tonality. Including
The modulation instruction unit further instructs the user to effect the modulation,
The first smooth modulation unit or the second smooth modulation unit refers to the smooth modulation list data having priority data corresponding to the effect of the instructed modulation.
The modulation device according to claim 7. The modulation device
Instructing the modulation to any tonality in any section of the music data,
In the music data, one or more chord data in a predetermined section immediately before the section in which the modulation is instructed, and chord data other than the tonic code data in the diatonic code of the scale corresponding to the tonality after the modulation To
In the music data, one or more chord data in a predetermined section at the end of the section in which the modulation is instructed are other than the tonic code data in the diatonic code of the scale corresponding to the tonality before the modulation. Change to code data,
In the music data, the code data of the section in which the modulation is instructed is changed to code data corresponding to the tone after the modulation,
A modulation method of outputting the changed music data as the modulated music data. A modulation instruction process for instructing modulation to an arbitrary tone in an arbitrary section of the music data;
In the music data, one or more chord data in a predetermined section immediately before the section in which the modulation is instructed, and chord data other than the tonic code data in the diatonic code of the scale corresponding to the tonality after the modulation A first smooth modulation process rewritten by changing to
In the music data, the instruction section modulation process for rewriting the code data of the section in which the modulation is instructed to change to the code data corresponding to the tonality after the modulation,
An output process for outputting the music data changed by the first smooth modulation process and the designated section modulation process as the modulated music data;
A modulation program that causes a computer to execute.