A musical sound processing apparatus, a musical sound processing method, and a storage medium capable of generating musical sound full of interest are provided. The musical sound processing apparatus includes a first control unit configured to control a timing of sounding of a first tone in steps that come with an interval therebetween and a second control unit configured to control a timing of sounding of a second tone following or overlapping the first tone according to a first tempo, wherein the first control unit is configured to control the timing of sounding of the first tone according to the first tempo when timing information has not been acquired from outside and control the timing of sounding of the first tone according to a second tempo which is based on the timing information and different from the first tempo when the timing information has been acquired.

A musical sound processing apparatus, a musical sound processing method, and a storage medium capable of generating musical sound full of interest are provided. The musical sound processing apparatus includes a first control unit configured to control a timing of sounding of a first tone in steps that come with an interval therebetween and a second control unit configured to control a timing of sounding of a second tone following or overlapping the first tone according to a first tempo, wherein the first control unit is configured to control the timing of sounding of the first tone according to the first tempo when timing information has not been acquired from outside and control the timing of sounding of the first tone according to a second tempo which is based on the timing information and different from the first tempo when the timing information has been acquired.

[Problem] To provide an arpeggiator capable of creating a rich arpeggio performance that includes multiple pieces of performance information, and a program equipped with a function therefor. [Solution] When the key press mode for a sounding part is a chord, a synthesizer 1 acquires all note numbers from a remain table for the sounding part in a setting table 11e and stores all the note numbers in an Arp note memory 12b. This allows all the notes corresponding to the note numbers set in the remain table to be concurrently generated at the sounding time set in an Arp pattern. That is, an expressive arpeggio based on a chord made up of all the notes corresponding to the note numbers set in the remain table can be produced.

[Problem] To provide an arpeggiator capable of creating a rich arpeggio performance that includes multiple pieces of performance information, and a program equipped with a function therefor. [Solution] When the key press mode for a sounding part is a chord, a synthesizer 1 acquires all note numbers from a remain table for the sounding part in a setting table 11e and stores all the note numbers in an Arp note memory 12b. This allows all the notes corresponding to the note numbers set in the remain table to be concurrently generated at the sounding time set in an Arp pattern. That is, an expressive arpeggio based on a chord made up of all the notes corresponding to the note numbers set in the remain table can be produced.

[Problem] To provide an arpeggiator capable of suppressing sound muddiness caused by simultaneous production of sounds in a multi-arpeggiator capable of automatically playing arpeggios in a plurality of performance parts, and a program provided with the function of the arpeggiator. [Solution] A synthesizer 1 decreases velocity in velocity memory 12c in accordance with a duck rate when the time of sound production for a sound production part is the same as the time of sound production for a duck part, and at that time of sound production, a note number of the duck part is the same as a note number of a duck note. This makes it possible to suppress muddiness of output sound, since an increase in output level is suppressed even when a plurality parts produce sound at the same time.

[Problem] To provide an arpeggiator capable of suppressing sound muddiness caused by simultaneous production of sounds in a multi-arpeggiator capable of automatically playing arpeggios in a plurality of performance parts, and a program provided with the function of the arpeggiator. [Solution] A synthesizer 1 decreases velocity in velocity memory 12c in accordance with a duck rate when the time of sound production for a sound production part is the same as the time of sound production for a duck part, and at that time of sound production, a note number of the duck part is the same as a note number of a duck note. This makes it possible to suppress muddiness of output sound, since an increase in output level is suppressed even when a plurality parts produce sound at the same time.

[Problem] To provide an arpeggiator enabling musically natural arpeggio playing to be achieved, and a program comprising a function therefor. [Solution] In the present invention, a synthesizer 1 resets the number of octaves in an octave counter memory 12d to zero at the beginning of each bar when an octave reset function is on. Due to this configuration, sounds generated at the beginning of each bar, that is, when the step count is 0, all have the same note number. Consequently, a sound generation timing-based cycle of an arpeggio pattern of each bar can be synchronized with a pitch variation-based cycle, making it possible to give a listener the impression that a consistent phrase is being played.

[Problem] To provide an arpeggiator enabling musically natural arpeggio playing to be achieved, and a program comprising a function therefor. [Solution] In the present invention, a synthesizer 1 resets the number of octaves in an octave counter memory 12d to zero at the beginning of each bar when an octave reset function is on. Due to this configuration, sounds generated at the beginning of each bar, that is, when the step count is 0, all have the same note number. Consequently, a sound generation timing-based cycle of an arpeggio pattern of each bar can be synchronized with a pitch variation-based cycle, making it possible to give a listener the impression that a consistent phrase is being played.

In a synthesizer 1, the highest note number is set from the allowed Oct width and the lowest note number of a sound production part in a setting table 11e, and if the note number of an Arp note memory 12b is not between the lowest note number and the highest note number, the note number of one octave unit is added to or subtracted from the note number of the Arp note memory 12b. Consequently, the note number of the Arp note memory 12b is corrected to the pitch range between the lowest note number and the highest note number, and thus can be corrected to the sound production pitch range of the timbre of the sound production part, and arpeggios can be outputted using sounds that are more appropriate for an instrument of said timbre.

In a synthesizer 1, the highest note number is set from the allowed Oct width and the lowest note number of a sound production part in a setting table 11e, and if the note number of an Arp note memory 12b is not between the lowest note number and the highest note number, the note number of one octave unit is added to or subtracted from the note number of the Arp note memory 12b. Consequently, the note number of the Arp note memory 12b is corrected to the pitch range between the lowest note number and the highest note number, and thus can be corrected to the sound production pitch range of the timbre of the sound production part, and arpeggios can be outputted using sounds that are more appropriate for an instrument of said timbre.