Yamaha CVP-805 CVP-809/CVP-805 Data List - Page 94

Type Name 1Abv&1Blw+Bass 1Abv&1Blw+UnsD.Modal6th 1Abv&1Blw+Bass.Modal6th 3Blw.Jazz 3Blw.JazzBlues 2Blw+UnsD.Modal6th 2Blw+Bass.Modal6th ScaleDiatonic Parallel Description Harmony based on tone chords and scale tones used as duet, 1 above and 1 below; (+ chord root); it can produce a feeling of movement. HARM.1 is a tone above and nearest the input pitch. HARM.2, tone which is below the input pitch and nearest the input pitch, handles a major triad as add 6th chord, and since it handles the major second as a scale tone in major triads, it can provide passing tones. Harmony suitable for a trio based on 2 total tones from chords and scales, a above and below (+ Oct. below the input pitch); it can produce a feeling of movement. Because it handles a major triad as add 6th chord, and handles the major second as a scale tone, it can provide passing tones. Harmony based on tone chords and scale tones used as duet, 1 above and 1 below (+ chord root); it can produce a feeling of movement. HARM.1 is harmony of above tone with priority on the chord character. HARM.2, harmony near the below side, handles a major triad as add 6th chord, and since it handles the major second as a scale tone, it can provide passing tones. Harmony based on 3 total tones from chords and scales, 3 below; it handles a major triad as add 6th chord. Because it handles the major second as a scale tone in major triads, it can also provide passing tones. Basically it generates harmonies within an octave. It is suitable for high pitched vocals. Harmony based on 3 total tones from chords and scales, 3 below; it handles a major triad as add 6th chord. Because it handles the major second as a scale tone in major triads, it can also provide passing tones. Because it adds the major second as a scale tone to harmony during 7th chords, it provides a passing tone during 7th chords. Suitable for 3-tone chord blues or for country rock in major keys. Basically it generates harmonies within an octave. It is suitable for high pitched vocals. Harmony suitable for a trio based on 2 total tones from chords and scales, 2 below (+ Oct. below input pitch); it handles a major triad as add 6th chord. Because it handles the major second as a scale tone in major triads, it can also provide passing tones. Basically it generates harmonies within an octave. It is suitable for high pitched vocals. Harmony suitable for a trio based on 2 total tones from chords and scales, 2 below (+ chord root); it handles a major triad as add 6th chord. Because it handles the major second as a scale tone in major triads, it can also provide passing tones. Basically it generates harmonies within an octave. It is suitable for high pitched vocals. This generates harmonies based on the scale specified by the KEY ROOT/TYPE value and the degree specified by the DEGREE value. The harmonies are not dependent on a chord. If there are many notes, the chord feeling intensifies, so it is suitable for use as duets, fixed at a third above. This setting is good for modal church music or modal jazz. This can reproduce harmonies for which semitone pitches are fixed 4th build or diminished sounds, for example. This setting is good, for example, in modal jazz scales (when you want to eliminate chordal feeling) or in progressive music. Harmony Assign Parameters Parameter Transpose Mode * These are effective only when Vocoder or Vocoder-Mono is selected in Mode. Session Table * These are effective only when a Chordal Type other than Scale Diatonic or Parallel is selected. Value 0 Auto -3 -2 -1 1 2 3 Normal Simple R&R UrbanA UrbanB Key Root * These are effective only When the Chordal Type parameter is set to Scale Diatonic. Key Type * These are effective only When the Chordal Type parameter is set to Scale Diatonic. Blues7 UrbanC C C# D D# E F F# G G# A A# B Maj min(Natural) min(Harmonic) Description Assigns the harmony to the octave range centered around the pitch of the played note. Assigns the harmony to the same octave range as the vocal (microphone) input. Assigns the harmony to a range roughly 3 octaves below the pitch of the played note. Assigns the harmony to a range roughly 2 octaves below the pitch of the played note. Assigns the harmony to a range roughly 1 octave below the pitch of the played note. Assigns the harmony to a range roughly 1 octave above the pitch of the played note. Assigns the harmony to a range roughly 2 octaves above the pitch of the played note. Assigns the harmony to a range roughly 3 octaves above the pitch of the played note. The chord designation is used as shown. This is for general use in conventional music genres. Tends to add a simpler harmony. Use this when you need simple accompaniment. Tends to add harmony with a strong major 6th in both major and minor triads. This is good with rock 'n' roll music. Tends to add harmony with a strong major 6th to the major triad and a minor 7th to the minor triad. This is good for a sophisticated, urban feel. Tends to add harmony with a strong major 7th to the major triad and a minor 7th to the minor triad. This is good for a sophisticated, urban feel. Tends to add harmony with a strong minor 7th. This is good for blues music. Tends to add harmony with a strong major 9th to both the major and minor triads. This is good for a sophisticated, urban feel. *Determines the root key for the transposition. Refer to the Reference Manual. *Determines the scale type for the transposition. Refer to the Reference Manual. CVP-809/CVP-805 Data List 94 Vocal Harmony Parameter List / Liste der Vokalharmonie-Parameter / Liste des paramètres liés à l'harmonie vocale / Lista de parámetros de armonía vocal