Tyros4 Reference Manual
51
2
Styles – Playing Rhy
thm
and Accompaniment –
2 NTR/NTT
NTR (Note Transposition Rule)
NTT (Note Transposition Table)
When NTR is set to ROOT TRANS or ROOT FIXED
[3
]/
[4
]
NTR (Note Trans-
position Rule)
Determines the relative position of the root note in the chord, when converted from the
Source Pattern in response to chord changes. Refer to the list below.
[5
]–
[7
]
NTT (Note Trans-
position Table)
Sets the note transposition table for the source pattern. Refer to the list below.
[8
]
NTT BASS ON/
OFF
The channel for which this is set to ON will be played back by the bass root note, when
the on-bass chord is recognized by the instrument. When NTR is set to GUITAR and
this parameter is set to ON, only the note which is assigned to bass will be played back
by the bass root note.
ROOT TRANS
(Root Transpose)
When the root note is transposed, the interval between
notes is maintained. For example, the notes C3, E3 and
G3 in the key of C become F3, A3 and C4 when they
are transposed to F. Use this setting for channels that
contain melody lines.
ROOT FIXED
The note is kept as close as possible to the previous
note range. For example, the notes C3, E3 and G3 in
the key of C become C3, F3 and A3 when they are
transposed to F. Use this setting for channels that con-
tain chord parts.
GUITAR
This is exclusively for transposing guitar accompaniment. Notes are transposed to approximate
the chords played with natural guitar fingering.
When playing a
C major chord.
When playing an
F major chord.
When playing a
C major chord.
When playing an
F major chord.
BYPASS
When NTR is set to ROOT FIXED, the transposition table used does not do any note conver-
sion. When NTR is set to ROOT TRANS, the table used only converts the notes by maintain-
ing the pitch relationship between notes.
MELODY
Suitable for melody line transposition. Use this for melody channels such as Phrase 1 and
Phrase 2.
CHORD
Suitable for chordal parts transposition. Use this for the Chord 1 and Chord 2 channels, espe-
cially when they contain piano or guitar-like chordal parts.
MELODIC MINOR
When the played chord changes from a major to a minor chord, this table lowers the third inter-
val in the scale by a semitone. When the chord changes from a minor to a major chord, the
minor third interval is raised by a semitone. Other notes are not changed. Use this for melody
channels of Sections which respond only to major/minor chords, such as Intros and Endings.
MELODIC MINOR
5th
In addition to the Melodic Minor transposition above, augmented and diminished chords affect
the 5th note of the Source Pattern.
HARMONIC
MINOR
When the played chord changes from a major to a minor chord, this table lowers the third and
sixth intervals in the scale by a semitone. When the chord changes from a minor to a major
chord, the minor third and flatted sixth intervals are raised by a semitone. Other notes are not
changed. Use this for chord channels of Sections which respond only to major/minor chords,
such as Intros and Endings.
HARMONIC
MINOR 5th
In addition to the Harmonic Minor transposition above, augmented and diminished chords
affect the 5th note of the Source pattern.
NATURAL MINOR
When the played chord changes from a major to a minor chord, this table lowers the third,
sixth and seventh intervals in the scale by a semitone. When the chord changes from a minor to
a major chord, the minor third, flatted sixth and flatted seventh intervals are raised by a semi-
tone. Other notes are not changed. Use this for chord channels of Sections which respond only
to a Major/minor chord such as Intros and Endings.
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