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Tyros5 Reference Manual
2 NTR/NTT
The settings here determine how the original notes of the Source Pattern are converted in response to the Chord
change during normal performance.
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 on-bass chords are recognized by the instrument. When NTR is set to GUITAR
and this parameter is set to ON, only notes which are assigned to the 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 trans-
posed to F. Use this setting for channels that contain mel-
ody 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 contain chord parts.
GUITAR
This is exclusively for transposing guitar accompaniment. Notes are transposed to
approximate the chords played with natural guitar fingering.
BYPASS
When NTR is set to ROOT FIXED, the transposition table used does not do any note
conversion. When NTR is set to ROOT TRANS, the table used only converts the notes
by maintaining 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,
especially 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 interval 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 semi-
tone. 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 semitone. Other notes are not changed. Use this for chord channels of
Sections which respond only to major/minor chords such as in Intros and Endings.
When playing
a C major
chord.
When playing
an F major
chord.
When playing
a C major
chord.
When playing
an F major
chord.
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