User Manual

CVP-909/CVP-905 Data List
Vocal Harmony Parameter List / Liste der Vokalharmonie-Parameter / Liste des paramètres liés à l’harmonie vocale / Lista de parámetros de armonía vocal
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Chordal Type List
Type Name Description
2Abv&1Blw.Simple Harmony based on 3-tone chord, 2 above and 1 below; suitable for backing chorus parts. Basically it generates harmonies within an octave.
1Abv&2Blw.Simple Harmony based on 3-tone chord, 1 above and 2 below; suitable for backing chorus parts. Basically it generates harmonies within an octave.
1Abv&2Blw.Open Harmony based on 3 total tones from chords and scales, 1 above and 2 below; it can produce a feeling of movement. Basically it generates open
harmonies of an octave or more.
1Abv&2Blw.OpenPara Harmony based on 3 total tones from chords and scales, 1 above and 2 below; it can produce a feeling of movement. Basically it generates open
harmonies of an octave or more. It includes the effect of creating parallel motion of a half tone in certain conditions.
1Abv&2Blw.OpenBlues Harmony based on 3 total tones from chords and scales, 1 above and 2 below; it can produce a feeling of movement. Basically it generates open
harmonies of an octave or more. Since it adds a 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. There are cases where it is not suitable during 7th chord in minor keys.
1Abv&1Blw+UnsD.Simple Harmony suitable for a trio based on 2-tone chord, 1 above and 1 below (+ Oct. below the input pitch); it is suitable for backing chorus parts.
3Blw.Closed Harmony based on 3 total tones from chords and scales, 3 below; it can produce a feeling of movement. Basically it generates harmonies within an
octave. It is unsuitable for low input pitch, because the harmonies are low.
3Blw.ClosedPara Harmony based on 3 total tones from chords and scales, 3 below; it can produce a feeling of movement. Basically it generates harmonies within an
octave. It is unsuitable for low input pitch, because the harmonies are low. It includes the effect of creating parallel motion of a half tone in certain
conditions.
3Blw.ClosedBlues Harmony based on 3 total tones from chords and scales, 3 below; it can produce a feeling of movement. Basically it generates harmonies within an
octave. It is unsuitable for low input pitch, because the harmonies are low. Because it adds the major second as the scale tone to harmony during 7th
chord, it provides a passing tone during 7th chords. Suitable for 3-tone chord blues in major keys or for country rock. There are cases where it is not
suitable during 7th chord in minor keys.
2Blw+Bass.Chordal Harmony based on 3-tone chord, 2 below and a chord root; it is suited for backing chorus parts.
2Blw+UnsD.Modal Harmony suitable for a trio based on 2 total tones from chords and scales, 2 below (+ Oct. below the input pitch); it can produce a feeling of movement.
2Blw+UnsD.ModalBlues Harmony suitable for a trio based on 2 total tones from chords and scales, 2 below (+ Oct. below the input pitch); it can produce a feeling of movement.
Because it adds a 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. There are cases where it is not suitable during 7th chord in minor keys.
1Blw+UnsD+Bass Harmony suitable for a duet based on 1 total tone from chord and scale, the nearby 1 below (+ Oct. below the input pitch and chord root); it can produce
a feeling of movement.
1Blw.Far+UnsD+Bass Harmony suitable for a duet based on 1-tone chord, 1 below, (priority on character) (+ Oct. below the input pitch and chord root). This setting skillfully
expresses the chord character.
3Abv.Jazz Harmony based on 3 total tones from chords and scales, 3 above; it can produce a feeling of movement. Basically it generates harmonies within an
octave. It is suitable for low pitched vocals.
3Abv.Chordal Harmony based on 3-tone chord, 3 above; it is suitable for backing chorus parts. It is also good for low pitched vocals.
3Abv.JazzPara Harmony based on 3 total tones from chords and scales, 3 above; 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 includes the effect of creating parallel
motion of a half tone in certain conditions. It is suitable for low pitched vocals.
3Abv.JazzBluesPara Harmony based on 3 total tones from chords and scales, 3 above; it handles a major triad as add 6th chord. Since it handles the major second as a
scale tone in major triads, it can also provide passing tones. Because it adds a 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
includes the effect of creating parallel motion of a half tone in certain conditions. There are cases where it is not suitable during 7th chord in minor keys.
It is suitable for low pitched vocals.
2Abv&1Blw.WideH Harmony based on 3 total tones from chords and scales, 2 above and 1 below; it can produce a feeling of movement. Basically it generates open
harmonies of an octave or more. It is suitable for low pitched vocals.
2Abv&1Blw.forDuo Harmony based on 3 total tones from chords and scales, 2 above and 1 below; it can produce a feeling of movement. Because it combines elements
suited for duets, HARM. 1, 2 and 3 can be independently selected for use for duets. It can also be used for octave transposing. Basically, the highest
tone (HARM.1) is an octave above the lowest tone (HARM.3), and this tone (HARM.1 or HARM.3) handles the major second as the scale tone in major
triads. (You should be careful, however, depending on the song.) It is suited for low pitched vocals in situations where all harmonies are used for a
quartet.
2Abv&1Blw.Jazz Harmony based on 3 total tones from chords and scales, 2 above and 1 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, the highest tone (HARM.1) is an octave above the lowest tone
(HARM.3). Each of its tones is treated as an element, so it can be used for duets or trios. It is suitable for low pitched vocals.
2Abv&1Blw.WideL Harmony based on 3 total tones from chords and scales, 2 above and 1 below; it can produce a feeling of movement. Its harmony range tends to be
lower than that of 2Abv&1Blw.WideH. Basically it generates open harmonies of an octave or more. It is suitable for low pitched vocals.
2Abv+UnsD.Modal6th Harmony suitable for a trio based on 2 total tones from chords and scales, 2 above (+ Oct. below the 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. It is suitable for low pitched vocals.
2Abv+Ba
ss.Modal6th Harmony suitable for a trio based on 2 total tones from chords and scales, 2 above (+ 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. It is suitable for low pitched vocals.
UnsU+1Abv+Bass.Open Harmony suitable for a duet based on 1 total tone from chord and scale, the nearby 1 above (+ Oct. below the input pitch and chord root); it can produce
a feeling of movement.
1Abv&2Blw.Jazz Harmony based on 3 total tones from chords and scales, 1 above and 2 below; it can produce a feeling of movement. Because it handles the major
second as a scale tone in major triads, it can also provide passing tones. Basically it is a closed harmony within an octave.
1Abv&2Blw.80s Harmony based on 3 total tones from chords and scales, 1 above and 2 below; it can produce a feeling of movement. Because it handles the major
second as a scale tone in major triads, it can also provide passing tone. With priority on the chord’s character, it is good for broadening the sound in
which Maj7 and m7 chords are often used. Basically it generates closed harmonies within an octave.
1Abv&2Blw.Blues Harmony based on 3 total tones from chords and scales, 1 above and 2 below; it can produce a feeling of movement. Since 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 in major keys or for country rock. Basically it generates closed harmonies
within an octave.
1Abv&2Blw.ChordalBlues Harmony based on 3 total tones from chords and scales, 1 above and 2 below; it can produce a feeling of movement. 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 in major keys or for country rock. With priority on the chord’s
character, it is good for broadening the sound in which Maj7 and m7 chords are often used. Basically it generates closed harmonies within an octave.
1Abv&2Blw.Chordal Harmony based on tone chords and scale tones used as duet, 1 above and 2 below; 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. HARM.3 is
harmony with priority on the chord character of the lower notes. Because it handles the major second as a scale tone in major triads, it can also provide
passing tones.
1Abv&2Blw.Wide Harmony based on 3 total tones from chords and scales, 1 above and 2 below; it can produce a feeling of movement. It handles a major triad as add 6th
chord. Since it handles the major second as a scale tone, it can also provide passing tones. Basically it generates open harmonies of an octave or more.
1Abv&2Blw.WideBlues Harmony based on 3 total tones from chords and scales, 1 above and 2 below; it can produce a feeling of movement. Since it handles a major triad as
add 6th chord, and handles the major second as a scale tone, 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 in major keys or for country rock. Basically it
generates open harmonies of an octave or more.