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Style Creator
CVP-405/403/401 Owner’s Manual
117
Using, Creating and Editing the Auto Accompaniment Styles
Step Recording (EDIT)
The explanation here applies when selecting the EDIT tab in step 4 of “Realtime
Recording” (page 115).
In the EDIT display, you can record notes with absolutely precise timing. This Step
Recording procedure is essentially the same as that for Song Recording (page 117),
with the exception of the points listed below:
• In the Song Creator, the End Mark position can be changed freely; in the Style Cre-
ator, it cannot be changed. This is because the length of the Style is automatically
fixed, depending on the selected section. For example, if you create a Style based on
a section of four measures length, the End Mark position is automatically set to the
end of the fourth measure, and cannot be changed in the Step Recording display.
Any desired chord or chord pro-
gression can be used for the
INTRO and ENDING sections.
Changing the Source Chord
If you want to record the pattern
with a Source Chord other than
CM7, set the PLAY ROOT and
PLAY CHORD parameters on the
PARAMETER page (page 123)
before recording.
Rules when recording non-rhythm channels
Use only the CM7 scale tones when recording the BASS and PHRASE
channels (i.e., C, D, E, G, A, and B).
Use only the chord tones when recording the CHORD and PAD chan-
nels (i.e., C, E, G, and B).
Using the data recorded here, the auto accompaniment (Style playback) is
appropriately converted depending on the chord changes you make dur-
ing your performance. The chord which forms the basis for this note con-
version is called the Source Chord, and is set by default to CM7 (as in the
example illustration above). You can change the Source Chord (its root and
type) from the PARAMETER display on page 123. Keep in mind that when
you change the Source Chord from the default CM7 to another chord, the
chord notes and recommended notes will also change. For details on
chord notes and recommended notes, see page 124.
CRC CRC
C = Chord notes
C, R = Recommended notes
117


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