Yamaha Tyros4 User Manual download pdf (Page 65)

Vocal Harmony Parameter List / Liste der Vokalharmonie-Parameter / Liste des parametres lies a l’harmonie vocale

Tyros4 Data List

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 Wide H. 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+Bass.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.

1Abv&1Blw+Bass

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.

1Abv&1Blw+UnsD.Modal6th

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.

1Abv&1Blw+Bass.Modal6th

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. Because it handles the major second as a scale tone in major triads, it can also

provide passing tones.

3Blw.Jazz

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.

3Blw.JazzBlues

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.

2Blw+UnsD.Modal6th

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.

2Blw+Bass.Modal6th

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.