Yamaha qy10 Operation Manual page 38

Chords and Automatic
Harmonization
The
QY10
allows you
to
specify
20 different
chord
types
in
all
12
keys
for
your accompaniments.
The
QY10
patterns (preset or user) are
all
originally in
the
key of C,
but arc
automatically
re-harmonized
to
fit
the specified
chords.
Because
of
this,
the
following
two simple
rules
should be followed
when
creating original patterns to
en-
sure
optimum
re-harmonization
when
chord changes
are
specified for the pattern in
an
accompaniment.
1:
Always create original patterns in
the
key of
C.
2:
Use
the
major
3rd, 5th,
and
flat
7th
degrees (E,
G,
and Bb)
for
the
chord
parts,
and
the root
(C) for the
bass.
This actually
produces
a
C7
chord.
The
chords
you specify
when
creating
accompaniments
will
determine
how
the original pattern
is
re-harmonized.
Here
are
some
of
the
most
important examples:
3-note
Chords
(Triads)
The
flat
7th
degree
is
re-harmonized
to
the root.
4-note
Chords
The
Hat 7th
degree
is
left
as
it is,
or
is
re-harmonized
to
the
major
7th.
If the
root
is
not included
in the
original pattern
data
it
will
not be played.
5-note
Chords
As
with 4-note chords,
the root will
not sound
if
it
is
not included
in
the original pattern data.
The
5th
degree will also
be omitted
from
the
chord
parts,
!#"
will
be played
by
the bass.
11th
Chords
For
a
CI
1
chord, for
example, the chord-part notes
will
be
F
(the 11th),
Bb
(the
flat
7th),
and
D
(the
9th).
The
bass will play the 5th
degree, so
the overall
sound
of
the pattern will
be
that
of
Bb/C
or
Gm7/C.
13th
Chords
For
a
CI
3
chord, for
example, the
chord-part notes
will
be
E
(the 3rd),
A
(the 13th),
and
Bb
(the
flat 7th).
This produces a true
C13
sound.
Most
of
the preset patterns are
programmed
to
respond
to
chord changes
as
described above.
In
some
patterns,
however, certain notes
have been omitted
in
order
to
created
a particular "feel."
This
means
that
some
patterns
may
not
change
at all
when
certain
chords are specified.
For exam-
ple,
some hard rock
patterns
sound
best
when
only
the
ro$
and 5th are
used
—
adding the
3rd completely changes
t.
overall feel
of the pattern.
Such patterns are not capable of
producing a
minor sound even
if
a
minor chord
is
specified,
because there
is
no
3rd degree
to
be
flatted (the
minor
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