DigiTech ACCESS Manual page 25

In the previous example showing the principle of diatonic harmony, we were showing a scale
harmony. That is, one whose harmony notes only fall within the notes that belong to that particu-
lar scale.
This is a key part of the difference between Scale and Chord harmonies because for every note
you sing in a Chord harmony, ACCESS will choose from only three or four possible harmony
notes.
These fall within the notes of designated chords and are mostly made up of the root note, third,
fifth and, optionally, the seventh of a chord. These are the choices that ACCESS has from which
to produce a Chord harmony. The following graphic shows where the harmony notes would fall
in a simple 1 voice above Scale and Chord harmony.
E
C
E
C
Notice that in the Chord example, the harmony notes jump over larger distances and are made of
only the root, third and fifth of the scale.
The reason for using these different harmony types is that they create a more interesting musical
experience. Most songs could benefit from either or both approaches. Depending on the chord
changes in the accompaniment, the tight and always moving Scale harmonies might be better for
a catchy chorus where the more stationary and open Chord harmonies would leave "breathing
space" to highlight a lead vocal.
It is helpful to experiment with both Harmony Control Modes in all styles of music you enjoy.
A
G
F
F
E
D
Scalic Harmony over C Major Scale
G
G
E
F
E
D
Chordal Harmony over C Major Scale
D
C
B
B
A
G
E
C C
B
A
G
E
C
E
C
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