Yamaha PSR-S950 Midi Implementation Manual page 64

Vocal Harmony Parameter List (PSR-S950) / Liste der Vokalharmonie-Parameter (PSR-S950) / Liste des paramètres liés à l'harmonie vocale (PSR-S950) / Lista de parámetros de
Chordal Type List
Type Name
2Abv&1Blw.Simple
1Abv&2Blw.Simple
1Abv&2Blw.Open
1Abv&2Blw.OpenPara
1Abv&2Blw.OpenBlues
1Abv&1Blw+UnsD.Simple
3Blw.Closed
3Blw.ClosedPara
3Blw.ClosedBlues
2Blw+Bass.Chordal
2Blw+UnsD.Modal
2Blw+UnsD.ModalBlues
1Blw+UnsD+Bass
1Blw.Far+UnsD+Bass
3Abv.Jazz
3Abv.Chordal
3Abv.JazzPara
3Abv.JazzBluesPara
2Abv&1Blw.WideH
2Abv&1Blw.forDuo
2Abv&1Blw.Jazz
2Abv&1Blw.WideL
2Abv+UnsD.Modal6th
2Abv+Bass.Modal6th
UnsU+1Abv+Bass.Open
1Abv&2Blw.Jazz
1Abv&2Blw.80s
1Abv&2Blw.Blues
1Abv&2Blw.ChordalBlues
1Abv&2Blw.Chordal
1Abv&2Blw.Wide
1Abv&2Blw.WideBlues
1Abv&1Blw+Bass
1Abv&1Blw+UnsD.Modal6th
1Abv&1Blw+Bass.Modal6th
3Blw.Jazz
3Blw.JazzBlues
2Blw+UnsD.Modal6th
2Blw+Bass.Modal6th
ScaleDiatonic
Parallel
64 PSR-S950/S750 Data List
Description
Harmony based on 3-tone chord, 2 above and 1 below; suitable for backing chorus parts. Basically it generates harmonies within an octave.
Harmony based on 3-tone chord, 1 above and 2 below; suitable for backing chorus parts. Basically it generates harmonies within an octave.
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.
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.
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.
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.
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.
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.
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.
Harmony based on 3-tone chord, 2 below and a chord root; it is suited for backing chorus parts.
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.
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.
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.
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.
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.
Harmony based on 3-tone chord, 3 above; it is suitable for backing chorus parts. It is also good for low pitched vocals.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
This generates harmonies based on the scale specified by the KEY ROOT/TYPE value and the degree specified by the DEGREE value. The harmonies are
not dependent on a chord. If there are many notes, the chord feeling intensifies, so it is suitable for use as duets, fixed at a third above. This setting is good
for modal church music or modal jazz.
This can reproduce harmonies for which semitone pitches are fixed 4th build or diminished sounds, for example. This setting is good, for example, in modal
jazz scales (when you want to eliminate chordal feeling) or in progressive music.