Yamaha Tyros4 Manual page 65

Vocal Harmony Parameter List / Liste der Vokalharmonie-Parameter / Liste des parametres lies a l'harmonie vocale
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.
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
1Abv&2Blw.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
1Abv&2Blw.OpenPara
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
1Abv&2Blw.OpenBlues 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.
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.
3Blw.Closed
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.
3Blw.ClosedPara
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
3Blw.ClosedBlues
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.
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 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
1Blw+UnsD+Bass
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
1Blw.Far+UnsD+Bass
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.
3Abv.Jazz
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.
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
3Abv.JazzPara 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
3Abv.JazzBluesPara 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
2Abv&1Blw.WideH
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
2Abv&1Blw.forDuo
(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
2Abv&1Blw.Jazz 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
2Abv&1Blw.WideL
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.
2Abv+UnsD.Modal6th
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
2Abv+Bass.Modal6th
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
UnsU+1Abv+Bass.Open
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
1Abv&2Blw.Jazz
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
1Abv&2Blw.80s 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
1Abv&2Blw.Blues
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
1Abv&2Blw.ChordalBlues
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
1Abv&2Blw.Chordal
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
1Abv&2Blw.Wide
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
1Abv&2Blw.WideBlues
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
1Abv&1Blw+Bass 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
1Abv&1Blw+UnsD.Modal6th
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
1Abv&1Blw+Bass.Modal6th
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
3Blw.Jazz
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
3Blw.JazzBlues
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.
2Blw+UnsD.Modal6th 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
2Blw+Bass.Modal6th 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.
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Tyros4 Data List