Yamaha PSR-S910 Reference Manual - Page 34

High Key / Note Limit, Note Limit

Page 34 highlights

HARMONIC MINOR In addition to the Harmonic Minor transposition above, augmented and 5th diminished chords affect the 5th note of the Source pattern. NATURAL MINOR When the played chord changes from a major to a minor chord, this table lowers the third, sixth and seventh intervals in the scale by a semitone. When the chord changes from a minor to a major chord, the minor third, flatted sixth and flatted seventh intervals are raised by a semitone. Other notes are not changed. Use this for chord channels of Sections which respond only to a Major/minor chord such as Intros and Endings. NATURAL MINOR 5th In addition to the Natural Minor transposition above, augmented and diminished chords affect the 5th note of the Source pattern. DORIAN When the played chord changes from a major to a minor chord, this table lowers the third and seventh intervals in the scale by a semitone. When the chord changes from a minor to a major chord, the minor third and flatted 2 seventh intervals are raised by a semitone. Other notes are not changed. Use this for chord channels of Sections which respond only to a Major/minor chord such as Intros and Endings. DORIAN 5th In addition to the Dorian transposition above, augmented and diminished chords affect the 5th note of the Source pattern. Styles - Playing Rhythm and Accompaniment - When NTR is set to GUITAR ALL-PURPOSE This table covers both strummed- and arpeggio-played sound. STROKE Suitable for stroke-played sound of the guitar. Some notes may sound as if it is muted-this is normal condition when the chord is played on guitar by stroke. ARPEGGIO Suitable for arpeggio-played sound of the guitar. Using this table, four notes arpeggio sounds most beautiful. 3 HIGH KEY / NOTE LIMIT [4 ▲▼]/ HIGH KEY [5 ▲▼] This sets the highest key (upper octave limit) of the note transposition for the chord root change. Any notes calculated to be higher than the highest key are transposed down to the next lowest octave. This setting is available only when the NTR parameter (page 33) is set to "Root Trans." Example-When the highest key is F. Root changes CM C#M Notes played C3-E3-G3 C#3-E#3-G#3 FM F3-A3-C4 F#M F#2-A#2-C#3 [6 ▲▼] [7 ▲▼] NOTE LIMIT LOW NOTE LIMIT HIGH These set the note range (highest and lowest notes) for Voices recorded to the Style channels. By judicious setting of this range, you can ensure that the Voices sound as realistic as possible-in other words, that no notes outside the natural range are sounded (e.g., high bass sounds or low piccolo sounds). Example-When the lowest note is C3 and the highest is D4. Root changes CM C#M FM Notes played E3-G3-C4 E#3-G#3-C#4 F3-A3-C4 High Limit Low Limit 34 PSR-S910/S710 Reference Manual

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34
PSR-S910/S710 Reference Manual
Styles – Playing Rhythm and Accompaniment –
2
When NTR is set to GUITAR
3 HIGH KEY / NOTE LIMIT
HARMONIC MINOR
5th
In addition to the Harmonic Minor transposition above, augmented and
diminished chords affect the 5th note of the Source pattern.
NATURAL MINOR
When the played chord changes from a major to a minor chord, this table
lowers the third, sixth and seventh intervals in the scale by a semitone.
When the chord changes from a minor to a major chord, the minor third,
flatted sixth and flatted seventh intervals are raised by a semitone. Other
notes are not changed. Use this for chord channels of Sections which
respond only to a Major/minor chord such as Intros and Endings.
NATURAL MINOR
5th
In addition to the Natural Minor transposition above, augmented and dimin-
ished chords affect the 5th note of the Source pattern.
DORIAN
When the played chord changes from a major to a minor chord, this table
lowers the third and seventh intervals in the scale by a semitone. When the
chord changes from a minor to a major chord, the minor third and flatted
seventh intervals are raised by a semitone. Other notes are not changed. Use
this for chord channels of Sections which respond only to a Major/minor
chord such as Intros and Endings.
DORIAN 5th
In addition to the Dorian transposition above, augmented and diminished
chords affect the 5th note of the Source pattern.
ALL-PURPOSE
This table covers both strummed- and arpeggio-played sound.
STROKE
Suitable for stroke-played sound of the guitar. Some notes may sound as if
it is muted—this is normal condition when the chord is played on guitar by
stroke.
ARPEGGIO
Suitable for arpeggio-played sound of the guitar. Using this table, four
notes arpeggio sounds most beautiful.
[4
▲▼
]/
[5
▲▼
]
HIGH KEY
This sets the highest key (upper octave limit) of the note transposition for
the chord root change. Any notes calculated to be higher than the highest
key are transposed down to the next lowest octave. This setting is avail-
able only when the NTR parameter (
page 33
) is set to “Root Trans.”
[6
▲▼
]
NOTE LIMIT
LOW
These set the note range (highest and lowest notes) for Voices recorded to
the Style channels. By judicious setting of this range, you can ensure that
the Voices sound as realistic as possible—in other words, that no notes
outside the natural range are sounded (e.g., high bass sounds or low pic-
colo sounds).
[7
▲▼
]
NOTE LIMIT
HIGH
CM
C3-E3-G3
FM
F3-A3-C4
F
#
M
F
#
2-A
#
2-C
#
3
C
#
M
C
#
3-E
#
3-G
#
3
Example—When the highest key is F.
Root changes
Notes played
CM
E3-G3-C4
FM
F3-A3-C4
C
#
M
E
#
3-G
#
3-C
#
4
Example—When the lowest note is C3 and the highest is D4.
Root changes
Notes played
High Limit
Low Limit