Yamaha PSR-S950 Data List - 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 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. 64 PSR-S950/S750 Data List