Tyros3
Reference Manual

2
Styles
- Playing Rhythm and Accompaniment -

Contents
Selecting the Chord Fingering Type	30
Style Playback Related Settings	32
Split Point Settings	34
Memorizing the Original One Touch Setting	35
Creating/Editing Styles (Style Creator)	36
Realtime Recording	37
Step Recording	40
Style Assembly	40
Editing the Rhythmic Feel	42
Editing Data for Each Channel	44
Making Style File Format Settings	45

Selecting the Chord Fingering Type
Style playback can be controlled by the chords you play in the chord section of the keyboard. There are seven types of fingering.

1	Call up the operation display.
[FUNCTION] -> [C] STYLE SETTING/SPLIT POINT/CHORD FINGERING -> TAB [LEFT][RIGHT] CHORD FINGERING

2	Press the [1 UP DOWN] to [3 UP DOWN] buttons to select a fingering.
For information on each fingering type, see page 31.

Chord Tutor
If you know the name of a chord but don't know how to play, you can have the instrument show you the notes to play. This is the Chord Tutor function.
On the CHORD FINGERING display, specify the Chord Root and Chord Type by using the [6 UP DOWN] to [8 UP DOWN] button. The notes you need to play are shown in the display. 

NOTE
Depending on the chord, some notes may be omitted.

Chord Fingering Types

(Table)
SINGLE FINGER	Makes it simple to produce orchestrated accompaniment using major, seventh, minor and minor-seventh chords by pressing a minimum number of keys on the Chord section of the keyboard. This type is available only for Style playback.
The abbreviated chord fingerings described at right are used:
		(Figure)
		For a major chord, press the root key only.
		For a minor chord, simultaneously press the root key and a black key to its left.
		For a seventh chord, simultaneously press the root key and a white key to its left.
		For a minor-seventh chord, simultaneously press the root key and both a white and black key to its left.
MULTI FINGER	Automatically detects Single Finger or Fingered chord fingerings, so you can use either type of fingering without having to switch fingering types.
FINGERED	Lets you finger your own chords on the chord section of the keyboard, while the instrument supplies appropriately orchestrated rhythm, bass, and chord accompaniment in the selected Style. The Fingered type recognizes the various chord types which are listed on the Data List available at the Yamaha website and can be looked up using the Chord Tutor function on page 30.
FINGERED ON BASS	Accepts the same fingerings as Fingered, but the lowest note played in the Chord section of the keyboard is used as the bass note, allowing you to play "on bass" chords. (In the Fingered more, the root of the chord is always used as the bass note.)
FULL KEYBOARD	Detects chords in the entire key range. Chords are detected in a way similar to Fingered, even if you split the notes between your left and right hands-for example, playing a bass note with your left hand and a chord with your right, or by playing a chord with your left hand and a melody note with your right.
AI FINGERED	Basically the same as Fingered, with the exception that less than three notes can be played to indicate the chords (based on the previously played chord, etc.).
		NOTE
		"AI" stands for "Artificial Intelligence."
AI FULL KEYBOARD	When this advanced fingering type is engaged, the instrument will automatically create appropriate accompaniment while you play just about anything, anywhere on the keyboard using both hands. You don't have to worry about specifying the Style chords. Although the AI Full Keyboard type is designed to work with many songs, some arrangements may not be suitable for use with this feature. This type is similar to Full Keyboard, with the exception that less than three notes can be played to indicate the chords (based on the previously played chord, etc.). 9th, 11th and 13th chords cannot be played. This type is available only for Style playback.
		NOTE
		"AI" stands for "Artificial Intelligence."
(Table End)

Style Playback Related Settings
The Tyros3 has a variety of Style playback functions which can be accessed in the display below.

1	Call up the operation display.
[FUNCTION] -> [C] STYLE SETTING/SPLIT POINT/CHORD FINGERING -> TAB [LEFT][RIGHT] STYLE SETTING

2	Use the [1 UP DOWN] to [8 UP DOWN] buttons for each setting.

(Table)
[1 UP DOWN]	STOP ACMP	When [ACMP] is turned on and [SYNC START] is off, you can play chords in the chord section of the keyboard with the Style stopped, and still hear the accompaniment chord. In this condition-called "Stop Accompaniment"-any valid chord fingerings are recognized and the chord root/type are shown in the display. Here, you can determine whether the chord played in the chord section will sound or not in the Stop Accompaniment status.
		OFF: The chord played in the chord section will not sound.
		STYLE: The chord played in the chord section will sound via the Voices for the Pad part and the Bass channel of the selected Style.
		FIXED: The chord played in the chord section will sound via the specified Voice, regardless of the selected Style.
		NOTE
		When the selected Style contains MegaVoices, unexpected sounds may result when this is set to "STYLE."
		NOTE
		When you record a song, the chord detected by playing the Stop Accompaniment can be recorded regardless of the setting here. Please note that both the Voice that is sounded and the chord data will be recorded when set to "STYLE," and only the chord data will be recorded when set to "OFF" or "FIXED."
[2 UP DOWN]	OTS LINK TIMING	This applies to the OTS Link function. This parameter determines the timing in which the One Touch Settings change with the MAIN VARIATION [A] to [D] change. (The [OTS LINK] button must be on.)
		Real Time: One Touch Setting is immediately called up when you press a MAIN VARIATION button.
		Next Bar: One Touch Setting is called up at the next measure, after you press a MAIN VARIATION button. 
[3 UP DOWN]	SYNCHRO STOP WINDOW	This determines how long you can hold a chord before the Synchro Stop function is automatically cancelled. When the [SYNC STOP] button is turned on and this is set to a value other than "OFF," this is automatically cancels the Synchro Stop function if you hold a chord for longer than the time set here. This conveniently resets Style playback control to normal, letting you release the keys and still have the Style play. In other words, if you release the keys sooner than the time set here, the Synchro Stop function works.
[4 UP DOWN]	STYLE TOUCH	Turns touch response for the Style playback on/off. When this is set to "ON," the Style volume changes in response to your playing strength in the chord section of the keyboard.
[5 UP DOWN]/[6 UP DOWN]	SECTION SET	Determines the default section that is automatically called up when selecting different Styles (when Style playback is stopped). When set to "OFF" and Style playback is stopped, the active section is maintained even if the different Style is selected. When any of the MAIN A to D sections is not included in the Style data, the nearest section is automatically selected. For example, when MAIN D is not contained in the selected Style, MAIN C will be called up.
[7 UP DOWN]	TEMPO	This determines whether the tempo changes or not when you change Styles during Style playback.
		HOLD: The tempo setting of the previous Style is maintained.
		RESET: The tempo changes to that of the initial default tempo for the selected Style.
[8 UP DOWN]	PART ON/OFF	This determines whether the Style Channel On/Off status changes or not when you change Styles.
		HOLD: The Style Channel On/Off status of the previous Style is maintained.
		RESET: All Style Channels are set to On.
(Table End)

Split Point Settings
These are the settings (there are three Split Points) that separate the different sections of the keyboard: the Chord section, the LEFT part section, the RIGHT 1 to 2 section and RIGHT 3 section. The three Split Point settings (below) are specified as note names.

(Figure)
Chord section
Split Point (S)
Voice LEFT
Split Point (L)
Voice RIGHT 1 to 2
Split Point (R)
Voice RIGHT 3

1	Call up the operation display.
[FUNCTION] -> [C] STYLE SETTING/SPLIT POINT/CHORD FINGERING -> TAB [LEFT][RIGHT] SPLIT POINT

2	Set the Split Point.

(Table)
[F]	Split Point (S+L)	Sets the Split Point (S) and Split Point (L) to the same note. Press the [F] button and rotate the [DATA ENTRY] dial. You can also specify the Split Point directly from the keyboard by pressing the desired key on the keyboard while holding the [F] button.
		(Figure)
		Chord section + Voice LEFT
		Split Point (S+L)
		Voice RIGHT 1 to 3
[G]	Split Point (S)	Sets the each Split Point. Press one of the desired buttons and rotate the [DATA ENTRY] dial. You can also specify the Split Point directly from the keyboard by pressing the desired key on the keyboard while holding one of the [G] to [I] buttons.
		NOTE
		Split Point (L) cannot be set lower than Split Point (S), and Split Point (R) cannot be set lower than Split Point (L).
[H]	Split Point (L)	
[I]	Split Point (R)	
[1 UP DOWN]/[2 UP DOWN]	STYLE	You can specify each Split Point by note name. "STYLE" indicates Split Point (S), "LEFT" indicates Split Point (L) and "RIGHT3" indicates Split Point (R).
[3 UP DOWN]/[4 UP DOWN]	LEFT	
[5 UP DOWN]/[6 UP DOWN]	RIGHT3	
(Table End)

Memorizing the Original One Touch Setting
You can create your own One Touch Setting setups.

1	Select the desired Style to memorize your One Touch Setting.

2	Set up the panel controls (such as Voice, effects, and so on) as desired.

3	Press the [MEMORY] button.

4	Press one of the ONE TOUCH SETTING [1] to [4] buttons.
A message appears in the display prompting you to save the panel settings.

5	Press [F] (YES) button to call up the Style Selection display and save the panel settings as a Style file.

CAUTION
The panel settings memorized to each OTS button will be lost if you change the Style or turn the power off without executing the Save operation.

Creating/Editing Styles (Style Creator)

(Figure)
Sections
Channels

Styles are made up of fifteen different sections and each section has eight separate channels. 
With the Style Creator feature, you can create a Style by separately recording the channels, or by importing pattern data from other existing Styles. You can use one of the three different methods described below to create a Style. The created Style can also be edited.

Realtime Recording: This method lets you record the Style by simply playing the keyboard. See page 37.
Step Recording: This method lets you to enter each note individually. See page 40.
Style Assembly: This method lets you create a composite Style by combining various patterns from the internal preset Styles or Styles you have already created. See page 40.

Call up the operation display. 
[DIGITAL RECORDING] -> [B] STYLE CREATOR

There are six Pages (tabs) in the Style Creator display.

BASIC	Creates the basic settings of the Style. You can also record your performance in realtime to create a new Style (Realtime Recording). See page 37. 
ASSEMBLY	Mixes the various parts (channels) from preset Styles or already created Style to create a new Style. See page 40. 
GROOVE	Changes the rhythmic feel of your created Style. See page 42.
CHANNEL	Edits data for each channel-quantizing, changing velocity, etc. See page 44.
PARAMETER	Changes the settings related for Style File Format. See page 45.
EDIT	Lets you enter notes one by one to create your Style (Step Recording). See page 40.

NOTE
The Style files created on the Tyros3 can only be played back on instruments which are compatible with SFF GE.

Realtime Recording
In the BASIC Page, you can create a single Style by recording the individual channels one-by-one, using realtime recording.

Realtime Recording Characteristics-Loop Recording and Overdub Recording

Loop Recording
Style playback repeats the rhythm patterns of several measures in a "loop," and Style recording is also done using loops. For example, if you start recording with a two-measure MAIN section, the two measures are repeatedly recorded. Notes that you record will play back from the next repetition (loop), letting you record while hearing previously recorded material.

Overdub Recording
This method records new material to a channel already containing recorded data, without deleting the original data. In Style recording, the recorded data is not deleted, except when using functions such as Rhythm Clear and Delete (page 38). For example, if you start recording with a two-measure MAIN section, the two measures are repeated many times. Notes that you record will play back from the next repetition, letting you overdub new material to the loop while hearing previously recorded material.
When creating a Style based on an existing internal Style, overdub recording is applied only to the rhythm channels. For all other channels (except rhythm), you need to delete the original data before recording.

1	When you want to create a Style based on an existing Style, select the desired Style to serve as the basis for recording/editing before call up the Style Creator display.

2	Call up the operation display. 
[DIGITAL RECORDING] -> [B] STYLE CREATOR
The BASIC Page is shown.

3	If you want to create a new Style from scratch, press the [C] (NEW STYLE) button to delete all channel's data.

4	Select the desired section (Intro, Main, Ending, etc.) for your new Style.
First close the RECORD display by pressing the [EXIT] button. Then use the [3 UP DOWN]/[4 UP DOWN] buttons to select the section to be recorded.

NOTE
You can specify the sections to be recorded by using the Section buttons on the panel. Refer to step 3 on page 40.

NOTE
You cannot select INTRO 4 and ENDING 4 sections directly via the panel operation.

NOTE
To call up the RECORD display again, press the [F] (REC CH) button.

5	Use the [5 UP DOWN]/[6 UP DOWN] buttons to determine the length (number of measures) of the selected section, then press the [D] (EXECUTE) button to actually enter the specified length.

6	Specify the channel to be recorded by simultaneously holding down the [F] (REC CH) button and pressing the appropriate numbered button, [1 DOWN] to [8 DOWN].
To cancel the selection, press the corresponding [1 DOWN] to [8 DOWN] button again.

7	Call up the Voice Selection display by using the [1 UP] to [8 UP] buttons and select the desired Voice for the corresponding recording channels.
Press the [EXIT] button to close the Voice Selection display.

Recordable Voices
RHY1 channel: Any except your original Organ Flute, SA and SA2 Voices are recordable. 
RHY2 channel: Only drum/SFX kits are recordable.
BASS-PHR2 channels: Any except your original Organ Flute, drum/SFX kits, SA and SA2 Voices are recordable. 

NOTE
Preset Organ Flute Voice can be recorded to the RHY1 and BASS - PHR2 channels.

8	If necessary, delete a channel by simultaneously holding down the [J] (DELETE) button and pressing the appropriate numbered button, [1 UP] to [8 UP].
You can cancel the deletion by pressing the same numbered button again before releasing your finger from the [J] button.

NOTE
When recording channels BASS-PHR2 based on the existing Style, you have to delete the original data before recording.

9	Start recording by pressing the STYLE CONTROL [START/STOP] button.

Playback of the specified section starts. Since the accompaniment pattern plays back repeatedly in a loop, you can record individual sounds one by one, listening to the previous sounds as they play. For information on recording to channels other than the rhythm channels (RHY1, 2), refer to the section "Rules when recording non-rhythm channels" (page 39).

Deleting recorded notes in the rhythm channel
When you are recording the rhythm channel (RHY1 or RHY2), you can delete a specific instrument sound by simultaneously holding down the [E] (RHY CLEAR) button and pressing the appropriate key on the keyboard.

Muting specific channels
You can turn off the desired channels by pressing the corresponding [1 DOWN] to [8 DOWN] buttons.

10	To continue recording with another channel, repeat steps 6 to 9.

11	Stop recording by pressing the STYLE CONTROL [START/STOP] button.

12	Press the [EXIT] button to close the RECORD display.

13	Press the [I] (SAVE) button to execute the Save operation.

CAUTION
The edited Style will be lost if you change to another Style or turn the power to the instrument off without executing the Save operation.

Rules when recording non-rhythm channels
Use only the CM7 scale tones when recording the BASS and PHRASE channels (i.e., C, D, E, G, A, and B).
Use only the chord tones when recording the CHORD and PAD channels (i.e., C, E, G, and B).

(Figure)
C = Chord note
C, R = Recommended note

Using the data recorded here, the auto accompaniment (Style playback) is appropriately converted depending on the chord changes you make during your performance. The chord which forms the basis for this note conversion is called the Source Chord, and is set by default to CM7 (as in the example illustration above).
You can change the Source Chord (its root and type) from the PARAMETER display on page 45. Keep in mind that when you change the Source Chord from the default CM7 to another chord, the chord notes and recommended notes will also change. For details on chord notes and recommended notes, see page 46.

NOTE
For the INTRO and ENDING sections, any appropriate chord or chord progression can be used. 

NOTE
If you want to record the pattern with a Source Chord other than CM7, set the PLAY ROOT and PLAY CHORD parameters on the PARAMETER Page (page 46) before recording.

Step Recording
In the EDIT Page, you can record notes with absolutely precise timing. This Step Recording procedure is essentially the same as that for Song Recording (page 56) with the exception of the points listed below: 

In the Song Creator, the End Mark position can be changed freely; in the Style Creator, it cannot be changed. This is because the length of the Style is automatically fixed, depending on the selected section. For example, if you create a Style based on a section of four measures length, the End Mark position is automatically set to the end of the fourth measure, and cannot be changed in the Step Recording display.
Recording channels can be changed in the Song Creator 1-16 tab display; however, they cannot be changed in the Style Creator. Select the recording channel in the BASIC tab display.
In the Style Creator, the channel data can be entered and System Exclusive data can be edited (delete, copy, or move). You can switch between the two by pressing the [F] button. However, Chord, Lyrics, and System Exclusive data cannot be entered.

For instructions on Step Recording, refer to pages 56 to 59. For information on the EDIT display (Event List display), refer to page 66.

Style Assembly
Style Assembly allows you to create a single Style by mixing the various patterns (channels) from existing internal Styles.

1	Select the desired Style to serve as the basis for recording/editing before calling up the Style Creator display.

2	Call up the operation display. 
[DIGITAL RECORDING] -> [B] STYLE CREATOR -> TAB [LEFT][RIGHT] ASSEMBLY

3	Select the desired section (Intro, Main, Ending, etc.) for your new Style.
First call up the SECTION Selection display by pressing one of the Section buttons (INTRO, MAIN, ENDING, etc.) on the panel. Then change the section as desired by using the [6 UP DOWN]/[7 UP DOWN] buttons and actually enter the selection by pressing the [8 UP] (OK) button.

NOTE
You cannot select INTRO 4 and ENDING 4 sections directly via the panel operation.

4	Select the channel for which you wish to replace the pattern by using the [A] to [D] and [F] to [I] buttons. Call up the Style Selection display by pressing the same button again. Select the Style containing the pattern you want to replace in the Style Selection display.
To return to the previous screen, press the [EXIT] button after selecting the Style.

(Figure)
[A] to [D], [F] to [I] buttons

5	Select the desired section of the newly imported Style (chosen in step 3) by using the [2 UP DOWN]/[3 UP DOWN] (SECTION) buttons.

6	Select the desired channel for the section (chosen in step 5) by using the [4 UP DOWN]/[5 UP DOWN] (CHANNEL) buttons.
Repeat steps 3 to 6 above to replace the patterns of other channels.

Playing the Style During Style Assembly
While you are assembling a Style, you can play back the Style and select the method of playback. Use the [6 UP DOWN]/[7 UP DOWN] (PLAY TYPE) buttons in the Style Assembly display to select the playback method.

SOLO: Mutes all but the selected channel in the ASSEMBLY Page. Any channels set to ON in the RECORD display on the BASIC Page are played back simultaneously.
ON: Plays back the selected channel in the ASSEMBLY Page. Any channels set to other than OFF in the RECORD display on the BASIC Page are played back simultaneously.
OFF: Mutes the selected channel in the ASSEMBLY Page.

7	Press the [J] (SAVE) button to execute the Save operation.

CAUTION
The edited Style will be lost if you change to another Style or turn the power to the instrument off without executing the Save operation.

Editing the Rhythmic Feel

1	In the GROOVE Page, use the [A]/[B] buttons to select the edit menu, then edit the data by using the [1 UP DOWN] to [8 UP DOWN] buttons.

1 GROOVE
This lets you add swing to the music or change the "feel" of the beat by making subtle shifts in the timing (clock) of the Style. The Groove settings are applied to all channels of the selected Style.

(Table)
[1 UP DOWN]/[2 UP DOWN]	ORIGINAL BEAT	Specifies the beats to which Groove timing is to be applied. In other words, if "8 Beat" is selected, Groove timing is applied to the 8th notes; if "12 Beat" is selected, Groove timing is applied to 8th-note triplets.
[3 UP DOWN]/[4 UP DOWN]	BEAT CONVERTER	Actually changes the timing of the beats (specified in the ORIGINAL BEAT parameter above) to the selected value. For example, when ORIGINAL BEAT is set to "8 Beat" and BEAT CONVERTER is set to "12," all 8th notes in the section are shifted to 8th-note triplet timing. The "16A" and "16B" Beat Converter which appear when ORIGINAL BEAT is set to "12 Beat" are variations on a basic 16th-note setting.
[5 UP DOWN]/[6 UP DOWN]	SWING	Produces a "swing" feel by shifting the timing of the back beats, depending on the ORIGINAL BEAT parameter above. For example, if the specified ORIGINAL BEAT value is "8 Beat", the Swing parameter will selectively delay the 2nd, 4th, 6th, and 8th beats of each measure to create a swing feel. The settings "A" through "E" produce different degrees of swing, with "A" being the most subtle and "E" being the most pronounced.
[7 UP DOWN]/[8 UP DOWN]	FINE	Selects a variety of Groove "templates" to be applied to the selected section. The "PUSH" settings cause certain beats to be played early, while "HEAVY" settings delay the timing of certain beats. The numbered settings (2, 3, 4, 5) determine which beats are to be affected. All beats up to the specified beat-but not including the first beat-will be played early or delayed (for example, the 2nd and 3rd beats, if "3" is selected). In all cases, "A" types produce minimum effect, "B" types produce medium effect, and "C" types produce maximum effect.
(Table End)

2 DYNAMICS
This changes the velocity/volume (or accent) of certain notes in the Style playback. The Dynamics settings are applied to each channel or all channels of the selected Style.

(Table)
[1 UP DOWN]/[2 UP DOWN]	CHANNEL	Selects the desired channel (part) to which Dynamics is to be applied.
[3 UP DOWN]/[4 UP DOWN]	ACCENT TYPE	Determines the type of accent applied-in other words, which notes in the part(s) are emphasized with the Dynamics settings.
[6 UP DOWN]	STRENGTH	Determines how strongly the selected Accent Type (above) will be applied. The higher the value, the stronger the effect.
[7 UP DOWN]	EXPAND/COMP.	Expands or compresses the range of velocity values. Values higher than 100% expand the dynamic range, while values lower than 100% compress it.
[8 UP DOWN]	BOOST/CUT	Boosts or cuts all velocity values in the selected section/channel. Values above 100% boost the overall velocity, while values below 100% reduce it.
(Table End)

2	Press the [D] (EXECUTE) button to actually enter the edits for each display.
After the operation is completed, this button changes to "UNDO," letting you restore the original data if you are not satisfied with the Groove or Dynamics results. The Undo function only has one level; only the previous operation can be undone.

3	Press the [I] (SAVE) button to execute the Save operation.

CAUTION
The edited Style will be lost if you change to another Style or turn the power to the instrument off without executing the Save operation.

Editing Data for Each Channel

1	In the CHANNEL Page, use the [A]/[B] buttons to select the edit menu.

1 QUANTIZE
Same as in the Song Creator (page 64), with the exception of the two additional available parameters below.

(Figure)
Eighth notes with swing
Sixteenth notes with swing

2 VELOCITY CHANGE
Boosts or cuts the velocity of all notes in the specified channel, according to the percentage specified here.

3 BAR COPY
This function allows data to be copied from one measure or group of measures to another location within the specified channel.

(Table)
[4 UP DOWN]	TOP	Specifies the first (TOP) and last (LAST) measures in the region to be copied. 
[5 UP DOWN]	LAST	
[6 UP DOWN]	DEST	Specifies the first measure of the destination location, to which the data is to be copied.
(Table End)

4 BAR CLEAR
This function clears all data from the specified range of measures within the selected channel.

5 REMOVE EVENT
This function lets you remove specific events from the selected channel.

2	Use the [1 UP DOWN]/[2 UP DOWN] (CHANNEL) buttons to select the channel to be edited.
The selected channel is shown at the upper left of the display.

3	Use the [4 UP DOWN] to [8 UP DOWN] buttons to edit the data.

4	Press the [D] (EXECUTE) button to actually enter the edits for each display.
After the operation is completed, this button changes to "UNDO," letting you restore the original data if you are not satisfied with the results of the edit. The Undo function only has one level; only the previous operation can be undone.

5	Press the [I] (SAVE) button to execute the Save operation.

CAUTION
The edited Style will be lost if you change to another Style or turn the power to the instrument off without executing the Save operation.

Making Style File Format Settings
The Style File Format (SFF) combines all of Yamaha's auto accompaniment (Style playback) know-how into a single unified format. By using the Style Creator, you can take advantage of the power of the SFF format and freely create your own Styles.
The chart shown below indicates the process by which the Style is played back. (This does not apply to the rhythm track.) These parameters can be set via the Style Creator feature, in the PARAMETER Page.

Source Pattern settings - SOURCE (PLAY) ROOT/CHORD (page 46)
There are a variety of possibilities for Style playback notes, depending on the particular root note and chord type that are selected. The Style data is appropriately converted depending on the chord changes you make during your performance. This basic Style data that you create with the Style Creator is referred to as the "Source Pattern."

Chord change via the chord section of the keyboard.

Note Transposition settings - NTR and NTT (page 46)
This parameter group features two parameters that determine how the notes of the Source Pattern are to be converted in response to chord changes.

Other settings - HIGH KEY, NOTE LIMIT and RTR (page 48)
Using the parameters of this group, you can fine-tune how Style playback responds to the chords you play. For example, the Note Limit parameter allows you to have the Voices of the Style sound as realistic as possible by shifting the pitch to an authentic range-ensuring that no notes sound outside the natural range of the actual instrument (e.g., high bass sounds or low piccolo sounds).

The Tyros3's Styles are compatible with SFF GE-an enhanced format of the original SFF with especially rich, expressive guitar parts.

NOTE
The Style files created on the Tyros3 can only be played back on instruments which are compatible with SFF GE.

1	In the PARAMETER Page, use the [A]/[B] buttons to select the edit menu.
For details of the edit menu, see page 46.

2	Use the [1 UP DOWN]/[2 UP DOWN] (CHANNEL) buttons to select the channel to be edited.
The selected channel is shown at the upper left of the display.

3	Use the [3 UP DOWN] to [8 UP DOWN] buttons to edit the data.
For details on editable parameters, see pages 46 to 48.

4	Press the [I] (SAVE) button to execute the Save operation.

CAUTION
The edited Style will be lost if you change to another Style or turn the power to the instrument off without executing the Save operation.

1 SOURCE (PLAY) ROOT/CHORD
These settings determine the original key of the source pattern (i.e., the key used when recording the pattern). The default setting of CM7 (with a Source Root of "C" and a Chord Type of "M7"), is automatically selected whenever the preset data is deleted prior to recording a new Style, regardless of the Source Root and Chord included in the preset data. When you change Source Root/Chord from the default CM7 to another chord, the chord notes and recommended notes will also change, depending on the newly selected chord type.

NOTE
When NTR is set to "Root Fixed" and NTT is set to "Bypass," the "Source Root" and "Source Chord" parameters are changed to "Play Root" and "Play Chord," respectively. In this case, you can change chords and hear the resulting sound for all channels.

NOTE
This is not applied when the NTR is set to GUITAR.

(Figure)
When the Source Root is C:
C = Chord notes
C, R = Recommended notes

2 NTR/NTT

(Table)
[3 UP DOWN]/[4 UP DOWN]	NTR (Note Transposition Rule)	Determines the relative position of the root note in the chord, when converted from the Source Pattern in response to chord changes.
(Table End)

(Table)
ROOT TRANS (Root Transpose)	When the root note is transposed, the pitch relationship between notes is maintained. For example, the notes C3, E3 and G3 in the key of C become F3, A3 and C4 when they are transposed to F. Use this setting for channels that contain melody lines.
		(Figure)
		When playing a C major chord.
		When playing an F major chord.
ROOT FIXED	The note is kept as close as possible to the previous note range. For example, the notes C3, E3 and G3 in the key of C become C3, F3 and A3 when they are transposed to F. Use this setting for channels that contain chord parts.
		(Figure)
		When playing a C major chord.
		When playing an F major chord.
GUITAR	This is exclusively for transposing guitar accompaniment. Notes are transposed to approximate the chords played with natural guitar fingering.
(Table End)

(Table)
[5 UP DOWN] to [7 UP DOWN]	NTT (Note Transposition Table)	Sets the note transposition table for the source pattern. Refer to the list on page 47.
[8 UP DOWN]	NTT BASS ON/OFF	The channel for which this is set to ON will be played back by the bass root note, when the on-bass chord is recognized by the instrument. When the NTR is set to GUITAR and this parameter is set to ON, only the note which is assigned to bass will be played back by the bass root note. 
(Table End)

NTT (Note Transposition Table)
When the NTR is set to ROOT TRANS or ROOT FIXED

(Table)
BYPASS	When NTR is set to ROOT FIXED, the transposition table used does not do any note conversion. When NTR is set to ROOT TRANS, the table used only converts the notes by maintaining the pitch relationship between notes.
MELODY	Suitable for melody line transposition. Use this for melody channels such as Phrase 1 and Phrase 2.
CHORD	Suitable for chordal parts transposition. Use this for the Chord 1 and Chord 2 channels, especially when they contain piano or guitar-like chordal parts.
MELODIC MINOR	When the played chord changes from a major to a minor chord, this table lowers the third interval in the scale by a semitone. When the chord changes from a minor to a major chord, the minor third interval is raised by a semitone. Other notes are not changed. Use this for melody channels of Sections which respond only to major/minor chords, such as Intros and Endings
MELODIC MINOR 5th 	In addition to the Melodic Minor transposition above, augmented and diminished chords affect the 5th note of the Source Pattern.
HARMONIC MINOR	When the played chord changes from a major to a minor chord, this table lowers the third and sixth intervals in the scale by a semitone. When the chord changes from a minor to a major chord, the minor third and flatted sixth intervals are raised by a semitone. Other notes are not changed. Use this for chord channels of Sections which respond only to major/minor chords, such as Intros and Endings.
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 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 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.
(Table End)

When the NTR is set to GUITAR

(Table)
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. 
(Table End)

3 HIGH KEY / NOTE LIMIT

(Table)
[4 UP DOWN]/[5 UP DOWN]	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 available only when the NTR parameter (page 46) is set to "Root Trans."
		(Figure)
		Example-When the highest key is F.
		Root changes	CM -> C sharp M -> ... -> FM -> F sharp M -> ...
		Notes played	C3-E3-G3 -> C sharp 3-E sharp 3-G sharp 3 -> ... -> F3-A3-C4 -> F sharp 2-A sharp 2-C sharp 3 -> ...
[6 UP DOWN]	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 piccolo sounds). 
		(Figure)
		Example-When the lowest note is C3 and the highest is D4.
		Root changes	CM -> C sharp M -> ... -> FM -> ...
		Notes played	E3-G3-C4 -> E sharp 3-G sharp 3-C sharp 4 -> ... -> F3-A3-C4 ...
		High Limit
		Low Limit
[7 UP DOWN]	NOTE LIMIT HIGH	
(Table End)

4 RTR (Retrigger Rule)
These settings determine whether notes stop sounding or not and how they change pitch in response to chord changes.

(Table)
STOP	The notes stop sounding.
PITCH SHIFT	The pitch of the note will bend without a new attack to match the type of the new chord.
PITCH SHIFT TO ROOT	The pitch of the note will bend without a new attack to match the root of the new chord.
RETRIGGER	The note is retriggered with a new attack at a new pitch corresponding to the next chord.
RETRIGGER TO ROOT	The note is retriggered with a new attack at the root note of the next chord. However, the octave of the new note remains the same.
(Table End)

This is the end of the file.