Yamaha Yros 3 Owners Manual

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Styles – Playing Rhythm and Accompaniment –
Tyros3  Reference Manual  •41
4Select the channel for which you wish to replace the pattern by using 
the [A]–[D] and [F]–[I] buttons. Call up the Style Selection display by 
pressing the same button again. Select the Style containing the pat-
tern you want to replace in the Style Selection display.
To return to the previous screen, press the [EXIT] button after selecting the 
Style.
5Select the desired section of the newly imported Style (chosen in 
step 3) by using the [2 ▲▼]/[3 ▲▼] (SECTION) buttons.
6Select the desired channel for the section (chosen in step 5) by using 
the [4 ▲▼]/[5 ▲▼] (CHANNEL) buttons.
Repeat steps 3–6 above to replace the patterns of other channels.
7Press the [J] (SAVE) button to execute the Save operation.
6 45
[A]–[D], 
[F]–[I] buttons
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 ▲▼]/[7 ▲▼] (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.
The edited Style will be lost if you 
change to another Style or turn 
the power to the instrument off 
without executing the Save opera-
tion.
CAUTION 
						

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Styles – Playing Rhythm and Accompaniment –
42•  Tyros3  Reference Manual
Editing the Rhythmic Feel
 
1In the GROOVE Page, use the [A]/[B] buttons to select the edit menu, 
then edit the data by using the [1 ▲▼]–[8 ▲▼] buttons.
●1 GROOVE
This lets you add swing to the music or change the “feel” of the beat by mak-
ing subtle shifts in the timing (clock) of the Style. The Groove settings are 
applied to all channels of the selected Style.
3
1 1
2
[1 ▲▼]/
[2 ▲▼]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 ▲▼]/
[4 ▲▼]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 sec-
tion are shifted to 8th-note triplet timing. The “16A” and “16B” Beat Con-
verter which appear when ORIGINAL BEAT is set to “12 Beat” are variations 
on a basic 16th-note setting.
[5 ▲▼]/
[6 ▲▼]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 ORIGI-
NAL 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 set-
tings “A” through “E” produce different degrees of swing, with “A” being the 
most subtle and “E” being the most pronounced.
[7 ▲▼]/
[8 ▲▼]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 min-
imum effect, “B” types produce medium effect, and “C” types produce maxi-
mum effect.
NEXT PAGE 
						

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Styles – Playing Rhythm and Accompaniment –
Tyros3  Reference Manual  •43
●2 DYNAMICS
This changes the velocity/volume (or accent) of certain notes in the Style play-
back. The Dynamics settings are applied to each channel or all channels of the 
selected Style.
2Press 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.
3Press the [I] (SAVE) button to execute the Save operation.
[1 ▲▼]/
[2 ▲▼]CHANNEL Selects the desired channel (part) to which Dynamics is to be applied.
[3 ▲▼]/
[4 ▲▼]ACCENT TYPE Determines the type of accent applied—in other words, which notes in the 
part(s) are emphasized with the Dynamics settings.
[6 ▲▼]STRENGTH Determines how strongly the selected Accent Type (above) will be applied. 
The higher the value, the stronger the effect.
[7 ▲▼]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 ▲▼]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.
The edited Style will be lost if you 
change to another Style or turn 
the power to the instrument off 
without executing the Save opera-
tion.
CAUTION 
						

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Styles – Playing Rhythm and Accompaniment –
44•  Tyros3  Reference Manual
Editing Data for Each Channel
 
1In 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 addi-
tional available parameters below.
●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. 
●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.
2Use the [1 ▲▼]/[2 ▲▼] (CHANNEL) buttons to select the channel to 
be edited.
The selected channel is shown at the upper left of the display.
3Use the [4 ▲▼]–[8 ▲▼] buttons to edit the data.
4Press 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.
5Press the [I] (SAVE) button to execute the Save operation.
5
23 1
4
Eighth notes with swing
Sixteenth notes with swing
[4 ▲▼]TOP Specifies the first (TOP) and last (LAST) measures in the region to be copied. 
[5 ▲▼]LAST
[6 ▲▼]DEST Specifies the first measure of the destination location, to which the data is to 
be copied.
The edited Style will be lost if you 
change to another Style or turn 
the power to the instrument off 
without executing the Save opera-
tion.
CAUTION 
						

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Styles – Playing Rhythm and Accompaniment –
Tyros3  Reference Manual  •45
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.
Chord change via the chord section of the keyboard.
The Tyros3’s Styles are compatible with SFF GE—an enhanced format of the original 
SFF with especially rich, expressive guitar parts.
1In the PARAMETER Page, use the [A]/[B] buttons to select the edit 
menu.
For details of the edit menu, see page 46.
2Use the [1 ▲▼]/[2 ▲▼] (CHANNEL) buttons to select the channel to 
be edited.
The selected channel is shown at the upper left of the display.
3Use the [3 ▲▼]–[8 ▲▼] buttons to edit the data.
For details on editable parameters, see pages 46–48.
4Press the [I] (SAVE) button to execute the Save operation.
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 Cre-
ator is referred to as the “Source Pattern.”
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 out-
side the natural range of the actual instrument (e.g., high bass sounds or 
low piccolo sounds).
➔➔
The Style files created on the Tyros3 can 
only be played back on instruments 
which are compatible with SFF GE.
NOTE
4
23 1
The edited Style will be lost if you 
change to another Style or turn 
the power to the instrument off 
without executing the Save opera-
tion.
CAUTION 
						

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Styles – Playing Rhythm and Accompaniment –
46•  Tyros3  Reference Manual
●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 rec-
ommended notes will also change, depending on the newly selected chord 
type.
●2 NTR/NTT
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 result-
ing sound for all channels.
This is not applied when the NTR is set 
to GUITAR.
NOTE
NOTE
CRC CRCRC C RCCRC C CRCRC C CR
C
CCC CR
CCC C CRCCC C RCCRC
RCR
CR CRC
CR CCR
C
CCRCC
CRRRCCC
CC RCC
CC RCCC
CR CCCC
CR C CRC
CC RC CC
CRCCR
CR R RC
CCR
CCCC
CCCC
CRCCC
CCC CC
CRC CRCC
CRC CCC
CCCCC
CCCRRCC
CCC
R CC
CRC CR RC
CRCRC C
C
CCCR CCCCR CR
CMCm
7CCM
7
7C(9)C(9)6Caug
Cm
6Cm777Cmb57Cm(9)Cm(11)CmM7
7CmM(9)Cdim
Cdim
7C(9)7C(13)7C(b9)7
Csus4C1+8C1+5
C b57
CM6
Cm(9) 7
CM(#11 )
C(#11)
7
C(#9)7C   aug7CM   aug7
C  sus47
CMadd9
C(b13)
7
Csus2
When the Source Root is C:
C = Chord notes
C, R = Recommended notes
[3 ▲▼]/
[4 ▲▼]NTR (Note Trans-
position Rule)Determines the relative position of the root note in the chord, when con-
verted from the Source Pattern in response to chord changes.
ROOT TRANS 
(Root Transpose)When the root note is transposed, the 
pitch relationship between notes is main-
tained. 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.
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 chan-
nels that contain chord parts.
GUITAR This is exclusively for transposing guitar accompaniment. Notes are 
transposed to approximate the chords played with natural guitar fin-
gering.
When playing 
a C major 
chord.When playing 
an F major 
chord.
When playing 
a C major 
chord.When playing 
an F major 
chord.
[5 ▲▼]–
[7 ▲▼]NTT (Note Trans-
position Table)Sets the note transposition table for the source pattern. Refer to the list on 
page 47.
[8 ▲▼]NTT BASS ON/
OFFThe 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.  
						

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Styles – Playing Rhythm and Accompaniment –
Tyros3  Reference Manual  •47
NTT (Note Transposition Table)
When the NTR is set to ROOT TRANS or ROOT FIXED
When the NTR is set to GUITAR
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 relation-
ship 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 inter-
val 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.
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.  
						

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Styles – Playing Rhythm and Accompaniment –
48•  Tyros3  Reference Manual
●3 HIGH KEY / NOTE LIMIT
●4 RTR (Retrigger Rule)
These settings determine whether notes stop sounding or not and how they 
change pitch in response to chord changes.
[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 available only 
when the NTR parameter (page 46) 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 piccolo sounds).  [7 ▲▼]NOTE LIMIT HIGH
CM
C3-E3-G3FM
F3-A3-C4F#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-C4FM
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
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 correspond-
ing 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. 
						

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Tyros3  Reference Manual  •49
Songs – Recording Your Performances and Creating Songs –
Songs
– Recording Your Performances and Creating Songs –
Contents
Editing Music Notation Settings . . . . . . . . . . . . . . . . . . . . . . . 49
Editing Lyrics Display Settings  . . . . . . . . . . . . . . . . . . . . . . . . 51
Song Playback Related Parameters (Repeat settings, Channel 
settings, Guide Function)  . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
• Keyboard and Vocal Practice Using the Guide Function  . . . . . . . . 53
• Playing Backing Parts with the Performance Assistant Technology 55
Creating/Editing Songs (Song Creator) . . . . . . . . . . . . . . . . . 56
• Recording Melodies (Step Recording) . . . . . . . . . . . . . . . . . . . . . . 56
• Recording Chords (Step Recording) . . . . . . . . . . . . . . . . . . . . . . . 59
• Re-Recording a Specific Section—Punch In/Out . . . . . . . . . . . . . . 61
• Editing Channel Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
• Editing Chord Events, Notes, System Exclusive Events and Lyrics  . 66
• Editing Song Position Markers  . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
To view the music notation of the selected Song, press the [SCORE] button. You can change the notation display as 
desired to suit your personal preferences. After you change the setting here, you can save the setting as a part of a 
Song by accessing [DIGITAL RECORDING] → [A] SONG CREATOR → TAB [
QQ Q Q][WW W W] CHANNEL → [A]/[B] SETUP. See 
page 65. 
Editing Music Notation Settings
[1 ▲▼]LEFT CH Enables/disables display of the left-hand key range. Depending on other settings, this 
parameter may be unavailable and may appear grayed out. If this is the case, go to the 
detailed setting display (on page 50) and set the LEFT CH. parameter to any channel 
except “AUTO.” Or, go to the [FUNCTION] → [B] SONG SETTING and set the LEFT CH 
parameter to any channel except “OFF” (page 52). RIGHT (next parameter) and LEFT 
cannot be turned off at the same time.
[2 ▲▼]RIGHT CH Enables/disables display of the right-hand key range. RIGHT and LEFT (above) cannot 
be turned off at the same time.
[3 ▲▼]CHORD ON/OFF Enables/disables display of the chords. If the selected Song does not contain chord 
data, chords are not displayed. 
						

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Songs – Recording Your Performances and Creating Songs –
50•  Tyros3  Reference Manual
Pressing the [8 ▲▼] (SET UP) button calls up the detailed setting display. You 
can set the view type by using the [1 ▲▼]–[6 ▲▼] buttons, then press the [8 
▲] (OK) button.
[4 ▲▼]LYRICS ON/OFF Enables/disables display of the lyrics. If the selected Song does not contain lyric data, 
lyrics are not displayed. When the Song contains Pedal events, pressing these buttons 
can display the Pedal events, instead of displaying Lyrics. 
[5 ▲▼]NOTE ON/OFF Enables/disables display of the note name (pitch). The note name is indicated at the 
left of the note. When the space between the notes is too small, the indication may be 
moved to the top left of the note. When the Song contains Fingering events, pressing 
these buttons can display the fingering, instead of displaying note names.
[6 ▲▼]COLOR ON/OFF When this is set to ON, the notes in the display appear in color (C: red, D: yellow, E: 
green, F: orange, G: blue, A: purple, and B: gray).
[7 ▲▼]SIZE  Determines the display resolution (or zoom level) of the notation.
[8 ▲▼]SET UP  See below.
[1 ▲▼]LEFT CH Determines which MIDI channel in the Song data is used for the left-hand/right-hand 
part. This setting returns to AUTO when a different Song is selected.
AUTO: The MIDI channels in the Song data for the right- and left-hand parts are 
assigned automatically—setting the parts to the same channel as the channel which 
is specified in the [FUNCTION] → [B] SONG SETTING (page 52).
1–16: Assigns the specified MIDI channel (1–16) to each of the left- and right-hand 
parts.
OFF (LEFT CH only): No channel assignment. This disables display of the left-hand 
key range. [2 ▲▼]RIGHT CH
[3 ▲▼]/
[4 ▲▼]KEY SIGNATURE This lets you enter key signature changes in the middle of a Song, at the stopped posi-
tion. This menu is useful when the selected Song contains no key signature settings for 
displaying notation.
[5 ▲▼]QUANTIZE This gives you control over the note resolution in the notation, letting you shift or cor-
rect the timing of all displayed notes so that they line up to a particular note value. 
Make sure to select the smallest note value used in the Song.
[6 ▲▼]NOTE NAME Selects the type of the note name indicated at the left of the note in the notation from 
among the following three types. The settings here are available when the NOTE ON/
OFF parameter above is set to ON.
A, B, C: Note names are indicated as letters (C, D, E, F, G, A, B).
FIXED DO: Note names are indicated in solfeggio and differ depending on the 
selected language.
MOVABLE DO: Note names are indicated in solfeggio according to the scale intervals, 
and as such are relative to the key. The root note is indicated as Do. For example, in 
the key of G major the root note of “Sol” would be indicated as “Do.” As with 
“Fixed Do,” the indication differs depending on the selected language.