There is more about turning PARTS in a STYLE to OFF here:
Do a right-click to open this up in a New Tab.
http://www.tierce-de-picardie.co.uk/viewtopic.php?f=479&t=11454&p=66210#p66210
Please Note: I have my Tyros 4 SPLIT POINT permanently set on G (rather than F#) ie. the note of G is included with the chords I am playing in my left hand.
Now listen to this recording of Beautiful Dreamer.
The STYLE I used was GuitarSerenade. There are four VARIATIONS, A, B, C and D, and for this STYLE the only 'active' PARTS are BASS, CHORD 1 and PAD. These are all switched to ON (see below), but not necessarily 'in use' as this depends on what the programmer wants to include in each VARIATION. The BLACK boxes indicate there is nothing recorded in those slots.
In the DEMO below I have played four bars of Guitar Serenade (the STYLE) with each of the following:
1. VARIATION A. Bass, Chord 1 and Pad are all showing ON, but only Chord 1 is activated.
2. VARIATION B. Bass, Chord 1 and Pad are all showing ON, but only Chord 1 is activated. And for Variation B they have programmed more into the Chord 1 PART, emphasising the three beats in a bar 'Waltz' rhythm.
3. VARIATION C. Bass, Chord 1 and Pad are all showing ON, and all three are activated. This Variation is the one I have used as I wanted a BASS in my piece.
4. In these next four bars I have added in my Left Hand Voice (AccompOoh) so you can hear how the PAD (Large Strings) and my Left Hand Voice (AccompOoh) interfere with each other. Not the sound I want to hear.
5. This time I have switched the PAD to OFF .. so all you hear is my Left Hand Voice. That's the more 'rounded' sound I wanted to hear!
DEMO of the above, ending with the Left Hand Voice and no PAD.
Click to listen.
Now you could say that all I had to do to get that 'rounded' sound is to change the PAD Voice to AccompOoh. Well, no. The PAD is playing a pre-programmed sound and is not picking up the actual notes of the chord I am playing. So none of the 'thirds' or 'sevenths' I was playing 'on the top' of my chord are there.
Here is a DEMO of how using a Left Hand Voice you can play inversions of chords in such a way that you get a deliberate pattern of sound emerging.
These are the chords, and the letters after are the actual notes of the chord inversion I am playing.
G .. G B D G
G7 .. G B D F
C .. G C E
Cm .. G C Eb
G .. G B D
D7 .. D F# A C
G .. D G B (twice)
G .. G B D G
G7 .. G B D F
C .. G C E
Cm .. G C Eb
G .. G B D G
D7 .. A C D F#
G .. G B D G
Hearing a 'counter-melody' from the top notes of the chord inversions played.
Click the below to listen.
This is what I mean when I say the 'ear' picks out the top note of the chord you are playing as the predominant sound.
I think all this comes from being in a choir when I was much (much) younger and singing the tenor part! But I hope this post tells you why I think it's important not just to play chords the 'Anchor' way, but to actually play an inversion of the chord which brings out the harmony you are listening to .. and that involves having the right note on the top of your chord.
Note: On a keyboard there is usually only one voice you can allocate to the left of the split, and it's called the LEFT HAND VOICE. There is also a HOLD with a Left Hand Voice, which you have to specifically turn ON if you want it. When ON, the chord will continue playing when you take your left hand off the keys.
Hugh
.. 
