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Foto e specifiche Yamaha DGX-520 |
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Facilità d'uso
1 Press the [FUNCTION] button. 3 Use the dial to set the split point to any key from 000 (C-2) through 127 (G8). Split point (54 : F#2) Main voice Split voice NOTE • When you change the split point the auto-accompaniment split point also changes. f 2 Use the CATEGORY [ • The split voice sounds when the split-point key is played. tons to select the Split point item. ] and [ r • The split point cannot be changed during a song lesson. ] but- button and using the CATEGORY [ fNOTE •You can also access the Split Point item by pressing the [FUNCTION] ] and [ r ] buttons to locate the item (page 87). DGX-620/520, YPG-625/525 Owner’s Manual 77 Style (Auto-accompaniment) Functions Play a Style with Chords but No Rhythm (Stop Accompaniment) When auto accompaniment is on (the ACMP ON icon is showing) and Synchro Start is off, you can play chords in the left-hand accompaniment range of the keyboard while the style is stopped and still hear the accompaniment chords. This is “Stop Accompaniment”, and any of the chord fingerings recognized by the instrument can be used (page 28). Press the [ACMP ON/OFF] button to turn auto accompaniment on after pressing the [STYLE] button. Accompaniment range Appears when auto accompaniment is on Adjusting the Style Volume Press the [STYLE] button to engage the f 2 Use the CATEGORY [ style function. tons to select the Style Volume item. 1 Press the [FUNCTION] button. 3 Use the dial to set the style volume between 000 and 127. ] and [ r ] but 78 DGX-620/520, YPG-625/525 Owner’s Manual Style (Auto-accompaniment) Functions Chord Basics Two or more notes played together constitute a “chord”. The most basic chord type is the “triad” consisting of three notes: the root, third, and fifth degrees of the corresponding scale. A C major triad, for example, is made up of the notes C (the root), E (the third note of the C major scale), and G (the fifth note of the C major scale). Root In the C major triad shown above, the lowest note is the “root” of the chord (this is the chord’s “root position” ... using other chord notes for the lowest note results in “inversions”). The root is the central sound of the chord, which supports and anchors the other chord notes. The distance (interval) between adjacent notes of a triad in root position is either a major or minor third. Major third–four half steps (semitones) Minor third–three half steps (semitones) 3rd 3rd The lowest interval in our root-position triad (between the root and the third) determines whether the triad is a major or minor chord, and we can shift the highest note up or down by a semitone to produce two additional chords, as shown below. Major chord Minor chord Augmented chord Diminished chord CM Cm Caug Cdim Minor 3rd Major 3rd Major 3rd Minor 3rd Major 3rd Major 3rd Minor 3rd Minor 3rd The basic characteristics of the chord sound remain intact even if we change the order of the notes to create different inversions. Successive chords in a chord progression can be smoothly connected, for example, by choosing the appropriate inversions (or chord “voicings”). . Reading Chord Names Chord names tell you just about everything you need to know about a chord (other than the inversion/voicing). The chord name tells you what the root of the Cm chord is, whether it is a major, minor, or diminished chord, whether it requires a major or flatted seventh, what alterations or tensions it uses ... all at a glance. Root note Chord type . Some Chord Types (These are just some of the “Standard” chord types recognized by the DGX-620/520, YPG-625/525.) 7 th Suspended 4 th Minor 7 th Major 7 th Csus4 C7 Cm7 CM7 Perfect 5 th Perfect 4 th Flatted 7 th Major chord Flatted 7 th Minor chord Major 7 th Major chord Minor/major 7 th 7 th, flatted 5 th Minor 7 th, flatted 5 th 7 th, suspended 4 th (b5) (b5) CmM7 C7 Cm7 C7sus4 Major 7 th Minor chord Flatted 5 th 7 th chord Flatted 5 th Minor 7 th chord Flatted 7 th Suspended 4 th chord DGX-620/520, YPG-625/525 Owner’s Manual 79 Style (Auto-accompaniment) Functions ¦Recognized Standard Chords. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . All chords in the chart are “C-root” chords. Chord Name/[Abbreviation] Normal Voicing Chord (C) Display Major [M] 1 - 3 - 5 C C Add ninth [(9)] 1 - 2 - 3 - 5 C(9) C9 Sixth [6] 1 - (3) - 5 - 6 C6 C6 Sixth ninth [6(9)] 1 - 2 - 3 - (5) - 6 (9) C6 C69 * Major seventh [M7] 1 - 3 - (5) - 7 or 1 - (3) - 5 - 7 CM7 CM7 Major seventh ninth [M7(9)] 1 - 2 - 3 - (5) - 7 CM7 (9) CM79 * Major seventh add sharp eleventh [M7(#11)] 1 - (2) - 3 -#4 - 5 - 7 or 1 - 2 - 3 -#4 - (5) - 7 CM7 (#11) CM7#11 * Flatted fifth [(b5)] 1 - 3 -b5 C(b5) Cb5 * Major seventh flatted fifth [M7b5] 1 - 3 -b5 - 7 CM7 (b5) CM7b5 * Suspended fourth [sus4] 1 - 4 - 5 Csus4 Csus4 Augmented [aug] 1 - 3 -#5 Caug Caug Major seventh augmented [M7aug] 1 - (3) -#5 - 7 CM7aug CM7aug * Minor [m] 1 -b3 - 5 Cm Cm Minor add ninth [m(9)] 1 - 2 -b3 - 5 (9) Cm Cm9 Minor sixth [m6] 1 -b3 - 5 - 6 Cm6 Cm6 Minor seventh [m7] 1 -b3 -...
Questo manuale è adatto anche per i modelli :sintetizzatori / pianoforte - DGX620 (3.34 mb)
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sintetizzatori / pianoforte - YPG-625 (3.34 mb)