User manual YAMAHA PSR-270

[. . . ] SPECIAL MESSAGE SECTION This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specifically recommended by Yamaha. This product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc. , is used, please observe all safety markings and instructions that accompany the accessory product. [. . . ] some minor chords followed by the minor seventh). · Two-note fingerings will produce a chord based on the previously played chord. 57 55 AUTO ACCOMPANIMENT -- THE STYLE MODE SETTING THE ACCOMPANIMENT SPLIT POINT The Accompaniment Split Point determines the highest key for the accompaniment section. The accompaniment can be played with the keys up to and including the Accompaniment Split Point key. This parameter can be set lower (but not higher) than the Split Point in the Split mode. When set to different values, the two settings affect one another in the following way: · When the Split mode Split Point is set higher than the Accompaniment Split Point: Accompaniment Split Main · When the Split mode Split Point is set to the same key as the Accompaniment Split Point: Split voice + Accompaniment section Main 1 Call up the Function mode. Press the FUNCTION button. 2 Select the Accompaniment Split Point parameter. · Since the "FUNCTION" indication flashes for only a couple of seconds, make sure to select the parameter quickly after step 1 above. While the "FUNCTION" indication is flashing, use the numeric keypad to select the Accompaniment Split Point parameter (#51). (For details on the parameter, see below. ) The Function parameter number can be selected in the same way as with the voices (see page 28) -- with the numeric keypad, +/- keys, or the FUNCTION button. STYLE FUNCTION F51AcmpSPnt 58 56 AUTO ACCOMPANIMENT -- THE STYLE MODE 3 Change the parameter setting or value. After the "FUNCTION" indication stops flashing, use the numeric keypad to change the value or setting. STYLE FUNCTION 054AcmpSPnt The value can also be set directly by pressing the desired key while this parameter is selected. After setting this, make sure to select a different parameter or exit the Function mode before playing the keyboard. Function Parameter -- Accompaniment Split Point Function Parameters No. F51 Parameter Name Accompaniment Split Point Display Name AcmpSPnt Range/Settings 000 -- 127 Description This determines the highest key for the accompaniment section and sets the accompaniment split "point" -- in other words, the key that separates the accompaniment section and the Main voice. (When accompaniment is turned on, the accompaniment section sounds up to and including the Accompaniment Split Point key. ) This cannot be set higher than the Split Point in the Split mode (page 37). While this is being set, the keyboard does not produce any sound. After setting this, make sure to select a different parameter or exit the Function mode before playing the keyboard. 59 57 AUTO ACCOMPANIMENT -- THE STYLE MODE WHAT IS A CHORD? The simple answer: Three or more notes played simultaneously is a chord. (Two notes played together is an "interval" -- an interval being the distance between two different notes. This is also referred to as a "harmony. ") Depending on the intervals between the three or more notes, a chord can sound beautiful or muddy and dissonant. The organization of notes in the example at left -- a triad chord -- produces a pleasant, harmonious sound. Triads are made up of three notes and are the most basic and common chords in most music. In this triad, the lowest note is the "root. " The root (also called the "tonic") is the most important note in the chord, because it anchors the sound harmonically by determining its "key" and forms the basis for how we hear the other notes of the chord. The second note of this chord is four semitones higher than the first, and the third is three semitones higher than the second. Keeping our root note fixed and changing these notes by a semitone up or down (sharp or flat), we can create four different chords. Major chord (ex. Cdim) Minor 3rd Major 3rd Major 3rd Minor 3rd Major 3rd Major 3rd Minor 3rd Minor 3rd Keep in mind that we can also change the "voicing" of a chord -- for example, change the order of the notes (called "inversions"), or play the same notes in different octaves -- without changing the basic nature of the chord itself. Inversion examples for the key of C G E C C G E E C G Beautiful sounding harmonies can be built in this manner. The use of intervals and chords is one of the most important elements in music. A wide variety of emotions and feelings can be created depending on the types of chords used and the order in which they are arranged. 60 58 AUTO ACCOMPANIMENT -- THE STYLE MODE WRITING CHORD NAMES Knowing how to read and write chord names is an easy yet invaluable skill. Chords are often written in a kind of shorthand that makes them instantly recognizable (and gives you the freedom to play them with the voicing or inversion that you prefer). Once you understand the basic principles of harmony and chords, it's very simple to use this shorthand to write out the chords of a song. [. . . ] Wettergrens Gata 1 Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00 KOREA Cosmos Corporation #131-31, Neung-Dong, Sungdong-Ku, Seoul Korea Tel: 02-466-0021~5 MALAYSIA Yamaha Music Malaysia, Sdn. , Bhd. Lot 8, Jalan Perbandaran, 47301 Kelana Jaya, Petaling Jaya, Selangor, Malaysia Tel: 3-703-0900 DENMARK YS Copenhagen Liaison Office Generatorvej 8B DK-2730 Herlev, Denmark Tel: 44 92 49 00 BRAZIL Yamaha Musical do Brasil LTDA. Rebouças 2636, São Paulo, Brasil Tel: 011-853-1377 PHILIPPINES Yupangco Music Corporation 339 Gil J. Box 885 MCPO, Makati, Metro Manila, Philippines Tel: 819-7551 ARGENTINA Yamaha Music Argentina S. A. [. . . ]