User manual YAMAHA DGX-620 DGX-520 YPG-625 YPG-525

[. . . ] Keyboard Stand Assembly For information on assembling the keyboard stand, refer to the instructions on page 116 of this manual. Owner's Manual EN 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. [. . . ] You can have the ending gradually slow down (ritardando) by pressing the [INTRO/ENDING/rit. ] button again while the ending is playing back. Synchro Stop When this function is selected the accompaniment style will only play while you are playing chords in the accompaniment range of the keyboard. To turn the function on, press the [SYNC STOP] button. 76 DGX-620/520, YPG-625/525 Owner's Manual Style (Auto-accompaniment) Functions Setting the Split Point The initial default split point is key number 54 (the F#2 key), but you can change it to another key using the procedure described below. 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) Split voice Main voice NOTE 2 Use the CATEGORY [ · When you change the split point the auto-accompaniment split point also changes. ] and [ ] buttons to select the Split point item. r f · The split point cannot be changed during a song lesson. · The split voice sounds when the split-point key is played. NOTE · You can also access the Split Point item by pressing the [FUNCTION] button and using the CATEGORY [ ] and [ ] buttons to locate the item (page 87). f r 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 style function. 2 Use the CATEGORY [ ] and [ ] buttons to select the Style Volume item. 1 Press the [FUNCTION] button. 3 Use the dial to set the style volume between 000 and 127. 78 DGX-620/520, YPG-625/525 Owner's Manual r f 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). 3rd 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 third­four half steps (semitones) Minor third­three half steps (semitones) Root 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 CM Minor chord Cm Augmented chord Caug Diminished chord 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 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. Cm Root note Chord type Major 7 th Some Chord Types (These are just some of the "Standard" chord types recognized by the DGX-620/520, YPG-625/525. ) Suspended 4 th 7 th Minor 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 CmM7 C7 (b5) Cm7 (b5) 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] Major [M] Add ninth [(9)] Sixth [6] Sixth ninth [6(9)] Major seventh [M7] Major seventh ninth [M7(9)] Major seventh add sharp eleventh [M7(#11)] Flatted fifth [(b5)] Major seventh flatted fifth [M7b5] Suspended fourth [sus4] Augmented [aug] Major seventh augmented [M7aug] Minor [m] Minor add ninth [m(9)] Minor sixth [m6] Minor seventh [m7] Minor seventh ninth [m7(9)] Minor seventh add eleventh [m7(11)] Minor major seventh [mM7] Minor major seventh ninth [mM7(9)] Minor seventh flatted fifth [m7b5] Minor major seventh flatted fifth [mM7b5] Diminished [dim] Diminished seventh [dim7] Seventh [7] Seventh flatted ninth [7(b9)] Seventh add flatted thirteenth [7(b13)] Seventh ninth [7(9)] Seventh add sharp eleventh [7(#11)] Seventh add thirteenth [7(13)] Seventh sharp ninth [7(#9)] Seventh flatted fifth [7b5] Seventh augmented [7aug] Seventh suspended fourth [7sus4] Suspended second [sus2] Normal Voicing 1-3-5 1-2-3-5 1 - (3) - 5 - 6 1 - 2 - 3 - (5) - 6 1 - 3 - (5) - 7 or 1 - (3) - 5 - 7 1 - 2 - 3 - (5) - 7 1 - (2) - 3 - #4 - 5 - 7 or 1 - 2 - 3 - #4 - (5) - 7 1 - 3 - b5 1 - 3 - b5 - 7 1-4-5 1 - 3 - #5 1 - (3) - #5 - 7 1 - b3 - 5 1 - 2 - b3 - 5 1 - b3 - 5 - 6 1 - b3 - (5) - b7 1 - 2 - b3 - (5) - b7 1 - (2) - b3 - 4 - 5 - (b7) 1 - b3 - (5) - 7 1 - 2 - b3 - (5) - 7 1 - b3 - b5 - b7 1 - b3 - b5 - 7 1 - b3 - b5 1 - b3 - b5 - 6 1 - 3 - (5) - b7 or 1 - (3) - 5 - b7 1 - b2 - 3 - (5) - b7 1 - 3 - 5 - b6 - b7 1 - 2 - 3 - (5) - b7 1 - (2) - 3 - #4 - 5 - b7 or 1 - 2 - 3 - #4 - (5) - b7 1 - 3 - (5) - 6 - b7 1 - #2 - 3 - (5) - b7 1 - 3 - b5 - b7 1 - 3 - #5 - b7 1 - 4 - (5) - b7 1-2-5 Chord (C) C (9) Display C C9 C6 C69 * CM7 CM79 * CM7#11 * Cb5 * CM7b5 * Csus4 Caug CM7aug * Cm Cm9 Cm6 Cm7 Cm79 Cm711 * CmM7 CmM79 * Cm7b5 CmM7b5 * Cdim Cdim7 C7 C7b9 C7b13 C79 C7#11 C713 C7#9 C7b5 * C7aug C7sus4 Csus2 * C C6 C6 (9) CM7 CM7 (9) CM7 C (#11) (b5) (b5) CM7 Csus4 Caug CM7aug Cm Cm (9) Cm6 Cm7 Cm7 Cm7 (9) (11) CmM7 CmM7 Cm7 (b5) (b5) (9) CmM7 Cdim Cdim7 C7 C7 C7 (b9) (b13) C7 C7 C7 (9) (#11) (13) (#9) C7 C7b5 C7aug C7sus4 Csus2 * These chords are not shown in the Dictionary function. NOTE · Notes in parentheses can be omitted. · Playing two same root keys in the adjacent octaves produces accompaniment based only on the root. · A perfect fifth (1 + 5) produces accompaniment based only on the root and fifth which can be used with both major and minor chords. · The chord fingerings listed are all in "root" position, but other inversions can be used--with the following exceptions: m7, m7b5, 6, m6, sus4, aug, dim7, 7b5, 6(9), sus2. NOTE · Inversion of the 7sus4 and m7(11) chords are not recognized if the notes shown in parentheses are omitted. · The auto accompaniment will sometimes not change when related chords are played in sequence (e. g. · Two-note fingerings will produce a chord based on the previously played chord. 80 DGX-620/520, YPG-625/525 Owner's Manual Style (Auto-accompaniment) Functions Style File This instrument features 150 internal styles, but other styles, such as those provided on the CD-ROM and others that can be obtained from the internet (only styles with the ". sty" suffix), can be loaded into style number 151 and used in the same way as the internal styles. For details on loading the style file, see "Loading User Files and Style Files" on page 95. In order to load a style file it is necessary to first either transfer the style file to the instrument from a computer, or connect a USB flash memory containing the style file to the USB TO DEVICE connector. Refer to "Transferring Performance Data to and from a Computer" on page 100 for details on the file transfer procedure. If you use a USB flash memory refer to "Loading User Files and Style Files" on page 95. Playing Styles Using the Entire Keyboard In "Play Along with a Style" on page 24 we described a method of playing styles in which chords were detected only to the left of the keyboard split point. [. . . ] Tel: 714-522-9011 FRANCE Yamaha Musique France BP 70-77312 Marne-la-Vallée Cedex 2, France Tel: 01-64-61-4000 HONG KONG Tom Lee Music Co. , Ltd. 11/F. , Silvercord Tower 1, 30 Canton Road, Tsimshatsui, Kowloon, Hong Kong Tel: 2737-7688 ITALY Yamaha Musica Italia S. P. A. Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771 INDONESIA PT. 4, Jakarta 12930, Indonesia Tel: 21-520-2577 CENTRAL & SOUTH AMERICA MEXICO Yamaha de México S. A. [. . . ]