Yamaha PortaTone PSR-510 Owner's Manual page 27

Mode 1: Chord 1
Example for "C" chords
CM
C
6
CM
CMadd
9 9
Cm
Cm
6
Cm
Cm add
9
9
Cdim
CmM
9
C sus C 9
4 7
7
b9 b13
C C
7 7
C aug Csus
4
7
NOTES
• Notes in parentheses can be omitted.
• A perfect fifth produces accompaniment based only on the
root and fifth which can be used with many major and minor
chords.
• An octave produces accompaniment based only on the
root.
• If three adjacent keys are played simultaneously (white and
black keys), chord accompaniment will be cancelled and
only the rhythm accompaniment will sound. (Chord 1/Chord
2 mode)
• The chord fingerings listed are all in "root position", but
other inversions can be used — with the following excep-
tions:
* M6 chords are only recognized in root position. All other
inversions are interpreted as m7.
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The Chord 1 mode is ideal if you already know how to play chords on a
keyboard, since it allows you to supply your own chords for the Auto Ac-
companiment feature.
The PSR-510 will accept the following chord types:
#11
CM CM
7
7
C 9 Caug
6
b5
Cm Cm
7 7
Cm CmM
11 7
Cdim C
7 7
#11
C C 13
7 7
#9
C CM aug
7 7
C
1+2+5
Major [M] ................................................................... 1 - 3 - 5
Major sixth [M6] .................................................... 1 - 3 - 5 - 6
Major seventh [M7] ........................................... 1 - 3 - (5) - 7
Major seventh sharp eleventh [M7#11] .. 1 - (2) - 3 - #4 - (5) - 7
Major add ninth [Madd9] ...................................... 1 - 2 - 3 - 5
Major ninth [M9] ........................................... 1 - 2 - 3 - (5) - 7
Major sixth add ninth [6 9] ............................ 1 - 2 - 3 - (5) - 6
Augmented [aug] ..................................................... 1 - 3 - #5
Minor [m] ................................................................. 1 - b3 - 5
Minor sixth [m6] .................................................. 1 - b3 - 5 - 6
Minor seventh [m7] ........................................ 1 - b3 - (5) - b7
Minor seventh flatted fifth [m7b5] ................... 1 - b3 - b5 - b7
Minor add ninth [madd9] .................................... 1 - 2 - b3 - 5
Minor ninth [m9] ........................................ 1 - 2 - b3 - (5) - b7
Minor eleventh [m11] ........................ 1 - (2) - b3 - 4 - 5 - (b7)
Minor major seventh [mM7] ............................. 1 - b3 - (5) - 7
Minor major ninth [mM9] ............................ 1 - 2 - b3 - (5) - 7
Diminished [dim] .................................................... 1 - b3 - b5
Diminished seventh [dim7] ............................... 1 - b3 - b5 - 6
Seventh [7] ....................................................... 1 - 3 - (5) - b7
Seventh suspended fourth [7sus4] .................... 1 - 4 - 5 - b7
Seventh ninth [7 9] ..................................... 1 - 2 - 3 - (5) - b7
Seventh sharp eleventh [7#11] ......... 1 - (2) - 3 - #4 - (5) - b7
Seventh thirteenth [7 13] ............................ 1 - 3 - (5) - 6 - b7
Seventh flatted ninth [7b9] ........................ 1 - b2 - 3 - (5) - b7
Seventh flatted thirteenth [7b13] ................ 1 - 3 - 5 - b6 - b7
Seventh sharp ninth [7#9] ...................... (1) - #2 - 3 - (5) - b7
Major seventh augmented [M7aug] ................... 1 - 3 - #5 - 7
Seventh augmented [7aug] ............................ (1) - 3 - #5 - b7
Suspended fourth [sus4] ........................................... 1 - 4 - 5
One plus two plus five [1+2+5] .................................. 1 - 2 - 5
* 6 9 chords are only recognized in root position. All other
inversions are interpreted as m11.
* m6 chords are only recognized in root position. All other
inversions are interpreted as m7 b 5.
* 1+2+5 chords are only recognized in root position. All
other inversions are interpreted as sus4.
* With aug and dim7 chords the lowest note played is as-
sumed to be the root.
* With 7 # 11 chords the lowest note played is assumed to be
the root or b 7.
or 2 - 3 - 5 - 6 - b7
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