Instruction manuals

PSR E403 Chords

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List of all the chrods that are being recognised by the Yamaha PSR E403 keyboard.
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  Style (Auto-accompaniment) Functions 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).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.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 addi-tional chords, as shown below.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. ●  Some Chord Types (These are just some of the “ Standard ”  chord types recognized by the PSR-E403/YPT-400.) Chord Basics 3rd3rdRootMajor third – four half steps (semitones)Minor third – three half steps (semitones) C M C m C aug C dim Major chord Minor 3rdMajor 3rdMajor 3rdMinor 3rdMajor 3rdMajor 3rdMinor 3rdMinor 3rd Minor chordAugmented chordDiminished chord C m Root noteChord type C sus4 C 7 C m7 C M7 C 7 ( b 5 ) C m7 ( b 5 ) C 7sus4 C mM7 Perfect 5  th Perfect 4  th Flatted 7  th Major chordFlatted 7  th Minor chordMajor 7  th Major chordMajor 7  th Minor chordFlatted 5  th 7  th  chordFlatted 5  th Minor 7  th  chordFlatted 7  th Suspended 4  th  chord Suspended 4  th 7  th Minor 7  th Major 7  th 7  th , suspended 4  th Minor 7  th , fl atted 5  th 7  th , fl atted 5  th Minor/major 7  th  Style (Auto-accompaniment) Functions ■ Recognized Standard Chords ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● All chords in the chart are “C-root” chords. * These chords are not shown in the Dictionary function. Chord Name/[Abbreviation]Normal VoicingChord (C)Display Major [M]1 - 3 - 5CAdd ninth [(9)]1 - 2 - 3 - 5C (9) Sixth [6]1 - (3) - 5 - 6C6Sixth ninth [6(9)]1 - 2 - 3 - (5) - 6C6 (9) *Major seventh [M7]1 - 3 - (5) - 7 or1 - (3) - 5 - 7CM7Major seventh ninth [M7(9)]1 - 2 - 3 - (5) - 7CM7 (9) *Major seventh add sharp eleventh [M7( # 11)]1 - (2) - 3 - # 4 - 5 - 7 or 1 - 2 - 3 - # 4 - (5) - 7CM7 ( # 11) *Flatted fi fth [( b 5)]1 - 3 - b 5C b 5  *Major seventh fl atted fi fth [M7 b 5]1 - 3 - b 5 - 7CM7 b 5  *Suspended fourth [sus4]1 - 4 - 5Csus4Augmented [aug]1 - 3 - # 5CaugMajor seventh augmented [M7aug]1 - (3) - # 5 - 7CM7aug *Minor [m]1 - b 3 - 5CmMinor add ninth [m(9)]1 - 2 - b 3 - 5Cm (9) Minor sixth [m6]1 - b 3 - 5 - 6Cm6Minor seventh [m7]1 - b 3 - (5) - b 7Cm7Minor seventh ninth [m7(9)]1 - 2 - b 3 - (5) - b 7Cm7 (9) Minor seventh add eleventh [m7(11)]1 - (2) - b 3 - 4 - 5 - ( b 7)Cm7 (11)  *Minor major seventh [mM7]1 - b 3 - (5) - 7CmM7Minor major seventh ninth [mM7(9)]1 - 2 - b 3 - (5) - 7CmM7 (9)  *Minor seventh fl atted fi fth [m7 b 5]1 - b 3 - b 5 - b 7Cm7 b 5 Minor major seventh fl atted fi fth [mM7 b 5]1 - b 3 - b 5 - 7CmM7 b 5  *Diminished [dim]1 - b 3 - b 5CdimDiminished seventh [dim7]1 - b 3 - b 5 - 6Cdim7Seventh [7]1 - 3 - (5) - b 7 or1 - (3) - 5 - b 7C7Seventh fl atted ninth [7( b 9)]1 - b 2 - 3 - (5) - b 7C7 ( b 9) Seventh add fl atted thirteenth [7( b 13)]1 - 3 - 5 - b 6 - b 7C7 ( b 13) Seventh ninth [7(9)]1 - 2 - 3 - (5) - b 7C7 (9) Seventh add sharp eleventh [7( # 11)]1 - (2) - 3 - # 4 - 5 - b 7 or 1 - 2 - 3 - # 4 - (5) - b 7C7 ( # 11) Seventh add thirteenth [7(13)]1 - 3 - (5) - 6 - b 7C7 (13) Seventh sharp ninth [7( # 9)]1 - # 2 - 3 - (5) - b 7C7 ( # 9) Seventh fl atted fi fth [7 b 5]1 - 3 - b 5 - b 7C7 b 5  *Seventh augmented [7aug]1 - 3 - # 5 - b 7C7augSeventh suspended fourth [7sus4]1 - 4 - (5) - b 7C7sus4One plus two plus fi ve [1+2+5]1 - 2 - 5C *CC ( 9 ) C 6 ( 9 ) C 6 C M7 C M7 ( 9 ) C M7 ( # 11 ) C ( b 5 ) C M7 ( b 5 ) C sus4 C aug C M7aug C m ( 9 ) C m C m6 C m7 C m7 ( 9 ) C m7 ( 11 ) C mM7 C mM7 ( 9 ) C m7 ( b 5 ) C mM7 ( b 5 ) C dim C dim7 C 7 C 7 ( b 9 ) C 7 ( b 13 )( 9 ) C 7 ( # 11 ) C 7 ( 13 ) C 7 ( # 9 ) C 7 C 7 b 5 C 7aug C 7sus4 C 1+2+5 ãNotes in parentheses can be omitted.ãPlaying two same root keys in the adjacent octaves produces accompa- niment based only on the root.ãA perfect fifth (1+5) produces accompaniment based only on the root and fifth which can be used with both major and minor chords.ãThe chord fingerings listed are all in “root” position, but other inversions can be used—with the following exceptions: m7, m7  b 5, 6, m6, sus4, aug, dim7, 7  b 5, 6(9), 1+2+5.  NOTE ãInversion of the 7sus4 and m7(11) chords are not recognized if the notes shown in parentheses are omitted.ãThe auto accompaniment will sometimes not change when related chords are played in sequence (e.g. some minor chords followed by the minor seventh).ãTwo-note fingerings will produce a chord based on the previously played chord.  NOTE
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