Roland FP-2 owner manual Changing a Rhythm’s Tempo, Selecting a Rhythm’s Chord Progression

Chapter 2 Playing Along with Rhythms

Changing a Rhythm’s Tempo

The FP-2 has an optimal tempo for each Rhythm.

You can change the tempo of the selected Rhythm.

Furthermore, you can change the tempo as the Rhythm is being played.

fig.02-08

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1. Press the [Display] button, getting its indicator to light in

orange.

The tempo is displayed.

Pressing the [Display] button alternately displays the tempo, the currently selected Rhythm number (indicated by an initial “r”), and the currently selected Song number (indicated by an initial “S”).

2. Press the [-] or [+] buttons to adjust the tempo.

The tempo can be changed within the range from 20 ~ 250. When the [Start/Stop] button is pressed, the Rhythm is played at the selected tempo.

When the tempo is displayed, you can set it to the optimal tempo to appear in the display, then pressing the [-] and [+] buttons at the same time.

Selecting a Rhythm’s Chord Progression

The FP-2 has an optimal chord progression pattern for each Rhythm.

When playing the Chord Part while performing, the chord progression is automatic. You can change the chord progression pattern if you want.

fig.02-08

If you change the Rhythm during Session Partner play, the tempo won’t change. At such times, you can set it to the optimal tempo by getting the tempo to appear in the display, then pressing the [-] and [+] buttons at the same time.

For more information on chord progression patterns, refer to the

“Chord Progression Pattern List” (p. 60).

You can change the root note of the first chord.

refer to “Setting the Root Note of the Chord Progression” (p. 43).

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1. Hold down the [Chord Progression] button and press the [-]

or [+] button to change the chord progression pattern.

The currently selected chord progression pattern number is displayed.

fig.02-11

Recorded chord progression patterns are saved to

“ .”

You can select “ ” patterns by pressing the [-] button when pattern number 1 is displayed.

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