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Auto Accompaniment
●F1: The FINGERED 1 Mode
F1
FngrngMdThe Fingered 1 mode lets you finger your own chords on the AUTO ACCOMPANIMENT section of the keyboard (i.e. all keys to the left of and including the split- point key — normally 54) while the
The FINGERED 1 mode recognizes the following chords:
Chord Name/[Abbreviation] | Normal Voicing |
| Chord (C) | Display | |
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Major [M] | 1 | - 3 - 5 |
| C | C |
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Add ninth [(9)] | 1 | - 2 - 3 - 5 |
| C(9) | C(9) |
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Sixth [6] | 1 | - (3) - 5 - 6 |
| C6 | C6 |
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Sixth ninth [6(9)] | 1 | - 2 - 3 - (5) - 6 |
| C6(9) | C6(9) |
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Major seventh [M7] | 1 | - 3 - (5) - 7 or |
| CM7 | CM7 |
| 1 | - (3) - 5 - 7 |
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Major seventh ninth [M7(9)] | 1 | - 2 - 3 - (5) - 7 |
| CM7(9) | CM7(9) |
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Major seventh add sharp eleventh [M7(#11)] | 1 | - (2) - 3 - #4 - 5 - 7 or |
| CM7(#11) | CM7(#11) |
| 1 | - 2 - 3 - #4 - (5) - 7 |
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Flatted fifth [(b5)] | 1 | - 3 - b5 |
| C(b5) | C(b5) |
Major seventh flatted fifth [M7b5] | 1 | - 3 - b5 - 7 |
| CM7b5 | CM7b5 |
Suspended fourth [sus4] | 1 | - 4 - 5 |
| Csus4 | Csus4 |
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Augmented [aug] | 1 | - 3 - #5 |
| Caug | Caug |
Major seventh augmented [M7aug] | 1 | - (3) - #5 - 7 |
| CM7aug | CM7aug |
Minor [m] | 1 | - b3 - 5 |
| Cm | Cm |
Minor add ninth [m(9)] | 1 | - 2 - b3 - 5 |
| Cm(9) | Cm(9) |
Minor sixth [m6] | 1 | - b3 - 5 - 6 |
| Cm6 | Cm6 |
Minor seventh [m7] | 1 | - b3 - (5) - b7 |
| Cm7 | Cm7 |
Minor seventh ninth [m7(9)] | 1 | - 2 - b3 - (5) - b7 |
| Cm7(9) | Cm7(9) |
Minor seventh add eleventh [m7(11)] | 1 | - (2) - b3 - 4 - 5 - (b7) |
| Cm7(11) | Cm7(11) |
Minor major seventh [mM7] | 1 | - b3 - (5) - 7 |
| CmM7 | CmM7 |
Minor major seventh ninth [mM7(9)] | 1 | - 2 - b3 - (5) - 7 |
| CmM7(9) | CmM7(9) |
Minor seventh flatted fifth [m7b5] | 1 | - b3 - b5 - b7 |
| Cm7b5 | Cm7b5 |
Minor major seventh flatted fifth [mM7b5] | 1 | - b3 - b5 - 7 |
| CmM7b5 | CmM7b5 |
Diminished [dim] | 1 | - b3 - b5 |
| Cdim | Cdim |
Diminished seventh [dim7] | 1 | - b3 - b5 - 6 |
| Cdim7 | Cdim7 |
Seventh [7] | 1 | - 3 - (5) - b7 or |
| C7 | C7 |
| 1 | - (3) - 5 - b7 |
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Seventh flatted ninth [7(b9)] | 1 | - b2 - 3 - (5) - b7 |
| C7(b9) | C7(b9) |
Seventh add flatted thirteenth [7(b13)] | 1 | - 3 - 5 - b6 - b7 |
| C7(b13) | C7(b13) |
Seventh ninth [7(9)] | 1 | - 2 - 3 - (5) - b7 |
| C7(9) | C7(9) |
Seventh add sharp eleventh [7(#11)] | 1 | - (2) - 3 - #4 - 5 - b7 or |
| C7(#11) | C7(#11) |
| 1 | - 2 - 3 - #4 - (5) - b7 |
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Seventh add thirteenth [7(13)] | 1 | - 3 - (5) - 6 - b7 |
| C7(13) | C7(13) |
Seventh sharp ninth [7(#9)] | 1 | - #2 - 3 - (5) - b7 |
| C7(#9) | C7(#9) |
Seventh flatted fifth [7b5] | 1 | - 3 - b5 - b7 |
| C7b5 | C7b5 |
Seventh augmented [7aug] | 1 | - 3 - #5 - b7 |
| C7aug | C7aug |
Seventh suspended fourth [7sus4] | 1 | - 4 - (5) - b7 |
| C7sus4 | C7sus4 |
One plus two plus five [1+2+5] | 1 | - 2 - 5 |
| C1+2+5 | C |
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•Notes in parentheses can be omitted.
•If you play any three adjacent keys (includ- ing black keys), the chord sound will be cancelled and only the rhythm instru- ments will continue playing (CHORD CANCEL function).
•Playing a single key or two same root keys in the adjacent oc- taves produces ac- companiment based only on the root.
•A perfect fifth (1 + 5) produces accompani- ment 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 in- versions can be used
— with the following exceptions:
m7, m7b5, 6, m6, sus4, aug, dim7,
7b5, 6(9), m7(11), 1+2+5.
•Inversion of the 7sus4 chord are not recog- nized if the 5th is omitted.
•The AUTO ACCOM- PANIMENT will some- times not change when related chords are played in se- quence (e.g. some minor chords followed by the minor seventh).
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