Selecting and playing styles – Yamaha DGX-202 User Manual
Page 44
Selecting and Playing Styles
44
Chord Name/[Abbreviation]
Normal Voicing
Chord (C) Display
Major [M]
1 - 3 - 5
C
C
Add ninth [(9)]
1 - 2 - 3 - 5
C(9)
C(9)
Sixth [6]
1 - (3) - 5 - 6
C6
C6
Sixth ninth [6(9)]
1 - 2 - 3 - (5) - 6
C6(9)
C6(9)
Major seventh [M7]
1 - 3 - (5) - 7 or
1 - (3) - 5 - 7
CM7
CM7
Major seventh ninth [M7(9)]
1 - 2 - 3 - (5) - 7
CM7(9)
CM7(9)
Major seventh add sharp eleventh [M7(
#
11)]
1 - (2) - 3 -
#
4 - 5 - 7 or
1 - 2 - 3 -
#
4 - (5) - 7
CM7(
#
11)
CM7(
#
11)
Flatted fifth [(
b
5)]
1 - 3 -
b
5
C(
b
5)
C
b
5
Major seventh flatted fifth [M7
b
5]
1 - 3 -
b
5 - 7
CM7
b
5
CM7
b
5
Suspended fourth [sus4]
1 - 4 - 5
Csus4
Csus4
Augmented [aug]
1 - 3 -
#
5
Caug
Caug
Major seventh augmented [M7aug]
1 - (3) -
#
5 - 7
CM7aug
CM7aug
Minor [m]
1 -
b
3 - 5
Cm
Cm
Minor add ninth [m(9)]
1 - 2 -
b
3 - 5
Cm(9)
Cm(9)
Minor sixth [m6]
1 -
b
3 - 5 - 6
Cm6
Cm6
Minor seventh [m7]
1 -
b
3 - (5) -
b
7
Cm7
Cm7
Minor seventh ninth [m7(9)]
1 - 2 -
b
3 - (5) -
b
7
Cm7(9)
Cm7(9)
Minor seventh add eleventh [m7(11)]
1 - (2) -
b
3 - 4 - 5 - (
b
7)
Cm7(11)
Cm7(11)
Minor major seventh [mM7]
1 -
b
3 - (5) - 7
CmM7
CmM7
Minor major seventh ninth [mM7(9)]
1 - 2 -
b
3 - (5) - 7
CmM7(9)
CmM7(9)
Minor seventh flatted fifth [m7
b
5]
1 -
b
3 -
b
5 -
b
7
Cm7
b
5
Cm7
b
5
Minor major seventh flatted fifth [mM7
b
5]
1 -
b
3 -
b
5 - 7
CmM7
b
5
CmM7
b
5
Diminished [dim]
1 -
b
3 -
b
5
Cdim
Cdim
Diminished seventh [dim7]
1 -
b
3 -
b
5 - 6
Cdim7
Cdim7
Seventh [7]
1 - 3 - (5) -
b
7 or
1 - (3) - 5 -
b
7
C7
C7
Seventh flatted ninth [7(
b
9)]
1 -
b
2 - 3 - (5) -
b
7
C7(
b
9)
C7(
b
9)
Seventh add flatted thirteenth [7(
b
13)]
1 - 3 - 5 -
b
6 -
b
7
C7(
b
13)
C7(
b
13)
Seventh ninth [7(9)]
1 - 2 - 3 - (5) -
b
7
C7(9)
C7(9)
Seventh add sharp eleventh [7(
#
11)]
1 - (2) - 3 -
#
4 - 5 -
b
7 or
1 - 2 - 3 -
#
4 - (5) -
b
7
C7(
#
11)
C7(
#
11)
Seventh add thirteenth [7(13)]
1 - 3 - (5) - 6 -
b
7
C7(13)
C7(13)
Seventh sharp ninth [7(
#
9)]
1 -
#
2 - 3 - (5) -
b
7
C7(
#
9)
C7(
#
9)
Seventh flatted fifth [7
b
5]
1 - 3 -
b
5 -
b
7
C7
b
5
C7
b
5
Seventh augmented [7aug]
1 - 3 -
#
5 -
b
7
C7aug
C7aug
Seventh suspended fourth [7sus4]
1 - 4 - (5) -
b
7
C7sus4
C7sus4
One plus two plus five [1+2+5]
1 - 2 - 5
C1+2+5
C
• 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 inver-
sions can be used — with the fol-
lowing exceptions:
m7, m7b5, 6, m6, sus4, aug,
dim7, 7b5, 6(9), 1+2+5.
• Inversion of the 7sus4 and
m7(11) chords are not recog-
nized if the notes shown in
parentheses are omitted.
• The auto accompaniment will
sometimes not change when
related chords are played in
sequence (e.g. some minor
chords followed by the minor sev-
enth).
• Two-note fingerings will produce
a chord based on the previously
played chord.