Yamaha CVP-210 Electronic Keyboard User Manual


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ëÓÁ‰‡ÌË ÒÚËÎÂÈ ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡: ÙÛÌ͈Ëfl Style Creator
CVP-210/208
122
• NTT (Ú‡·Îˈ‡ Ú‡ÌÒÔÓÁˈËË)
ì͇Á‡ÌË ڇ·Îˈ˚ Ú‡ÌÒÔÓÁˈËË ‰Îfl ËÒıÓ‰ÌÓÈ Ù‡Á˚. àÏÂÂÚÒfl ¯ÂÒÚ¸ ÚËÔÓ‚ Ú‡ÌÒÔÓÁˈËË.
Bypass (Ó·ıÓ‰)
ÅÂÁ Ú‡ÌÒÔÓÌËÓ‚‡ÌËfl.
Melody (ÏÂÎÓ‰Ëfl)
èÓ‰ıÓ‰ËÚ ‰Îfl Ú‡ÌÒÔÓÌËÓ‚‡ÌËfl ÏÂÎӉ˘ÂÒÍÓÈ ÎËÌËË. ùÚÓÚ ÚËÔ ÒΉÛÂÚ ËÒÔÓθÁÓ‚‡Ú¸ ‰Îfl ͇̇ÎÓ‚ Phrase 1 Ë Phrase 2.
Chord (‡ÍÍÓ‰)
èÓ‰ıÓ‰ËÚ ‰Îfl Ú‡ÌÒÔÓÌËÓ‚‡ÌËfl ‡ÍÍÓ‰Ó‚. ùÚÓÚ ÚËÔ ÒΉÛÂÚ ËÒÔÓθÁÓ‚‡Ú¸ ‰Îfl ͇̇ÎÓ‚ Chord 1 Ë Chord 2, ÓÒÓ·ÂÌÌÓ ‚ ÚÓÏ
ÒÎÛ˜‡Â, ÍÓ„‰‡ ÓÌË ÒÓ‰ÂÊ‡Ú ‡ÍÍÓ‰Ó‚˚ ÔÓÒΉӂ‡ÚÂθÌÓÒÚË, ÚËÔ˘Ì˚ ‰Îfl ÙÓÚÂÔˇÌÓ ËÎË „ËÚ‡˚.
Bass (·‡Ò)
èÓ‰ıÓ‰ËÚ ‰Îfl Ú‡ÌÒÔÓÌËÓ‚‡ÌËfl ·‡ÒÓ‚ÓÈ ÎËÌËË. Ç ÓÒÌÓ‚Â Ò‚ÓÂÈ ˝Ú‡ Ú‡·Îˈ‡ ̇ÔÓÏË̇ÂÚ ÓÔËÒ‡ÌÌÛ˛ ‚˚¯Â Ú‡·ÎËˆÛ «Melody».
éÚ΢ˠÒÓÒÚÓËÚ ‚ ‡ÒÔÓÁ̇‚‡ÌËË ‡ÍÍÓ‰Ó‚ Ò ·‡ÒÓ‚ÓÈ ÌÓÚÓÈ, ÍÓÚÓ˚ ÏÓÊÌÓ Á‡‰‡‚‡Ú¸ ÔË ‚˚·Ó ‡ÔÔÎË͇ÚÛ˚ FINGERED
ON BASS. ùÚÓÚ ÚËÔ „Ó‰ËÚÒfl ‚ ÓÒÌÓ‚ÌÓÏ ‰Îfl ·‡ÒÓ‚˚ı ÎËÌËÈ.
Melodic Minor (ÏÂÎӉ˘ÂÒÍËÈ ÏËÌÓ)
ÖÒÎË Ï‡ÊÓÌ˚È ‡ÍÍÓ‰ ÒÏÂÌflÂÚÒfl ÏËÌÓÌ˚Ï, ˝Ú‡ Ú‡·Îˈ‡ ÔÓÌËʇÂÚ ÚÂˆË˛ ̇ ÔÓÎÚÓ̇. ÖÒÎË ÏËÌÓÌ˚È ‡ÍÍÓ‰ ÒÏÂÌflÂÚÒfl
χÊÓÌ˚Ï, ÚÂˆËfl ÔÓ‚˚¯‡ÂÚÒfl ̇ ÔÓÎÚÓ̇. éÒڇθÌ˚ ÌÓÚ˚ ‡ÍÍÓ‰‡ Ì ËÁÏÂÌfl˛ÚÒfl.
Harmonic Minor („‡ÏÓÌ˘ÂÒÍËÈ ÏËÌÓ)
ÖÒÎË Ï‡ÊÓÌ˚È ‡ÍÍÓ‰ ÒÏÂÌflÂÚÒfl ÏËÌÓÌ˚Ï, ÚÂˆËfl Ë ÒÂÍÒÚ‡ ÔÓÌËʇ˛ÚÒfl ̇ ÔÓÎÚÓ̇. ÖÒÎË ÏËÌÓÌ˚È ‡ÍÍÓ‰ ÒÏÂÌflÂÚÒfl
χÊÓÌ˚Ï, ÏËÌÓ̇fl ÚÂˆËfl Ë ÔÓÌËÊÂÌ̇fl ÒÂÍÒÚ‡ ÔÓ‚˚¯‡˛ÚÒfl ̇ ÔÓÎÚÓ̇. éÒڇθÌ˚ ÌÓÚ˚ ‡ÍÍÓ‰‡ Ì ËÁÏÂÌfl˛ÚÒfl.
■ High Key/Note Limit (‚ÂıÌflfl ÌÓÚ‡/ÌÓÚÌ˚È ‰Ë‡Ô‡ÁÓÌ)
• ÇÂıÌflfl ÌÓÚ‡
ùÚÓÚ Ô‡‡ÏÂÚ Á‡‰‡ÂÚ Ò‡ÏÛ˛ ‚˚ÒÓÍÛ˛ ÌÓÚÛ,
ÓÔ‰ÂÎflfl „‡ÌËˆÛ Ú‡ÌÒÔÓÁˈËË ÓÒÌÓ‚ÌÓ„Ó
ÚÓ̇ ‡ÍÍÓ‰‡. ÇÒ ÌÓÚ˚, ˜¸fl ‚˚ÒÓÚ‡
Ô‚˚¯‡ÂÚ Á‡‰‡ÌÌÓ Á̇˜ÂÌËÂ,
Ú‡ÌÒÔÓÌËÛ˛ÚÒfl ‚ ÓÍÚ‡‚Û, ‡ÒÔÓÎÓÊÂÌÌÛ˛
ÌËÊ ҇ÏÓÈ ‚˚ÒÓÍÓÈ ÌÓÚ˚ Ë ÔËÏ˚͇˛˘Û˛ Í
ÌÂÈ. ùÚÓÚ Ô‡‡ÏÂÚ ‰ÂÈÒÚ‚ÛÂÚ ÚÓθÍÓ ÚÓ„‰‡,
ÍÓ„‰‡ Á̇˜ÂÌË ԇ‡ÏÂÚ‡ NTR (ÒÚ. 121) ‡‚ÌÓ «Root Trans».
•çÓÚÌ˚È ‰Ë‡Ô‡ÁÓÌ
чÌÌ˚È Ô‡‡ÏÂÚ Á‡‰‡ÂÚ „‡Ìˈ˚ ÌÓÚÌÓ„Ó
‰Ë‡Ô‡ÁÓ̇ ‰Îfl ÚÂÏ·Ó‚, Á‡ÔËÒ˚‚‡ÂÏ˚ı ̇
͇̇Î˚ ÒÚËÎfl. è‡‚ËθÌÓ Á‡‰‡‚ ‰‡ÌÌ˚È
‰Ë‡Ô‡ÁÓÌ, ‚˚ ÏÓÊÂÚ ‰Ó·ËÚ¸Òfl χÍÒËχθÌÓÈ
‡ÎËÒÚ˘ÌÓÒÚË Á‚Û˜‡ÌËfl ÚÂÏ·Ó‚. ÑÛ„ËÏË
ÒÎÓ‚‡ÏË, ÏÓÊÌÓ Û͇Á‡Ú¸ ÂÒÚÂÒÚ‚ÂÌÌ˚Â
Ô‰ÂÎ˚ Á‚Û˜‡ÌËfl ÍÓÌÍÂÚÌÓ„Ó ËÌÒÚÛÏÂÌÚ‡
(̇ÔËÏÂ, ËÁ·Âʇڸ ÔÓfl‚ÎÂÌËfl Á‚ÛÍÓ‚
«ÔË͇˛˘ÂÈ» ·‡Ò-„ËÚ‡˚, ËÎË «·‡Òfl˘ÂÈ»
ÙÎÂÈÚ˚-ÔËÍÍÓÎÓ). çÓÚ˚ ‡‚ÚÓχÚ˘ÂÒÍË
Ò‰‚Ë„‡˛ÚÒfl, ˜ÚÓ·˚ ÔÓÔ‡ÒÚ¸ ‚ Û͇Á‡ÌÌ˚È
‰Ë‡Ô‡ÁÓÌ.
■ RTR (Ô‡‚ËÎÓ ÔÓ‚ÚÓÌÓ„Ó ‚ÓÒÔÓËÁ‚‰ÂÌËfl)
ë ÔÓÏÓ˘¸˛ ˝ÚÓ„Ó Ô‡‡ÏÂÚ‡ ÏÓÊÌÓ Û͇Á‡Ú¸, ÌÂÓ·ıÓ‰ËÏÓ ÎË Á‡„ÎÛ¯‡Ú¸ ËÒıÓ‰Ì˚ ÌÓÚ˚ ËÎË ÌÂÚ. äÓÏ ÚÓ„Ó, ÏÓÊÌÓ Á‡‰‡Ú¸
Á‡‚ËÒËÏÓÒÚ¸ ËÁÏÂÌÂÌËfl ‚˚ÒÓÚ˚ Á‚Û͇ ÓÚ ÒÏÂÌ˚ ‡ÍÍÓ‰‡.
Stop (ÓÒÚ‡Ìӂ͇)
çÓÚ˚ ÔÂÂÒÚ‡˛Ú Á‚Û˜‡Ú¸.
Pitch Shift (ÒÍÓθÊÂÌË ‚˚ÒÓÚ˚)
Ç˚ÒÓÚ‡ ÌÓÚ˚ «ÒÍÓθÁËÚ» Ò Û˜ÂÚÓÏ ÚËÔ‡ ÌÓ‚Ó„Ó ‡ÍÍÓ‰‡. î‡Á‡ ‡Ú‡ÍË Ì ‚ÓÒÔÓËÁ‚Ó‰ËÚÒfl.
Pitch Shift to Root (ÒÍÓθÊÂÌË ‚˚ÒÓÚ˚ Ò Û˜ÂÚÓÏ ÓÒÌÓ‚ÌÓ„Ó ÚÓ̇)
Ç˚ÒÓÚ‡ ÌÓÚ˚ «ÒÍÓθÁËÚ» ÔÓ Ì‡Ô‡‚ÎÂÌ˲ Í ‚˚ÒÓÚ ÓÒÌÓ‚ÌÓ„Ó ÚÓ̇ ÌÓ‚Ó„Ó ‡ÍÍÓ‰‡. î‡Á‡ ‡Ú‡ÍË Ì ‚ÓÒÔÓËÁ‚Ó‰ËÚÒfl.
Retrigger (ÔÓ‚ÚÓÌÓ ‚ÓÒÔÓËÁ‚‰ÂÌËÂ)
çÓÚ‡ ‚ÓÒÔÓËÁ‚Ó‰ËÚÒfl Ò Ù‡ÁÓÈ ‡Ú‡ÍË Ì‡ ÌÓ‚ÓÈ ‚˚ÒÓÚÂ, Á‡‰‡‚‡ÂÏÓÈ ËÁÏÂÌÂÌÌ˚Ï ‡ÍÍÓ‰ÓÏ.
Retrigger To Root (ÔÓ‚ÚÓÌÓ ‚ÓÒÔÓËÁ‚‰ÂÌËÂ Ò Û˜ÂÚÓÏ ÓÒÌÓ‚ÌÓ„Ó ÚÓ̇)
çÓÚ‡ ‚ÓÒÔÓËÁ‚Ó‰ËÚÒfl Ò Ù‡ÁÓÈ ‡Ú‡ÍË Ì‡ ÌÓ‚ÓÈ ‚˚ÒÓÚÂ, Á‡‰‡‚‡ÂÏÓÈ ÓÒÌÓ‚Ì˚Ï ÚÓÌÓÏ ËÁÏÂÌÂÌÌÓ„Ó ‡ÍÍÓ‰‡. èË ˝ÚÓÏ Ó̇
Á‚Û˜ËÚ ‚ Ô‰Â·ı ËÒıÓ‰ÌÓÈ ÓÍÚ‡‚˚.
CM
C3-E3-G3
FM
F3-A3-C4
F
M
F
2-A
2-C
3
C
M
C
3-F3-G
3
èËÏÂ: ‚ÂıÌflfl ÌÓÚ‡ – F («Ù‡»)
çÓ‚˚È ÓÒÌÓ‚ÌÓÈ ÚÓÌ
àÒÔÓÎÌflÂÏ˚ ÌÓÚ˚
CM
E3-G3-C4
FM
ÇÂıÌËÈ Ô‰ÂÎ
çËÊÌËÈ Ô‰ÂÎ
F3-A3-C4
C
M
F3-G
3-C
4
èËÏÂ: ҇χfl ÌËÁ͇fl ÌÓÚ‡ – ë3, ‡ ҇χfl ‚˚ÒÓ͇fl – D4
çÓ‚˚È ÓÒÌÓ‚ÌÓÈ ÚÓÌ
àÒÔÓÎÌflÂÏ˚ ÌÓÚ˚
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