Connections

Before connecting the instrument to other electronic components, turn off the power for all components. Before turning the power on or off for all components, set all volume levels to minimum. Also, be sure to set the volumes of all components at their minimum levels and gradually raise the volume controls while playing the instrument to set the desired listening level.
Yamaha cannot be held responsible for damage caused by improper use or modications to the instrument.
Always turn the power off when the instrument is not in use. When using a power adaptor, even when the power switch is in the STANDBY position, electricity is still owing to the instrument at the minimum level. When you are not using the instrument for a long time, make sure you unplug the AC power adaptor from the wall AC outlet. Make sure to discard used batteries according to local regulations.
The illustrations and LCD screens as shown in this owners manual are for instructional purposes only, and may appear somewhat different from those on your instrument.
COPYRIGHT NOTICE This product incorporates and bundles computer programs and contents in which Yamaha owns copyrights or with respect to which it has license to use others copyrights. Such copyrighted materials include, without limitation, all computer software, style les, MIDI les, WAVE data, musical scores and sound recordings. Any unauthorized use of such programs and contents outside of personal use is not permitted under relevant laws. Any violation of copyright has legal consequences. DONT MAKE, DISTRIBUTE OR USE ILLEGAL COPIES. Copying of the commercially available musical data including but not limited to MIDI data and/or audio data is strictly prohibited except for your personal use. Trademarks The company names and product names in this Owners Manual are the trademarks or registered trademarks of their respective companies.
Congratulations and thank you for purchasing the Yamaha EZ-200 PortaTone! Please read this owners manual carefully before using the instrument in order to take full advantage of its various features. Make sure to keep this manual in a safe and handy place even after you nish reading, and refer to it often when you need to better understand an operation or function.

Main features

The EZ-200 is a sophisticated yet easy-touse keyboard with the following features and functions.
Yamaha Education Suite 5 (Y.E.S. 5)
The EZ-200 features the new Yamaha Education Suitea set of learning tools that utilize the latest technology to make studying and practicing music more fun and fullling than ever before! The Yamaha Education Suite includes: Lesson... page 29 The convenient and easy-to-use Lesson feature, guides you through the parts of a songjust like a patient teacher! Select from any one of 100 songs on the EZ-200, and learn the left- and righthand parts independently at rst, then together. Lesson features three easy steps that help you master each song: Listen and Learn, Timing and Waiting. Built-in lighted Key Guide... pages 29, 50 When you are using the Lesson feature or the Dictionary, the key indicators tell you which keys to play. Also, during song playback, they show the keys that are playing. Fingering Guide... page 29 The Fingering guide is shown on the display and shows you how to play the keyboard. Dictionary... page 50 Dictionary is a built-in chord encyclopedia that teaches you how to play specic chords by showing lighting keyboardsperfect for when you know the name of a chord and want to quickly learn how to play it! Notice your Grade.... page 32 The EZ-200 also has the Grade feature. Grade is a virtual teacher, evaluating your practice sessions and rating your performance over four levels.

Basic Operation and Displays
Basic Operation.. 26 Display... 28

Song Lesson

Practice by using the Light Guide function.. 29 Practice by using the Fingering guide.. 29 Lesson 1 (Listen & Learn).. 30 Lesson 2 (Timing).. 31 Lesson 3 (Waiting)... 32

Song settings

Changing the Melody Voice.. 33 Song Volume... 33 Mute... 34 Practice Makes Perfect.. 35
Be sure to do the following operations BEFORE turning on the power.

Power Requirements

Although the instrument will run either from an optional AC adaptor or batteries, Yamaha recommends use of an AC adaptor whenever possible. An AC adaptor is more environmentally friendly than batteries and does not deplete resources.
Using an AC Power Adaptor
q Make sure that the power of the instrument is off
(display is blank, except for notation staff).
Use the specied adaptor (PA-3C, PA-130, or an equivalent recommended by Yamaha) only. The use of other adaptors may result in irreparable damage to both the adaptor and the instrument.
w Connect the AC adaptor to the power supply jack. e Plug the AC adaptor into an AC outlet.
Unplug the AC Power Adaptor when not using the instrument, or during electrical storms.

AC outlet

Using Batteries
q Open the battery compartment cover located on the
For battery operation the instrument requires six 1.5V AA size, LR6 or equivalent batteries. (Alkaline batteries are recommended.) When battery power becomes too low for proper operation, the volume may be reduced, the sound may be distorted, and other problems may occur. When this happens, make sure to replace all batteries, following the precautions listed below.
Use alkaline batteries for this instrument. Other types of batteries (including rechargeable batteries) may have sudden drops of power when battery power becomes low. Make sure to install the batteries with the proper orientation, maintaining the correct polarity (as shown). Incorrect battery installation may result in heat, re and/or leaking of corrosive chemicals. When the batteries run down, replace them with a complete set of six new batteries. NEVER mix old and new batteries. Do not use different kinds of batteries (e.g. alkaline and manganese) at the same time. If the instrument is not to be in use for a long time, remove the batteries from it, in order to prevent possible uid leakage from the battery.
instruments bottom panel. w Insert the six new alkaline batteries, being careful to follow the polarity markings on the side of the compartment. e Replace the compartment cover, making sure that it locks rmly in place.

Turn the power on and adjust the volume

Turning the power on

Press the [STANDBY/ON] switch to turn on the power. Press the [STANDBY/ON] switch again to turn the power off.

Adjust the volume

When turning the power on, bars appear at the left side in the display to indicate the value of the master volume.
Displays the current volume.
When you rst turn on the power, make sure to turn down the volume of the instrument by pressing the MASTER VOLUME [-] button several times. While playing the keyboard, adjust the volume level by using the MASTER VOLUME [+] and [-] buttons.
Press the [+] button to increase the volume. Pressing the [+] button twice increases the bar indication in the display by one.
When the power is turned on, the initial value is automatically set to 12 (indicated by six bars in the display).
Press the [-] button to lower the volume. Pressing the [-] button twice decreases the bar indication in the display by one.
If you are using the instrument in a quiet place and want a lower volume setting to start with, simultaneously hold down the MASTER VOLUME [-] button and turn on the power with the [STANDBY/ ON] switch. This automatically sets the value to 4 (indicated by two bars).

Listen to the Demo Songs

This instrument has 100 built-in Demo Songs.
To listen to the Songs, press the [DEMO] button.
The Songs play back in the Song number order.
Selecting and listening to a specic Song
Select the desired song number and play it.

Press the [SONG] button.

The Song number and name are displayed.
Appears when the Song mode is active. Song number Song name

Step 1 Playing the Songs

Press the [DEMO] or [START/STOP] button again to stop the Song.

Quick Guide

Select the desired Song by using the number buttons [0][9], [+], [-].
Refer to the Song List on page 15.
Press the [START/STOP] button.
The Song will begin playing. You can stop playback at any time by pressing the [START/ STOP] button.

Other Operations

[REW] button.. Fast-reverses through the Song if pressed during playback (no sound is heard during fast reverse). Decreases the measure number if pressed while playback is stopped. [FF] button.. Fast-forwards through the Song if pressed during playback. Increases the measure number if pressed while playback is stopped. [PAUSE] button. Temporarily stops playback. Press this button a second time to resume playback from the point at which it was stopped.

Current transpose value

Transpos
Use the number buttons [0][9], [+], [-] to set the Transpose value between -12 and +12 as required.
The pitch of the Drum Kits Voices (Voice numbers 130142) cannot be changed. Press the [+] and [-] buttons simultaneously to instantly reset the value to its default setting (00).

Tuning

You can ne tune the pitch of the entire instrument. The overall tuning of the instrument can be shifted up or down by a maximum of 100 cents in 1cent increments (100 cents = 1 semitone).
Press the [FUNCTION] button a number of times until Tuning appears.

Currently tuning value

Use the number buttons [0][9], [+] and [-] to set the Tuning value between -100 and +100 as required.
The pitch of the Drum Kits Voices (Voice numbers 130142) cannot be changed. Press the [+] and [-] buttons simultaneously to instantly reset the value to its default setting (000).

One Touch Setting

Sometimes selecting the ideal Voice to play with a Song or Style can be confusing. The One Touch Setting feature automatically selects the most suitable Voice for you when you select a Style or Song. Simply select Voice number 000 to activate this feature.
Press the [VOICE] button, and then select Voice number 000 by using the number buttons [0][9], [+], [-].
Appears when One Touch Setting is on.
This turns the One Touch Setting feature on. One Touch Setting will be turned off if you select any other Voice number.
Changing the tempo of the Song/Style
Songs and Styles can be played at any tempo you desirefast or slow.
Press the [TEMPO/TAP] button to call up the Tempo setting in the display after selecting a Style/Song.
Set the Tempo by using the number buttons [0][9], [+], [-]. You can also set the Tempo by simply tapping the [TEMPO/TAP] button at the required tempofour times for time signatures in 4, and three times for time signatures in 3. You can change the Tempo during Style/Song playback by pressing the [TEMPO/TAP] button just twice.
Press the [+] and [-] buttons simultaneously to instantly reset the value to the default tempo of a Style or Song.

Touch Response

Touch Response On/Off
Keyboard touch response can be turned on by pressing the [TOUCH ON/ OFF] button. When touch response is on you can control the volume of notes according to how hard you play the keys.
Indicates that touch response is on
Press the [TOUCH] button a second time to turn touch response off. When touch response is off the same volume will be produced no matter how hard you play the keys.
Adjusting the Touch Response Sensitivity
The sensitivity of the keyboards touch response can be adjusted in three steps (13). The higher the number, the greater the volume variation produced by the same variation in how hard you play the keysi.e. the keyboard becomes more sensitive. Press and hold the [TOUCH] button for longer than a second until the touch response sensitivity setting display appears.

Various ways to start and stop Style playback

Starting Style playback

The following three methods can be used to start Style playback. In all cases you will need to press the [ACMP ON/OFF] button to turn auto accompaniment on before actually starting Style playback. Whichever method you choose, you can press the [INTRO/ENDING/rit.] before starting playback. To begin your performance, an introduction will play automatically, then will automatically switch to the MAIN section when nished. Immediate Start Press the [START/STOP] button to begin rhythm-only playback of the selected Style. The bass and chords will begin playing as soon as you play a chord in the accompaniment range of the keyboard.
Appears when the auto accompaniment is on

Immediate Start

Chord Start Press the [SYNC START] button and the beat arrows will begin ashing, indicating that the Sync Start standby mode has been engaged. The bass and chords will begin playing as soon as you play a chord in the accompaniment range of the keyboard.

Accompaniment range

Sync Start standby
Style playback begins when you play a chord
Tap Start You can supply a count-in at any tempo you like to start playback. Simply tap the [TEMPO/TAP] button at any tempo4 times for time signatures in 4, and 3 times for time signatures in 3and the selected Style rhythm will begin playing at the tapped tempo. The bass and chords will begin playing as soon as you play a chord in the accompaniment range of the keyboard.
Start at the tapped tempo

Stopping Style playback

The following three methods can be used to stop Style playback. Immediate Stop Playback will stop as soon as you press the [START/STOP] button.

Immediate Stop

Stop and Enter Sync Start Mode If you press the [SYNC START] button during Style playback, playback will stop immediately and the Sync Start standby mode will be engaged (beat arrows will ash).
Stop immediately and enter the Sync Start mode
Play the Ending and Stop Press the [INTRO/ENDING/rit.] button to begin playing an ending section. Playback will stop when the ending has played all the way through.

Stop after ending plays

If you press the [INTRO/ENDING/rit.] button a second time (while the ending is playing), the ending will play in ritardando (the tempo will gradually get slower).
Pattern Variation (Sections)
The instrument features a wide variety of Style sections (patterns) that allow you to vary the arrangement of the accompaniment to match the Song you are playing.

Main A/B

Ending

Auto ll

Notes in parentheses can be omitted. Playing two same root keys in the adjacent octaves produces accompaniment based only on the root. A perfect fth (1+5) produces accompaniment based only on the root and fth which can be used with both major and minor chords. The chord ngerings listed are all in root position, but other inversions can be usedwith the following exceptions: m7, m7b5, 6, m6, sus4, aug, dim7, 7b5, 6(9), 1+2+5 Inversion of the 7sus4 and m7(11) chords are not recognized 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 seventh). Two-note ngerings will produce a chord based on the previously played chord.
1 - (2) - 3 - #4 - 5 - 7 or Major seventh add sharp eleventh [M7(#11)] 1 - 2 - 3 - #4 - (5) - 7 Flatted fth [(b5)] Major seventh atted fth [M7b5] Suspended fourth [sus4] Augmented [aug] Major seventh augmented [M7aug] Minor [m] Minor add ninth [m(9)] Minor sixth [m6] Minor seventh [m7] Minor seventh ninth [m7(9)] Minor seventh add eleventh [m7(11)] Minor major seventh [mM7] Minor major seventh ninth [mM7(9)] Minor seventh atted fth [m7b5] Minor major seventh atted fth [mM7b5] Diminished [dim] Diminished seventh [dim7] Seventh [7] Seventh atted ninth [7(b9)] Seventh add atted thirteenth [7(b13)] Seventh ninth [7(9)] Seventh add sharp eleventh [7(#11)] Seventh add thirteenth [7(13)] Seventh sharp ninth [7(#9)] Seventh atted fth [7b5] Seventh augmented [7aug] Seventh suspended fourth [7sus4] One plus two plus ve [1+2+5] 1 - 3 - b- 3 - b5 - 7 1-4-- 3 - #- (3) - #5 - - b3 - - 2 - b3 - - b3 - 5 - - b3 - (5) - b- 2 - b3 - (5) - b- (2) - b3 - 4 - 5 - (b7) 1 - b3 - (5) - - 2 - b3 - (5) - - b3 - b5 - b- b3 - b5 - - b3 - b- b3 - b5 - - 3 - (5) - b7 or 1 - (3) - 5 - b- b2 - 3 - (5) - b- 3 - 5 - b6 - b- 2 - 3 - (5) - b- (2) - 3 - #4 - 5 - b7 or 1 - 2 - 3 - #4 - (5) - b- 3 - (5) - 6 - b- #2 - 3 - (5) - b- 3 - b5 - b- 3 - #5 - b- 4 - (5) - b7 1-2-5
* These chords are not shown in the Chord Dictionary function.
Looking up Chords Using the Chord Dictionary
The Dictionary function is essentially a built-in chord dictionary that shows you the individual notes of chords. It is ideal when you know the name of a certain chord and want to quickly learn how to play it.
Press and hold the [WAITING] button for longer than a second. Dict. will appear in the display.

DICTIONA

As an example, well learn how to play a GM7 (G major seventh) chord. Press the G key in the section of the keyboard labeled ROOT. (The note doesnt sound.) The root note you set is shown in the display.

Keys which you should play will light Keys for chord type dictionary

Keys for root dictionary

Press the M7 (major seventh) key in the section of the keyboard labeled CHORD TYPE. (The note doesnt sound.) The notes you should play for the specied chord (root note and chord type) are shown in the display as notation, and the keys which you should play will light.

Notation of chord

Chord name (root and type)
Major chords are usually indicated by the root name only. For example, the indication C in a score refers to a C Major chord. To look up the ngering for a major chord press the root key and then the M chord type key.

Keys for GM7 chord

Try playing a chord in the auto accompaniment section of the keyboard, checking the indications in the display. When youve played the chord properly, a bell sound signals your success and the chord name in the display ashes. To call up possible inversions of the chord, press the [+]/[-] buttons.

About chords

Playing two or more notes together simultaneously creates a chord. Playing a note together with two other notes spaced three notes (steps) apartsuch as the notes C, E and Gcreates a harmonious sound. Chords like these are called triads and they play an important role in most music.
Taking the chord above as an example, the lowest note of this triad is called the root note. This is the central note sound, and it supports or anchors the rest of the notes chord. Youll notice that the middle note of the chord above (E) is the third step in the succession of scale notesC, D, then E. There are two types of thirds in chords: major thirds and minor thirds.
Major thirdfour half steps from the root Minor thirdthree half steps from the root
Well also alter the top note of our original chord and make three additional chords, as shown below. (The captions indicate the intervals between each of the notes.)

Major chord

Minor chord

Augmented chord

Diminished chord

Minor 3rd

Major 3rd
The basic characteristics of the chord sound are same, no matter if we change the order of the notes from bottom to top, or if we add other same name notes in different octaves. Beautiful sounding harmonies can be built in this manner, and emotional music can be created by playing different chords one after the other according to commonly accepted rules. Harmony determines the nature of chords, and music is created based on harmony.

The batteries are low or dead. Replace all six batteries with completely new ones, or use the optional AC adaptor.
Is External Clock set to ON? Make sure External Clock is set to OFF; refer to External Clock Settings on page 56, 53. Make sure that the Style Volume (page 47) is set to an appropriate level. Is the Split Point set at an appropriate key for the cords you are playing? Set the Split Point at an appropriate key (page 36). Is the ACMP ON indicator showing in the display? If it is not showing press the [ACMP ON/OFF] button so that it does show. This is not a malfunction. Style number 093100 (Pianist) have no rhythm parts, so no rhythm will play. The other parts will begin playing when you play a chord in the accompaniment range of the keyboard if auto accompaniment is turned on. The instrument is polyphonic up to a maximum of 32 notes. If a style or Song is playing back at the same time, some notes/sounds may be omitted (or stolen) from the accompaniment or Song. The polarity of the footswitch is reversed. Make sure that the footswitch plug is properly connected to the SUSTAIN jack before turning on the power. Always press the [STYLE] button rst when you are going to use any style-related function. Make sure that you are not pressing the [R] or [L] buttons while the Song is playing. If you press one of the part buttons while playing the Song and before starting the Lesson, these buttons serve to mute the corresponding Song tracks. Stop the Song rst, then select the desired part and start the Lesson. The AWM tone generation method uses multiple recordings (samples) of an instrument across the range of the keyboard; thus, the actual sound of the voice may be slightly different from note to note.
The Style does not sound properly.
No rhythm accompaniment plays when the [START/STOP] button is pressed after selecting Style number 093100 (Pianist). Not all of the voices seem to sound, or the sound seems to be cut off. The footswitch (for sustain) seems to produce the opposite effect. For example, pressing the footswitch cuts off the sound and releasing it sustains the sounds. The ACMP ON indicator does not appear when the [ACMP ON/OFF] button is pressed. The part indications, such as Right, Left and Both Hands, do not appeareven when pressing the [R] or [L] buttons for the Lesson.
The sound of the voice changes from note to note.

Voice List

Maximum Polyphony
The instrument has 32-note maximum polyphony. This means that it can play a maximum of up to 32 notes at once, regardless of what functions are used. Auto accompaniment uses a number of the available notes, so when auto accompaniment is used the total number of available notes for playing on the keyboard is correspondingly reduced. The same applies to the Song functions. If the maximum polyphony is exceeded, earlier played notes will be cut off and the most recent notes have priority (last note priority).

Velocity Crossfade Upright Bass
Finger Bass 2 Velocity Strings Orgel Sine Marimba Organ Bass Rotary Organ Organ Flute Tango Accordion 2 Analog Voice Impact Mellow Distorted Lead Fat & Perky Fantasy Nylon Harp Goblins Synth Melodic Tom 2 Analog Tom 70's Drawbar Organ 2 Slow Rotary Tremolo Organ Flute Guitar Feedback Modulated Bass Solo Sine Pure Pad Soft Whirl African Wind Soft Crystal Harp Vox

Voice No. 375

String Slap Flute Key Click Shower Thunder Wind Stream Bubble Feed Dog Horse Bird Tweet 2 Maou Phone Call Door Squeak Door Slam Scratch Cut Scratch Split Wind Chime Telephone Ring 2 Car Engine Ignition Car Tires Squeal Car Passing Car Crash Siren Train Jet Plane Starship Burst Roller Coaster Submarine Laugh Scream Punch Heartbeat Footsteps Machine Gun Laser Gun Explosion Firework

Drum Kit List

indicates that the drum sound is the same as Standard Kit 1. Each percussion voice uses one note. The MIDI Note # and Note are actually one octave lower than keyboard Note # and Note. For example, in Standard Kit 1, the Seq Click H (Note# 36/Note C1) corresponds to (Note# 24/Note C0). Key Off: Keys marked O stop sounding the instant they are released. Voices with the same Alternate Note Number (*1 4) cannot be played simultaneously. (They are designed to be played alternately with each other.)
Voice No. MSB(0127) / LSB(0127) / PC(1128) Keyboard MIDI Key Alternate Off Group Note# Note Note# Note 25 C# C# -26 D D -27 D# D# -E E -F F -30 F# F# -31 G G -G# G# -A A -A# A# -B B -C C C# C# D D 0 O 39 D# D# E E 0 O 41 F F 0 O 42 F# F# G G G# G# A A A# A# B B C C C# C# D D D# D# E E F F F# F# 55 G G G# G# 57 A A A# A# 59 B B C C C# C# D D D# D# E E F F F# F# G G G# G# A A A# A# B B C C C# C# D D D# D# E E F F F# F# G G G# G# A A A# A# B B 3 O 84 C C 4 O 85 C# C# D D 4 O 87 D# D# E E F F F# F# G G G# G# 93 A A 94 A# A# B B C C C# C# D D D# D# E E F F F# F# G G 127/0/1 Standard Kit 1 Surdo Mute Surdo Open Hi Q Whip Slap Scratch Push Scratch Pull Finger Snap Click Noise Metronome Click Metronome Bell Seq Click L Seq Click H Brush Tap Brush Swirl Brush Slap Brush Tap Swirl Snare Roll Castanet Snare H Soft Sticks Bass Drum Soft Open Rim Shot Bass Drum Hard Bass Drum Side Stick Snare M Hand Clap Snare H Hard Floor Tom L Hi-Hat Closed Floor Tom H Hi-Hat Pedal Low Tom Hi-Hat Open Mid Tom L Mid Tom H Crash Cymbal 1 High Tom Ride Cymbal 1 Chinese Cymbal Ride Cymbal Cup Tambourine Splash Cymbal Cowbell Crash Cymbal 2 Vibraslap Ride Cymbal 2 Bongo H Bongo L Conga H Mute Conga H Open Conga L Timbale H Timbale L Agogo H Agogo L Cabasa Maracas Samba Whistle H Samba Whistle L Guiro Short Guiro Long Claves Wood Block H Wood Block L Cuica Mute Cuica Open Triangle Mute Triangle Open Shaker Jingle Bell Bell Tree 131 127/0/2 Standard Kit 127/0/9 Room Kit 133 127/0/17 Rock Kit 134 127/0/25 Electronic Kit

Reverse Cymbal Hi Q 2 AnSD Snappy AnBD Dance-1 AnSD OpenRim AnBD Dance-2 AnBD Dance-3 Analog Side Stick AnSD Q AnSD Ana+Acoustic Analog Tom 1 Analog HH Closed 3 Analog Tom 2 Analog HH Closed 4 Analog Tom 3 Analog HH Open 2 Analog Tom 4 Analog Tom 5 Analog Cymbal Analog Tom 6

SD Jazz H Light

Brush Slap L
BD Jazz SD Jazz L SD Jazz M Jazz Tom 1 Jazz Tom 2 Jazz Tom 3 Jazz Tom 4 Jazz Tom 5 Jazz Tom 6
BD Jazz Brush Slap Brush Tap Brush Tom 1 Brush Tom 2 Brush Tom 3 Brush Tom 4 Brush Tom 5 Brush Tom 6

Analog Cowbell

Analog Conga H Analog Conga M Analog Conga L

Analog Maracas

Analog Claves
139 127/0/49 Symphony Kit

140 126/0/1 SFX Kit 1

141 126/0/2 SFX Kit 2
142 126/0/113 Sound Effect Kit

Drum Loop

Bass Drum L Gran Cassa Gran Cassa Mute Marching Sn M String Slap Marching Sn H Jazz Tom 1 Jazz Tom 2 Jazz Tom 3 Jazz Tom 4 Jazz Tom 5 Hand Cym. L Jazz Tom 6 Hand Cym.Short L Flute Key Click Car Engine Ignition Car Tires Squeal Car Passing Car Crash Siren Train Jet Plane Starship Burst Roller Coaster Submarine
Cutting Noise Cutting Noise 2
Phone Call Door Squeak Door Slam Scratch Cut Scratch Wind Chime Telephone Ring 2
Hand Cym. H Hand Cym.Short H
Heartbeat Footsteps Door Squeak Door Slam Applause Camera Horn Hiccup Cuckoo Clock Stream Frog Rooster Dog Cat Owl Horse Gallop Horse Neigh Cow Lion Scratch Yo! Go! Get up! Whoow!
Huuaah! Shower Thunder Wind Stream Bubble Feed Laugh Scream Punch Heartbeat Footsteps

Uh!+Hit

Dog Horse Bird Tweet 2
Machine Gun Laser Gun Explosion Firework

Style List

Style No. 039 Style No. Style No. 100
Style Name 8 Beat 8BeatModern 60sGtrPop 8BeatAdria 60s8Beat 8Beat OffBeat 60sRock HardRock RockShuffle 8BeatRock 16 Beat 16Beat PopShuffle GuitarPop 16BtUptempo KoolShuffle HipHopLight Ballad PianoBallad LoveSong 6/8ModernEP 6/8SlowRock OrganBallad PopBallad 16BeatBallad Dance EuroTrance Ibiza SwingHouse Clubdance ClubLatin Garage1 Garage2 TechnoParty UKPop HipHopGroove HipShuffle HipHopPop Disco 70sDisco LatinDisco SaturdayNight DiscoHands
Style Name Swing & Jazz BigBandFast BigBandBallad JazzClub Swing1 Swing2 Five/Four Dixieland Ragtime R&B Soul DetroitPop 6/8Soul CrocoTwist Rock&Roll ComboBoogie 6/8Blues Country CountryPop CountrySwing Country2/4 Bluegrass Latin BrazilianSamba BossaNova Tijuana DiscoLatin Mambo Salsa Beguine Reggae Ballroom VienneseWaltz EnglishWaltz Slowfox Foxtrot Quickstep Tango Pasodoble Samba ChaChaCha Rumba Jive

Style Name Traditional USMarch 6/8March GermanMarch PolkaPop OberPolka Tarantella Showtune ChristmasSwing ChristmasWaltz ScottishReel Waltz SwingWaltz JazzWaltz CountryWaltz OberWalzer Musette Pianist Stride PianoSwing Arpeggio Habanera SlowRock 8BeatPianoBallad 6/8PianoMarch PianoWaltz

Effect Type List

Reverb Types
No. 10 Hall 13 Room 12 Stage 12 Plate 12 Off Reverb Type Concert hall reverb. Small room reverb. Reverb for solo instruments. Simulated steel plate reverb. No effect. Description
MIDI Implementation Chart
YAMAHA Model EZ-200 Transmitted Recognized Remarks
[ Portable Keyboard ] MIDI Implementation Chart
Date:18-Jan-2007 Version:1.0
Function. 1 - 16 x 3 x ************** 0 - - 127 o 9nH,v=1-127 x x x o 3 x x 1 - 16 x

Basic Channel

Default Changed

Default Messages Altered

Note Number o 9nH,v=1-127 x x x x
0 - 127 : True voice **************

Velocity

Note ON Note OFF

After Touch

Key's Ch's

Pitch Bend

*1 *1 *1 *1 *1
Bank Select Modulation wheel Data Entry(MSB) Data Entry(LSB) Expression Sustain

Control

Change

0,7,64 71,73,74

o x x x o x o x

o o o x o o o o

91,93 96,97 100,101 *1 o 0 - 127 o 0 - 127 ************** o o

o x o x x

o o o o o
Release Time Portamento Cntrl Effect 1,3 Depth RPN Inc,Dec RPN LSB,MSB

Prog Change

: True #

System Exclusive

Common o o x x x x o x o(120,126,127) o(121) o(122) o(123-125) o x o o
: Song Pos. : Song Sel. : Tune
System : Clock Real Time: Commands
:All Sound OFF :Reset All Cntrls :Local ON/OFF Mes- :All Notes OFF sages:Active Sense :Reset
*1 Refer to #2 on page 70. Mode 2 : OMNI ON ,MONO Mode 4 : OMNI OFF,MONO o : Yes x : No
Mode 1 : OMNI ON , POLY Mode 3 : OMNI OFF, POLY

MIDI Data Format

NOTE: 1 By default (factory settings) the instrument ordinarily functions as a 16-channel multi-timbral tone generator, and incoming data does not affect the panel voices or panel settings. However, the MIDI messages listed below do affect the panel voices, auto accompaniment, and songs. MIDI Master Tuning System exclusive messages for changing the Reverb Type and Chorus Type. 2 Messages for these control change numbers cannot be transmitted from the instrument itself. However, they may be transmitted when playing the accompaniment, song or using the Harmony effect. 3 Exclusive <GM System ON> F0H, 7EH, 7FH, 09H, 01H, F7H This message automatically restores all default settings for the instrument, with the exception of MIDI Master Tuning. <MIDI Master Volume> F0H, 7FH, 7FH, 04H, 01H, ll, mm, F7H This message allows the volume of all channels to be changed simultaneously (Universal System Exclusive). The values of mm is used for MIDI Master Volume. (Values for ll are ignored.) <MIDI Master Tuning> F0H, 43H, 1nH, 27H, 30H, 00H, 00H, mm, ll, cc, F7H This message simultaneously changes the tuning value of all channels. The values of mm and ll are used for MIDI Master Tuning. The default value of mm and ll are 08H and 00H, respectively. Any values can be used for n and cc. <Reverb Type> F0H, 43H, 1nH, 4CH, 02H, 01H, 00H, mmH, llH, F7H mm : Reverb Type MSB ll : Reverb Type LSB Refer to the Effect Map (page 70) for details. <Chorus Type> F0H, 43H, 1nH, 4CH, 02H, 01H, 20H, mmH, llH, F7H mm : Chorus Type MSB ll : Chorus Type LSB Refer to the Effect Map (page 70) for details. 4 When the accompaniment is started, an FAH message is transmitted. When accompaniment is stopped, an FCH message is transmitted. When the clock is set to External, both FAH (accompaniment start) and FCH (accompaniment stop) are recognized. 5 Local ON/OFF <Local ON> Bn, 7A, 7F <Local OFF> Bn, 7A, 00 Value for n is ignored.

Limited Warranty

90 DAYS LABOR 1 YEAR PARTS
Yamaha Corporation of America, hereafter referred to as Yamaha, warrants to the original consumer of a product included in the categories listed below, that the product will be free of defects in materials and/or workmanship for the periods indicated. This warranty is applicable to all models included in the following series of products:
EZ SERIES OF PORTATONE ELECTRONIC KEYBOARDS
If during the rst 90 days that immediately follows the purchase date, your new Yamaha product covered by this warranty is found to have a defect in material and/or workmanship, Yamaha and/or its authorized representative will repair such defect without charge for parts or labor. If parts should be required after this 90 day period but within the one year period that immediately follows the purchase date, Yamaha will, subject to the terms of this warranty, supply these parts without charge. However, charges for labor, and/or any miscellaneous expenses incurred are the consumers responsibility. Yamaha reserves the right to utilize reconditioned parts in repairing these products and/or to use reconditioned units as warranty replacements. THIS WARRANTY IS THE ONLY EXPRESS WARRANTY WHICH YAMAHA MAKES IN CONNECTION WITH THESE PRODUCTS. ANY IMPLIED WARRANTY APPLICABLE TO THE PRODUCT, INCLUDING THE WARRANTY OF MERCHANT ABILITY IS LIMITED TO THE DURATION OF THE EXPRESS WARRANTY. YAMAHA EXCLUDES AND SHALL NOT BE LIABLE IN ANY EVENT FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES. Some states do not allow limitations that relate to implied warranties and/or the exclusion of incidental or consequential damages. Therefore, these limitations and exclusions may not apply to you. This warranty gives you specic legal rights. You may also have other rights which vary from state to state.
CONSUMERS RESPONSIBILITIES
If warranty service should be required, it is necessary that the consumer assume certain responsibilities: 1. Contact the Customer Service Department of the retailer selling the product, or any retail outlet authorized by Yamaha to sell the product for assistance. You may also contact Yamaha directly at the address provided below. 2. Deliver the unit to be serviced under warranty to: the retailer selling the product, an authorized service center, or to Yamaha with an explanation of the problem. Please be prepared to provide proof purchase date (sales receipt, credit card copy, etc.) when requesting service and/or parts under warranty. 3. Shipping and/or insurance costs are the consumers responsibility.* Units shipped for service should be packed securely. *Repaired units will be returned PREPAID if warranty service is required within the rst 90 days. IMPORTANT: Do NOT ship anything to ANY location without prior authorization. A Return Authorization (RA) will be issued that has a tracking number assigned that will expedite the servicing of your unit and provide a tracking system if needed. 4. Your owners manual contains important safety and operating instructions. It is your responsibility to be aware of the contents of this manual and to follow all safety precautions.

Owners Manual

Congratulations!
You are the proud owner of a Yamaha PortaTone. Your PortaTone is a high-quality musical instrument that incorporates advanced Yamaha digital technology and many versatile features. In order to obtain maximum performance and enjoyment from your PortaTone, we urge you to read this Owners Manual thoroughly while trying out the various features described. Keep the Owners Manual in a safe place for later reference.

CONTENTS

BEFORE YOU BEGIN.. 1 Power Supply.. 1 Setting Up the Music Stand.. 1 Maintenance... 1 NOMENCLATURE... 2 Top Panel Controls.. 3 Rear Panel Connectors.. 3 SELECTING AND PLAYING VOICES. 4 SUSTAIN.. 5 DUAL (PSR-300 only).. 5 TRANSPOSE.. 5 THE SPLIT MODE... 6 RHYTHM ACCOMPANIMENT. 7 AUTO ACCOMPANIMENT.. 9 Single Finger Accompaniment.. 9 Fingered Accompaniment.. 10 AUTO HARMONY.. 11 THE CHORD MEMORY.. 11 Recording.. 11 Bank Playback... 12 Chain Playback... 12 SONG BOOK... 13 MOVING UP TO MIDI (PSR-300 only).. 14 A Brief Introduction to MIDI.. 14 PSR-300 MIDI Settings & Functions. 15 TROUBLESHOOTING.. 17 SPECIFICATIONS.. 18 FINGERING CHART.. 19 SONG BOOK SCORES. 23
Sing, Happy Birthday to You, Something, and Edelweiss, included in the PSR-200/300 SONG BOOK, are published for Yamaha Corporation by Hal Leonard Publishing Corporation.

BEFORE YOU BEGIN

Power Supply
Your PSR-200 or PSR-300 will run either from batteries or an optional power adapter. Follow the instructions below according to the power source you intend to use. Using Batteries Six 1.5V D size (SUM-1 or R-20) or equivalent batteries must first be installed in the battery compartment.
Before replacing the batteries, make sure that the power is turned off. During battery replacement the memory will be backed up for approximately 1 minute.
Setting Up the Music Stand
Insert the bottom edge of the music stand into the slot located at the rear of the PSR-200/PSR-300 control panel.

1. 2. 3.

Open the battery compartment cover located on the instruments bottom panel. Insert the six batteries, being careful to follow the polarity markings on the cabinet. Replace the compartment cover, making sure that it locks firmly in place.

Maintenance

Location Avoid exposure to direct sunlight or other sources of heat. Never leave it inside a car where it can get very hot. It may cause discoloration or deformation. Vibration, excessive dust, cold, low or high humidity can also cause malfunction. Handling Avoid rough handling. Dont drop or jolt the PSR-200/300 as this can damage the internal circuitry. Pressing too hard on keys or controls may lead to malfunctions. When cords are plugged into the rear panel jacks, pay particular attention not to apply excessive force to them since this may damage the terminals. Cleaning Clean the exterior with a soft, dry cloth. Using chemical solvents will damage the finish. Interference Through Electromagnetic Fields Do not use your PSR-200/300 close to television sets or other equipment receiving electromagnetic signals as this could cause interference noise in the other appliance. Service and Modifications Your PSR-200/300 contains no user serviceable parts. Opening it or tampering with it in any way can lead to electrical shock as well as damage. Refer all servicing to qualified YAMAHA personnel. YAMAHA is NOT responsible for damage caused by improper use.
* The included batteries are for testing purposes. Their service life might be considerably shortened due to storage conditions, etc.

Caution:

1. When the batteries run down, replace them with a complete set of six new batteries. NEVER mix old and new batteries. 2. Do not use different kinds of batteries at the same time. 3. In case electrolyte has leaked into the battery compartment, wipe it off completely before installing new batteries. 4. To prevent possible damage due to battery leakage, remove the batteries from the instrument if it is not to be used for an extended period of time.
Auto Power OFF To prevent unnecessary battery drainage, the PSR-200/PSR300 features an Auto Power OFF function that automatically turns the power OFF if the instrument is not used for approximately 10 minutes. The Auto Power OFF function does not operate when the PSR-200/PSR-300 is powered from an optional AC Power Adaptor, as described below. Using An Optional AC Power Adaptor Plug the DC output cable from an optional Yamaha PA-3, PA-4, or PA-40 AC Power Adaptor into the DC IN jack on the rear panel of the PSR-200/PSR-300, then plug the AC Power Adaptor into a convenient wall AC power socket. The internal batteries are automatically disconnected when an AC Power Adaptor is used. Disconnect the AC Power Adaptor when not using your PSR-200/PSR-300.

Use ONLY a Yamaha PA-3, PA-4, or PA-40 AC Power Adaptor to power your instrument from the AC mains. Other adaptors may cause serious damage to your PSR-200/PSR-300.

NOMENCLATURE

PSR-200

PSR-300

Top Panel Controls
[POWER] Button... page 4 [MODE] Button... page 6, 9, 10 [MASTER VOLUME] Control.. page 4 [ACCOMPANIMENT VOLUME] B u t t o n s.. page 8, 10 [TRANSPOSE] Buttons... page 5 [TEMPO] Buttons... page 7, 10, 11 [SPLIT POINT CHANGE] Button.. page 6, 9, 10 [INTRO/FILL IN] Button... page 8, 9, 10, 12 [SYNCHRO START/ENDING] Button.. page 7, 8, 9, 10, 12 [START/STOP] Button.. page 7, 8, 9, 10, 12 [VOICE/STYLE] Button.. page 4, 6, 7 Numeric VOICE/STYLE Buttons.. page 4, 7 [DUAL VOICE] Button (PSR-300 only).. page 5 [SUSTAIN] Button... page 5 [AUTO HARMONY] Buttons.. page 11 [CHORD MEMORY] Buttons.. page 11, 12, 13 [SONG BOOK] Buttons.. page 13, 14 MULTI DISPLAY.. page 4 ~ 11, 13 VOICE LIST... page 4 STYLE LIST... page 7 SONG LIST... page 13

Rear Panel Connectors

DC IN Jack The DC output cord from an optional Yamaha PA-3, PA-4, or PA-40 AC Power Adaptor should be plugged in here when the PSR-200 or PSR-300 is to be powered from the AC mains supply (refer to Power Supply on page 1 for more details). HEADPHONES/AUX. OUT Jack A standard pair of stereo headphones can be plugged in here for private practice or late-night playing. The internal speaker system is automatically shut off when a pair of headphones is plugged into the HEADPHONES jack. The HEADPHONFS/AUX. OUT jack can also be used to deliver the output of the PSR-200/PSR-300 to a keyboard amplifier, stereo sound system, mixing console or tape recorder. MIDI IN and OUT Connectors (PSR-300 only) The MIDI IN connector receives MIDI data from an external MIDI device which can be used to control the PSR-300. The MIDI OUT connector transmits MIDI data generated by the PSR-300 (e.g. note and velocity dam produced by playing the keyboard). More details on MIDI are given in MOVING UP TO MIDI on page 14.
SELECTING AND PLAYING VOICES
Press the [POWER] button to turn the power ON. The MULTI DISPLAY will light when the power is ON.
5. The selected voice can now be played on the instruments
Slide the [MASTER VOLUME] control to a position about half way between the MIN and MAX setting. You can set this control for the most comfortable volume level after you begin playing. keyboard.

Note that the PSR-300s keyboard is touch response that is, you can control the loudness of the sound to a certain degree according to how hard you play the keys. The degree of touch sensitivity is different for each voice. The PSR-200 and PSR-300 feature a maximum polyphony of 28-notes (depending in some cases on the selected voice), so up to 28 notes can be played simultaneously, including extra notes played when the automatic accompaniment, split, or dual voice features of this instrument are used. Full will appear on the MULTI DISPLAY if the 28-note limit is exceeded. When the power is initially turned ON, the PIANO voice is automatically selected and its number (00) is shown on the MULTI DISPLAY.
3. If the VOICE indicator is not lit, press the [VOICE/
STYLE] button once so that it does light. The number of the currently selected voice will appear on the MULTI DISPLAY when the VOICE indicator is lit.

Keyboard Percussion

When the DRUMS voice is selected (voice number 99), you can play 25 different drum and percussion instruments on the black keys. The percussion instruments played by the various keys are marked by symbols above the black keys (the white keys produce no sound).
Select any of the PSR-200/PSR-300s 100 voices by using one of the following methods: Voice Selection Method 1: Choose one of the 100 voices numbered 00 through 99 shown on the VOICE LIST then enter its number using the numeric VOICE SELECT buttons. To select ELECTRIC ORGAN 1 (number 12), for example, first press 1 and then 2. The number 12 should then appear on the MULTI DISPLAY.
The TRANSPOSE function described on page 5 does not affect the DRUMS sound.
DRUM & PERCUSSION INSTRUMENT KEY ASSIGNMENTS
Key Instrument C#1 BD Reverb D#1 Bass Drum F#1 Bass Tom G#1 Lo Tom A#1 Mid Tom C#2 Hi Tom D#2 Snare Reverb Symbol Key Instrument G#3 Hi-Hat Foot A#3 Crash Cymbal Symbol
C#4 Splash Cymbal D#4 Ride Cymbal F#4 Synth Lo Tom
G#4 Synth Mid Tom A#4 Synth Hi Tom
Voice Selection Method 2: The [+] and [-] buttons in the numeric button group can be used to increment (increase by one) or decrement (decrease by one) the current voice number. Press the [+] button briefly to select the voice one number higher than the current voice, or the [-] button to select the voice one number lower than the current voice. If you hold the [+] or [-] button down, the voice number will increment or decrement continuously simply release the button when the desired voice number has been reached.

The PSR-200/PSR-300 [TRANSPOSE] buttons makes it possible to shift the pitch of the entire keyboard up or down in semitone intervals up to a maximum of 12 semitones (one octave). Transposing the pitch of the PSR-200/PSR-300 keyboard makes it easier to play in difficult key signatures, and you can simply match the pitch of the keyboard to the range of a singer or other instrumentalist. and buttons are used for transThe TRANSPOSE or button is position. The first time the TRANSPOSE pressed the current transpose value will appear on the MULTI DISPLAY. While the current transpose value is still showing button to increase on the display, press the TRANSPOSE button to lower the pitch the pitch of the keyboard, or the The selected degree of transposition will be displayed on the or button MULTI DISPLAY while the TRANSPOSE is pressed, and for approximately 2 seconds after either TRANSPOSE button is released.
The transposition range is from -12 to +12, with -12 corresponding to downward transposition by 12 semitones (one octave, and +12 corresponding to upward transposition by 12 semitones. 0 is the normal keyboard pitch value. The normal transpose value (0) can be recalled at any time by pressing buttons at the same time. both the TRANSPOSE and
The transpose value is automatically set to 0 whenever the power switch is turned ON.

THE SPLIT MODE

The PSR-200/PSR-300 SPLIT mode allows you to play two voices at once one with the left hand and one with the right. The left-hand voice can be played to the left of the split point, set as described below, and the right-hand voice can be played to the right of the split point.
Select the right-hand and left-hand voices as required. When the SPLIT mode is first selected the current voice is assigned to the right-hand keys. If no other left-hand voice has been selected since the PSR-200/PSR-300 was turned ON, the ELECTRIC BASS voice (number 82) will be assigned to the left-hand keys.
The left-hand voice is octave-shifted to provide the best sound in the left-hand range.
Press the [MODE] button as many times as necessary until the SPLIT indicator lights this selects the SPLIT mode.
2. If necessary, set the split point as described below:
Setting the SPLIT Mode Split Point: The split point for the SPLIT mode is initially set at the C3 key. It can be set to any other key by pressing the desired split-point key while holding the [SPLIT POINT CHANGE] button. The split point is shown on the MULTI DISPLAY for as long as the [SPLIT POINT CHANGE] button is held. The C3 key, for example, would be displayed as C3. F#2 would be displayed as F-2. The sharp is indicated by the lit bar between the F and the 2. The SPLIT mode split point is retained in memory and will be recalled whenever the SPLIT mode is selected. Note that the split-point key is included in the righthand section of the keyboard.

Changing the Right and Left-hand Voices: Make sure the [VOICE/STYLE] button VOICE indicator is lit (press the [VOICE/STYLE] button once if it isnt). To change the right-hand voice press a key to the right of the split point. The current right-hand voice number will be shown on the MULTI DISPLAY and a new righthand voice can be selected in the normal way. To change the left-hand voice press a key to the left of the split point. The current left-hand voice number will be shown on the MULTI DISPLAY and a new left-hand voice can be selected in the normal way.
When playing in the SPLIT mode, the MULTI DISPLAY will switch between the left- and right-hand voice numbers according to whether notes are played on the left- or right-hand section of the keyboard. The PSR-300 DUAL indicator flashes according to the left- and righthand section DUAL mode settings when the SPLIT and DUAL modes are used together.
To initialize the split point to its original default value, turn the [POWER] button on while holding the [SPLIT POINT CHANGE] button. The SINGLE FINGER and FINGERED split points (described later) are also initialized by this procedure.

RHYTHM ACCOMPANIMENT

Selecting an Accompaniment Style
1. If the STYLE indicator is not lit, press the [VOICE/
STYLE] button once so that it does light. The number of the currently selected style will appear on the MULTI DISPLAY when the STYLE indicator is lit.

Setting the Tempo

The first time the TEMPO button is pressed the or current tempo will appear on the MULTI DISPLAY. While the current tempo value is still showing on the display, press the TEMPO button to increase the tempo, or the TEMPO button to decrease the tempo. The selected tempo will be displayed on the MULTI DISPLAY (in quarter-note beats per button is pressed, and for or minute) while the TEMPO approximately 2 seconds after either TEMPO button is released. The available tempo range is from 40 to 240 beats per minute. Each accompaniment style has a different default tempo which is automatically set whenever a new style is selected (but not when a new style is selected while the accompaniment is playing). The default tempo for the currently selected accompaniment style can be recalled at any time by pressing buttons at the same time. and both the TEMPO
2. Select any of the PSR-200/PSR-300s 50 accompaniment
styles by using one of the two following methods: 1: Choose one of the 50 accompaniment styles numbered 00 through 49 shown on the STYLE LIST then enter its number using the numeric VOICE/STYLE buttons. To select FUSION1 (number 27), for example, first press 2 and then 7. The number 27 should then be displayed on the MULTI DISPLAY.
The tempo is automatically set to the default value for the DANCE1 style whenever the power switch is turned ON. It is also possible to adjust the tempo after starting playback of the accompaniment. This allows you to set the optimum tempo by ear.

Starting the Accompaniment
2: The [+] and [-] buttons in the VOICE/STYLE group can be used to increment (increase by one) or decrement (decrease by one) the current accompaniment style number. Press the [+] button briefly to select the accompaniment style one number higher than the current accompaniment style, or the [-] button to select the accompaniment style one number lower than the current accompaniment style. If you hold the [+] or [-] button down, the accompaniment style number will increment or decrement continuously simply release the button when the desired accompaniment style number has been reached. Press the [START/STOP] button to start the selected accompaniment immediately, or press the [SYNCHRO START/ENDING] button if you want the accompaniment to start when you play the first note on the keyboard. If you press the [SYNCHRO START/ENDING] button, the three dots along the bottom of the MULTI DISPLAY will flash at the selected tempo.
The three LED dots at the bottom of the MULTI DISPLAY provide a visual indication of the selected tempo as follows:
1st. Beat 2nd. Beat 3rd. Beat 4th. Beat
When the power is initially turned ON, the 00 DANCE1 style is automatically selected.
If neither the FINGERED or SINGLE FINGER mode is selected, the accompaniment will consist only of rhythm (drums & percussion) sounds. Operation of the AUTO ACCOMPANIMENT SINGLE FINGER and FINGERED modes is described on page 9 and 10. A different accompaniment style can be selected at any time while the accompaniment is playing. The style number display will change as soon as the selection is made, but the new style will begin playback from the top of the next measure. The tempo will not change when the new style begins playing.
RHYTHM ACCOMPANIMENT Starting the Accompaniment with an Introduction
Any of the PSR-200/PSR-300 accompaniment patterns can be started with an appropriate introduction by pressing the [INTRO/FILL IN] button. The intro pattern will repeat as long as the [INTRO/FILL IN] button is held. Once the button is released, the normal pattern will begin playing from the top of the next measure.
Adjusting the Accompaniment Volume
Although the MASTER VOLUME control can be used to set the overall volume level, the ACCOMPANIMENT VOLand UME buttons can be used to adjust the volume of the selected accompaniment in relation to the right-hand melody voice. The fist time the ACCOMPANIMENT VOLor UME button is pressed the current volume will appear on the MULTI DISPLAY. While the current volume is still showing on the display, press the ACCOMPANIMENT VOLUME butbutton to increase the volume, or the ton to decrease the volume. The selected volume level will be displayed on the MULTI DISPLAY while the volume is being adjusted, and for approximately 2 seconds after either VOLUME button is released. The volume range is from 0 to 24, with 0 being the lowest volume and 24 the highest. The default accompaniment volume value (21) can be recalled at any time by pressing both and the ACCOMPANIMENT VOLUME buttons at the same time.

Press the [MODE] button as many times as necessary until the SINGLE FINGER indicator lights this selects the SINGLE FINGER mode.
Press any key to the left of the split point to start the automatic accompaniment. If you press a C key, for example, a C-major accompaniment will be played. Press another key in the left-hand section of the keyboard to select a new chord. The key you press will always determine the root of the chord played (i.e. C for a C chord).
Setting the SINGLE FINGER Mode Split Point: The split point for the SINGLE FINGER mode is initially set at the D2 key. It can be set to any other key by pressing the desired split-point key while holding the [SPLIT POINT CHANGE] button. The split point is shown on the MULTI DISPLAY for as long as the [SPLIT POINT CHANGE] button is held. The D2 key, for example, would be displayed as d 2. F#2 would be displayed as F-2. The sharp is indicated by the lit bar between the F and the 2. The SINGLE FINGER mode split point is retained in memory and will be recalled whenever the SINGLE FINGER mode is selected. A method of initializing the SINGLE FINGER mode split point to its original default value is described on page 6.
Playing Minor, Seventh, and Minor-seventh Chords in the Single-finger Mode
For a minor chord, press the root key and a black key to its left. For a seventh chord, press the root key and a white key to its left. For a minor-seventh chord, press the root key and both a white and black key to its left.
The automatic accompaniment will continue playing even if you lift your fingers from the Auto Accompaniment keys. You only need to press the Auto Accompaniment keys when changing cords.
Press the [START/STOP] button or the [SYNCHRO START/ENDING] button to stop the Accompaniment.
AUTO ACCOMPANIMENT Setting the Accompaniment Volume
Set the volume of the Auto Accompaniment sound using the ACCOMPANIMENT VOLUME buttons. The MASTER VOLUME control can be used to set the overall volume level.
The PSR-200/300 memorizes separate SINGLE FINGER, FINGERED, and SPLIT mode split points. The corresponding split point is automatically recalled when one of these modes is selected.
Use the TEMPO buttons to set the desired accompaniment tempo (see Setting the Tempo on page 7 for details).

The [INTRO/FILL IN] button can be used in the Auto Accompaniment mode to create pattern variations in the same way that it is with rhythm accompaniment patterns (refer to Adding Fill-ins on page 8 for details).
3. Select the desired accompaniment style in the normal way.
Although you can select the melody (upper keyboard) voice you intend to use, the PSR-200/PSR-300 automatically determines the voices to be used for the accompaniment part according the accompaniment style you select.

Fingered Accompaniment

The FINGERED mode is ideal if you already know how to play chords on a keyboard, since it allows you to supply your own chords for the Auto Accompaniment feature.
Press the [START/STOP] button, [SYNCHRO START/ ENDING] button or the [INTRO/FILL IN] buttons to determine how the accompaniment will be started (see page 7). If you press the [START/STOP] button or the [INTRO/ FILL IN] button, the rhythm will begin playing immediately without bass and chord accompaniment. section of the keyboard, the PSR-200/PSR-300 will automatically begin to play the chord along with the selected rhythm and an appropriate bass line. The accompaniment will continue playing even if you release the Auto Accompaniment keys. The PSR-200/PSR-300 will accept the following chord types (see fingering chart on page 19):
Major Minor Major seventh Minor major seventh Minor sixth Minor seventh Minor seventh flatted fifth Seventh Seventh flatted fifth Seventh suspended fourth Suspended fourth Augmented Diminished
5. As soon as you play any chord in the Auto Accompaniment
Press the [MODE] button as many times as necessary until the FINGERED indicator lights this selects the FINGERED mode.
Abbreviation Normal Voicing
M m M7 mM7 m6 m7 m7-7-5 7sus4 sus4 aug dim
Setting the FINGERED Mode Split Point: The split point for the FINGERED mode is initially set at the G2 key. It can be set to any other key by pressing the desired split-point key while holding the [SPLIT POINT CHANGE] button. The split point is shown on the MULTI DISPLAY for as long as the [SPLIT POINT CHANGE] button is held. The G2 key, for example, would be displayed as g 2. F#2 would be displayed as F2. The sharp is indicated by the lit bar between the F and the 2. The FINGERED mode split point is retained in memory and will be recalled whenever the FINGERED mode is selected. A method of initializing the FINGERED mode split point to its original default value is described on page 6. 10

Notes in parentheses may be omitted.
Minor sixth chords will only be properly detected if they are played in root position. Seventh flatted fifth chords will only be recognized if either the root or flatted seventh is the lowest note. For diminished and augmented chords, the lowest key pressed is assumed to be the root.
An octave i.e. two notes played exactly one octave apart will be detected as a chord suitable for major or minor, with the note played as the root note. All other FINGERED mode operations are the same as in the SINGLE FINGER mode.

AUTO HARMONY

This sophisticated feature automatically adds appropriate harmony notes to a melody you play on the keyboard. You can choose from 5 different types of harmony.
Only a single note can be played at a time on the keyboard (or the right-hand section of the keyboard when in the SPLIT mode) when the AUTO HARMONY feature is used.

THE CHORD MEMORY

The PSR-200/PSR-300 CHORD MEMORY allows you to record and play back chord sequences created using the Auto Accompaniment feature. You can record a complete accompaniment part, for example, and then play along with it using both hands youre free to use the entire keyboard for your performance rather than being limited to only the upper keyboard area. The CHORD MEMORY also has three separate banks that can be used to record different accompaniments. The banks can be chained i.e. they will play back in any specified order. This allows you to record a verse and chorus in different banks, for example, then chain them in the desired order for playback.
Chord sequences containing a maximum of 60 different chords can be recorded in each bank. Material recorded using the CHORD MEMORY is retained in memory even when the POWER switch is turned OFF (if batteries are present).
Use the [AUTO HARMONY] buttons to select a harmony type between 01 and 05. or The first time the AUTO HARMONY button is pressed the current harmony type number will appear on the MULTI DISPLAY. While the current harmony type is still showing on the display, press the AUTO HARMONY button briefly to increment (increase by button to decone) the harmony type number, or the rement (decrease by one) the harmony type number. Holding either button causes continuous incrementing or decrementing. The selected harmony type number will be shown on the MULTI DISPLAY while the [AUTO HARMONY] or button is pressed (the letter H will appear before the harmony type number).

When Minus One playback begins, the same voice as for the corresponding demo melody is selected. The DUAL setting and harmony type are also the same.
The PSR-300 MIDI Connectors
The PSR-300 MIDI IN connector receives MIDI data from an external MIDI device which can be used to control the PSR-300. The MIDI OUT connector transmits MIDI data generated by the PSR-300 (e.g. note and velocity data produced by playing the keyboard).
3. Play along on the keyboard.
Only the NORMAL and SPLIT modes can be used during minus-one playback. The NORMAL mode will automatically be selected if FINGERED or SINGLE FINGER is engaged when minus-one playback is started.

Simple MIDI Control

Most MIDI keyboards (including the PSR-300, of course) transmit note and velocity (touch response) information via the MIDI OUT connector whenever a note is played on the keyboard. If the MIDI OUT connector is connected to the MIDI IN connector of a second keyboard (synthesizer, etc.) or a tone generator (essentially a synthesizer with no keyboard), the second keyboard or tone generator will respond precisely to notes played on the original transmitting keyboard. The result is that you can effectively play two instruments at once, providing thick multi-instrument sounds. The PSR-300 also transmits program change data when one of its voices is selected. Depending on how the receiving device is set up, the corresponding voice will be automatically selected on the receiving keyboard or tone generator whenever a voice is selected on the PSR-300.
4. Playback will continue until the [MINUS ONE START/
STOP] button is pressed again.
If you press the [DEMO START/STOP] button during minus-one playback, the melody part will reappear and playback will continue in the DEMO mode. On the other hand, if you press the [MINUS ONE START/ STOP] button during demo playback, the melody part will be muted and playback will continue in the MINUS ONE mode.
The following functions can be used during minus-one playback:
SPLIT DUAL VOICE selection SUSTAIN TEMPO ACCOMPANIMENT VOLUME TRANSPOSE SPLIT POINT CHANGE AUTO HARMONY (applies to notes played on the keyboard) The Demo Tunes of this keyboard are Demonstration purposes only. It may not be possible to reproduce the Demo Tunes 100% manually.
The PSR-300 is capable of receiving the same MIDI data, so a second MIDI keyboard connected to the PSR-300 MIDI IN connector can be used to remotely play the PSR-300 and select voices as required.
(PSR-300 only) MIDI Sequence Recording
The same type of musical information transfer described above is used for MIDI sequence recording. A MIDI sequence recorder can be used to record MIDI data received from a PSR-300, for example. When the recorded data is played back, the PSR-300 automatically plays the recorded performance in precise detail. or button is pressed during external sync If the TEMPO mode is engaged, EC (External Clock) will appear on the display. External synchronization is automatically selected when MIDI clock is received. If the external MIDI clock data is not received, internal clock operation is automatically resumed. Velocity sensitivity is dependent on the selected voice. *Refer to the Remote Control Mode MIDI Implementation Chart on page 34 for more details. Remote Control Mode Transmission The following points apply to MIDI data transmitted by the PSR-300 in the Remote Control mode.

Multi Mode Transmission The default transmit channel in the Multi mode is the same as that in the Remote Control mode, and can be set via the same procedure (see below). The transmitted data is also the same as in the Remote Control mode, except that no MIDI start/stop message transmission occurs.
Keyboard note ON/OFF data is transmitted via the specified MIDI transmit channel, but the internal tone generator does not sound (LOCAL OFF). The transmitted note numbers are not affected by the instruments TRANSPOSE setting. When a new voice is selected, the corresponding MIDI program change message is transmitted on the specified MIDI transmit channel. The internal voice assigned to that transmit channel will also change accordingly. The program change number is the same as the voice number. The channel-16 program change number will not be transmitted. Refer to the Multi-mode MIDI Implementation Chart on page 35 for more details.
*Refer to the Remote Control Mode MIDI Implementation Chart on page 34 for more details.

The Multi Mode

The Multi mode should be used when the PSR-300 is to be used as a tone generator, for example, receiving data from a second MIDI device (such as a sequencer). In this mode the PSR-300 can receive on multiple MIDI channels, each channel corresponding to a different voice. The PSR-300 panel controls will not function when the Multi mode is selected. Multi Mode Selection If the Remote Control mode is currently selected, the Multi mode can be re-selected by pressing the numeric VOICE/STYLE [0] button while holding the CHORD will appear on the display. MEMORY [REC] button.
MIDI Receive Channel Selection
Press the numeric VOICE/STYLE [2] button while holding the CHORD MEMORY [REC] button. The current MIDI receive channel number or ALL will appear on the display. While still holding the [REC] button press the key corresponding to the desired receive channel (C1. E2), confirm that the desired channel has been selected on the MULTI DISPLAY, then release the [REC] button. The E2 key selects the OMNI ON mode ALL appears on the display. The receive channel setting only applies in the remote control mode.
Multi Mode Reception In the Multi mode the PSR-300 functions as a multitimbre tone generator, allowing different voices to played on all 16 MIDI channels (channel 16 is reserved for rhythm only). Since the PSR-300 employs the Yamaha Dynamic Voice Allocation system, it is not necessary to specify the number of notes that can be played via each channel. A maximum of 28 notes can be played simultaneously via all channels.

YAMAHA

IMPORTANT
PLEASE RECORD THE SERIAL NUMBER OF YOUR UNIT IN THE SPACE BELOW. MODEL: PSR-200 MODEL: PSR-300 SERIAL NO:
THE SERIAL NUMBER IS LOCATED ON THE BOTTOM OF THE UNIT. RETAIN THIS OWNERS MANUAL IN A SAFE PLACE FOR FUTURE

REFERENCE.

YAMAHA CORPORATION
P.O.Box 1, Hamamatsu, Japan

1991 YAMAHA CORPORATION

VL76120 JCBBR12P06.3CP Printed in Japan