Index analog synthesis, 9, 25, 241, 245, 303 • A • analog tape recorder, 217 Abeton Live, 298 … And Then There Were Three … Abeton Sampler, 302 (Genesis), 166 accidental, 90, 93 “Angry Young Man” (Joel), 44 accompaniment. See also auto- Apple accompaniment; full accompaniment GarageBand, 298, 299 features, 43, 50–51 iTunes, 236 pattern, 185 Logic Pro, 298 playing with, 182–185 Logic’s EXS24, 302 with recordings, 275–277 Lossless Audio Codec (ALAC), 236 spicing it up, 190–195 ARP 2600, 241 for vocalists, 54–55 ARP electronic keyboard, 22 acoustic guitar, music styles that work arp patterns, 209–210 with, 148 arpeggiation, 12, 203–209 acoustic instruments, 8, 16–18, 37–38 arpreggiator (arp), 168, 172, 203 acoustic piano, 139–140, 147, 164 arrangers, 10, 35–36, 169–171, 176, 177 adapters, 64, 67, 68, 71, 74, 278, 292, 297 Ars Nova software, 300 additive synthesis, 24, 239 artists’ reviews, 303 “adjacent black key” guidelines, 91–92 Asia, accompaniment keyboards in, 181 Adobe Reader, 64 attack (in ADSR), 247 ADSR (attack, decay, sustain, release), audio applications, 284 246, 247 audio devices, 277–279 advanced features/options, 12–13, 44 Audio MIDI Setup utility, 295 Adventus software, 300 audio recording, 13, 216–219, 220–221 aftertouch, 32 audio tracks, 4, 319–324 Akai brand, 24, 302 Auger, Brian (musician) Alan Parsons Project (musical group) “Live Oblivion,” 165 “Games People Play,” 203 non-Leslie user, 166 Alfred Music, 111 augmented chords, 125 Alfred Publishing software, 300 auto-accompaniment algorithmic synthesis,COPYRIGHTED 24 adding MATERIAL harmony, 201–202 “All Cows Eat Grass” mnemonic, 89 breaking down pattern, 185 “All Through the Night” (Lauper), 203 chord pads, 202 ambience, 154 chord triggering, 185–190 amp parameters, 252 drum fi lls, 193 amplifi cation system, 18, 20 exchanging groups of sounds, 198–199 amplifi er (amp), 34, 75, 246 how it works, 182–183 analog electronics, 22 images of, 181 analog recording, 216 intros and endings, 193–195 330_97811187054900_9781118705490 bindex.inddbindex.indd 325325 110/25/130/25/13 111:191:19 AAMM 326 Keyboard For Dummies auto-accompaniment (continued) Berry, Chuck (musician), 127 mixing, 195–198 Best Service ENGINE, 302 music database, 200–201 bidirectional, 290 one-touch settings, 199–200 big-band music, 52 overview, 12 Bismark bs-16i, 302 pattern variations, 191–193 black keys, 86–87 section-to-section style changes, 195 Blind Faith (musical group), 165 starting pattern playing, 183–185 block chords, 201 who plays what part, 198 bluegrass music, 52 automatic playing features, 12 blues music, 51 auto-wah fi lter, 163–164 blues progression, 128, 129, 132 Avid Booker T. & the MG’s (musical group), 165 Pro Tools, 298, 302 Booker T. (musician), 165 Scorch, 301 Bosendorfer brand, 47 Sibelius, 301 Bouncing/Bouncing Down, 234 Sibelius First, 301 BPM (beats per minute), 173 brake, 162, 165 • B • brand samples, 47 brass instruments Bach, J. S. (composer) effects for creating sounds of, 166 “Minuet in G Major,” 114, 115 music styles that work with, 148 backing tracks software, 299 brightness, 137, 250–252 balance, 75 Broadway music, 52 ballads music, 52 Brubeck, Dave (musician), 139 band work, 56 built-in demos, 310 band-reject fi lter, 246 built-in songs, 257–261 bands, 159 built-in speakers, 68 The Band (musical group) bundle promotions, 65 “Up on Cripple Creek,” 165 “Burnin’ and Lootin’” (Marley and the bandwidth, 160 Wailers), 165 Bank Select message, 289 banks, 143–144, 289 • C • Banks, Tony (musician) … And Then There Were Three …, 166 C (note), 84–85 Duke, 166 C major scale, 85–86, 91, 92, 117 Wind and Wuthering, 166 cables, 64, 65, 74, 278, 279 bar line, 96 Cakewalk Sonar, 298 basic ADSR envelope, 247 Cara, Irene (musician) basic features, 11–12 “Flashdance (What a Feeling),” 203 bass, 159 care/upkeep, of keyboard, 76–78 bass clef, 88, 89–90, 94 Carlos, Wendy (musician), 148 bass sounds, 145 case, 77, 78 Beatles (musical group), 280 Casio brand beats per minute (BPM), 173 accompaniment backing, 183 Beepstreet iSequence, 299 accompaniment pattern variation, 191 Beethoven (composer) chord triggering, 185–187 “Ode To Joy,” 111, 112, 113 CZ, 24 beginners, choosing keyboard for, 41–43 drum grooves, 168 bending pitch, 51 Function parameter, 280 330_97811187054900_9781118705490 bindex.inddbindex.indd 326326 110/25/130/25/13 111:191:19 AAMM Index 327 one-touch setting, 200 computer as pioneer in portable electronic connecting keyboard to iPad, 297 keyboards, 33 connecting keyboard to Mac or PC, playing chords yourself, 188 291–296 Setting parameter, 280 using to learn songs, 284–285 SK-1, 23 computer connection, 13 Song Bank button, 257 computer software sound terminology, 136, 137 for audio recording, 218 step-up lesson system, 261–268 digital audio workstations (DAWs), virtual keyboard lessons, 14, 261–268 298–299 CDs, 13, 64, 216, 221, 277, 284 digital sheet music, 301–302 celeste, 18 music notation software, 300–301 “Chains of Love” (Erasure), 203 types of music software, 298–303 “Chameleon” (Hancock), 165 computer speakers, 74–75 channels, 279 connections, for keyboard, 62, 67–68 Chicago (musical group), 165 console organ, 21, 26 children, purchasing keyboard for, 57 Control Change message, 288–289 chord charts, 128 controllers, 10, 36–37, 51 chord inversions, 128–132 Corea, Chick (musician), 165 chord pads, 202 counting, 94–104 chord progression, 126, 127 country music, 52 chord qualities, 122 cover, 77 chord symbols, 10 crescendo, 231 chord triggering, 185–190 Croce, Jim (musician) chord types, 121–126 “Time In a Bottle,” 94 chordal parts, 185 crossing over/under, 115–116 chords cutoff, 163, 246 as built on intervals, 121 C/V (expression) pedal, 51 online learning resource, 303 relating of to scale or key signature, • D • 126–128 three-note chord, 129, 130–131 damper mechanism, 48 two-handed chords, 131–132 damper pedal, 29, 42, 65, 117, 118, 119, 309, chord-to-scale relationship, 122, 126–128 315 chorus effect, 157, 165 damper resonance, 47 classical composers, 303 damping, 156, 157 classical music, 52, 55 data list (to keyboard), 59 clavichord, 18 DAWs (digital audio workstations), 204, Clavinet (clav), 8, 18, 24, 26, 154, 165 219, 223, 298–299 cleaning keyboard, 77 Day, Holly (musician/author) clef, 88 Music Theory For Dummies, 126, 281 clonewheels, 24 decay, 163, 247 Cockos Reaper, 298 decrescendo, 231, 232 “Come Away With Me” (Jones), 94 Deep Dish Designs Deep Dish GigBook, 301 commercial music magazines, 60 Deep Purple (musical group), 161, 166 common MIDI messages, 288 delay (echo) effect, 156–157, 165, 211 common time, 95, 96 delay time, 156 compressed fi les, 235, 236 330_97811187054900_9781118705490 bindex.inddbindex.indd 327327 110/25/130/25/13 111:191:19 AAMM 328 Keyboard For Dummies depth, chorus parameter, 157 Duke, George (musician), 165 devices/speakers, connections to, 72–75, Duran Duran (musical group) 277–279 “Hungry Like the Wolf,” 203 DG Software MagicStore Maestro, 301 “Rio,” 203 diatonic scales, 92 “Save a Prayer,” 203 digital audio workstations (DAWs), 204, duration parameter, 208 219, 223, 298–299 dust/dirt, 77 digital instruments, advantages of, 38–39 dynamics, 9, 25, 232, 254 digital language, 219. See also Musical Instrument Digital Interface (MIDI) • E • standard digital organs, 31–32 ear training, 276, 281–282 digital pianos, 9, 15, 30–31 earbuds, 70, 71 Digital Pianos—Synths & Keyboards East West Play engine, 302 sub-forum, 60 echo (delay), 156–157 digital recorder, hand-held, 218 The Edge (musician), 211 digital recording, 216 editing digital signal processing (DSP), 224, common edits, 248–256 239, 240 digital synthesis, 239–240 digital synthesis, 24, 26 MIDI, 219, 227, 229, 230, 231–232 diminished chords, 124 physical modeling, 240–241 DIN connectors, 290, 291, 297 sampled sounds, 238–239 direct parameter, 208 sounds, 237–256 display screen, 144 synthesis forms, 237–242 distortion effect, 161, 165 virtual analog, 241–242 distortion guitar sound, 147 educational software, 299–300 distractions, avoiding of in keyboard effects setup, 63 adding, 210–211 dividing the beat, 99–101 auto-wah fi lter, 163 Dolby, Thomas (musician), 203 categories of, 153–154 “Don’t Stop Believin’” (Journey), 164 choosing, 164–166 Doobie Brothers (musical group), 164 chorus/fl anging/phase shifting, 157–158 doo-wop progression, 128, 130, 131, 132 defi ned, 11 “Do-Re-Mi” (song), 85–86 delay (echo), 156–157 DoReMIR Score Cleaner, 301 distortion, 161 drag, 167 EQ, 158–161 “Drama” (Erasure), 203 fi lter, 163 drivers, 296 global, 224 drum, onboard. See onboard drum insert (insertion), 224 rhythms master, 224 drum fi lls, 174, 177–178, 193 reverb, 155–156 drum grooves, 168, 171 rotary speaker, 162 drum rhythms, 12, 29, 43, 50 system, 224 dry signal, 155 types of, 154–164 DSP (digital signal processing), 224, wah-wah fi lter, 163 239, 240 EG (envelope generator), 13, 34, 246, 248 Dual Mode, 149 EG waveform shapes, 250 Dual Voice Mode, 149 eighth notes, 99, 100 Duke (Genesis), 166 330_97811187054900_9781118705490 bindex.inddbindex.indd 328328 110/25/130/25/13 111:191:19 AAMM Index 329 electric guitar, music styles that “Every Good Boy Does Fine” mnemonic, 88 work with, 148 expression (C/V) pedal, 51 Electric Peel Note-A-Lator, 300 expressive options, 44 electric pianos external MIDI clock, 207 music styles that work with, 147 external power supply, 64 Rhodes, 18, 19, 24, 26 Wurlitzer, 18, 19, 24, 26 • F • electrical connection, 67–68 electro-mechanical instruments, 8, 18 F major scale, 117 electronic dance music, 52 “FACE” mnemonic, 88 electronic instruments, 9 fade-in/fade-out,