Some people play scales, others type chords... it's all about exercise!

Scott,

I just received a second OS update from Sandro for the SD1. This update correctly recognizes all the chords you listed above. I will forward this update to Roel for more testing.

Henry

Hi Henry,
This IS great and I never saw this kind of Beta-testing+quick-fix like Sandro (ketron) does.
A fantastic 'relation' between a producer of a product and the customers.

Ketron IS listening to the customers, and this cannot be said about many other brands.

I got the files and loaded them into the SD1.
Well.... I tested all chords Scott typed in and they are recognized as expected.
As you wrote Henry, not all 12 keys are implemented yet, but strictly the ones Scott listed. Scott is fast too and completed the list below. I do hope Sandro finds time to fix the rest before the factory closes for holidays in Italy !

I'm sure Scott will catch a plane very soon to do the final-testing and ordering the SD1 now......(in Amsterdam ?)

Roel


[This message has been edited by Roel (edited 07-27-2001).]

I thought Sandro was working on Ruthless chords ????????? Dan O

Yes, this is GREAT to have so much cooperation from Sandro at Ketron/Solton as well as others here (especially Roel & Henry for testing) to get this rootless voicing thing implemented. I really think these newly added keyboard voicings are important and will bring the SD1 up to the level of Yamaha & Technics in the chord recognition dept. When this happens, I think that Yamaha & Technics will have some catching up to do with Solton in other areas.

To keep everyone informed and up to speed, I have sent the following list to Sandro which includes the rest (to include all 12 keys now) of the chord voicings and associated chord names.

Henry: I noticed in your email to Sandro that you notated all the chord names with accidentals as sharps (#s's). Though your chords are enharmonically correct , I prefer that some of them be notated as flats ((b's) (such as Bb13 instead of A#13).I have listed (below) my preferred (more commonly recognized) chord names as well. Thanks again to all for your support & assistance.

Here is the updated listing I sent to Sandro:

II – V7 –I : Bill Evans inspired A Voicings (arranger keyboard variation):

Gm7(9) C13 F69
(Bb-F-A) (Bb-E-A) (A-D-G)

Abm7(9) C#13 F#69
(B-Gb-Bb) (B-F-A#) (A#-D#-G#)

Am7(9) D13 G69
(C-G-B) (C-F#-B) (B-E-A)

Bbm7(9) Eb13 Ab69
(Db-Ab-C) (Db-G-C) (C-F-Bb)

Bm7(9) E13 A69
(D-A-C#) D-G#-C#) (C#-F#-B)

Cm7(9) F13 Bb69
(Eb-Bb-D) (Eb-A-D) (D-G-C)

Dbm7(9) F#13 B69
(E-B-Eb) (E-A#-D#) (D#-G#-C#)


II – V7 –I : Bill Evans inspired B Voicings (arranger keyboard variation):

Dm7 G13 Cmaj7
(C-D-F-A) (B-E-F-A) (B-C-E-G)

Ebm7 Ab13 Dbmaj7
(Db-Eb-Gb-Bb) (C-F-Gb-Bb) (C-Db-F-Ab)

Em7 A13 Dmaj7
(D-E-G-B) C#-F#-G-B) (C#-D-F#-A)

Fm7 Bb13 Ebmaj7
(Eb-F-Ab-C) (D-G-Ab-C) (D-Eb-G-Bb)

F#m7 B13 Emaj7
(E-F#-A-C#) (D#-G#-A-C#) (D#-E-G#-B)

[This message has been edited by Scottyee (edited 07-27-2001).]

Technics KN Keyboardists !!

All of the above jazz chord voicings are 'already' recognized on the Technics KN5000/6000/6500 (in full keyboard mode only though. The SD1 will support this in BOTH split & full keyboard modes ), so go ahead a try them out. I suggest practicing/memorizing the II-V7-I chord progressions in EVERY key.

You will find that this II-V7-I progression is the MOST often used progression in popular music. With these voicings, you will be able to play this progression using smooth voicing leading (minimal amount of finger/hand moving between chords).

Soon you will be able to integrate these voicings in your keyboard playing and really sound like a jazz style player. Have Fun !

- Scott

I admit it took A LOT of time (but my fingers aren't tired yet, because I've spent years practicing scales, arpeggios, etc to prepare for this ). I do think it's worth the effort though because this chord voicing recognition thing offers the ability for even jazz trained keyboard players to play the arranger keyboard (playing & hearing live, the type of chord voicings they are accustomed to playing). I think this in effect will BROADEN the market appeal for arranger keyboards and hopefully will bring added respect to arranger keyboard playing by traditional jazz style pianist musicians as well.

Hey, after getting Solton 'onboard' with rootless chord support,, maybe I"ll start on Roland and Korg (heehee)
- Scott [img]http://www.synthzone.com/ubbs/smile.gif[/img] [img]http://www.synthzone.com/ubbs/smile.gif[/img]

Hi Scott!
I wish you would record some of your "rootless" chord progressions on your KN5k - and email the file to me. Just the simple chord progressions (maybe versus the same chords with the root being played). I'd like to hear what you are talking about. Is this possible? Or can these only be played "live"?
Tom

Hi Tom. With all the II-V7 1 chord voicings provided for in great detail above, you should easily be able to make a chord comparison test yourself on your KN5000

Begin by selecting the piano sound (RT1), playing (in full keyboard mode) with the auto accomp arranger function turned OFF.

Now, play with your left hand (in the octave just below middle C) a standard II - V7 - I chord progression in the key of C (voiced like this):

Dm7 - G7 - C
(D-F-A-C) - (D-F-G-B) - (E-G-C)

now play the SAME progression but voiced this way:

Dm79 - G13 - C69
(F-C-E) - (F-B-E) (E-A-D)

You will notice that the first way sounds consonant and pure (defined) while the second method sounds more open and less defined. Played without any accompaniment, the first method probably sounds much more satisfying to the ears. The second way may sound awful to some ears. Hold on, stay with me. Please don't give up on me yet.

Now (in full keyboard mode), select the medium tempo swing style:'Jazz Trio' and mute all accompaniment tracks except drums, acoustic bass & Piano (RT1) part. Set the tempo at around 120 or slower. Play the SAME two chord progressions (one measure for 1st two chords and 2 measures for last chord: total=4 bars) With the now added accomp parts, you may notice that the second version (rootless chords) begins to sound better and more interesting. If you turn UP the Bass auto-accompaniment part, you will notice that "IT" is the instrument now providing the chord root notes (the foundation of the harmonies) in the walking bass pattern it plays. The 3 note piano voicings are now free to supply the chord tensions (9th, 6th, 13th) while the bass is playing the foundation of the chords (roots).

Now, go back and play the chord progressions with your left hand (both above versions) with auto accomp still turned ON, and solo over the chord changes with the right hand. You will notice that there is a big difference in the sound. The first method sounds good yet basic (like vanilla, chocolate) but the second method sounds more open, yet complex (ethereal rasberry vanilla with chocolate chip & almonds). This opens up your right hand soloing options to more possibilities. Because the keyboard rootless type comping chords do not include the root, this keeps the harmonies more undefined and opens up the right hand to go in more directions. This in turn provides us (as musicians) a wider palette of colors to choose from when expressing ourselves (soloing) over the chord changes.

I hope this helps. - Scott
http://scottyee.com

PS: Also try the below two handed comping chords and compare the first version (basic but good) to the second version. The second version, with the wider more open chord voicing and the added 13th (6th) note (D), adds another subtle flavor (spice) to the mix and results in slightly more complex sound. As a musician, you are like a chef, able to add/remove spices as needed to enhance your creation. The TRICK is what spices to use and in what quantities. That's in another story.
The bottom line is to experment and have FUN !

version 1:

(F-A-Eb) - (G-C-F): F79
left hand - right hand

version 2:

(Eb-A-D) - (G-C-F): F13
left hand - right hand


[This message has been edited by Scottyee (edited 07-28-2001).]

Scott,
I am gonna buy myself an ice-cream.