Here's a challang for us all:
Post something USEFUl in this section with NO MENTION of brand name or comparison to anyother player/technique/manufacturer.

I'll start:

I find it a neccessity to showcase my voice and piano chops in every performance, so I make sure to SHUT off the arranger/drummer a few times during a show. I play:
Desparado, NY State of Mind, Sometimes When We Touch etc....all in striaght 2 handed piano mode. It's refreshing. It shows people that I am not a machine, or a slave to one, and I ENJOY it too !

During a busy arranger/sequence tune I also like to shut off the backing parts and do a vocal harmony spotlight for a few measures. It adds SOOooo much. My style is more of a mannhatten Transfer vocal group with a small combo behind me, so the vocal harmonies are vital to my comfort/success ratio.

What things make YOUR show shine?
(remember - NO slashing, biting, pinching, namecalling, comparing, shennanigans etc ..)

OK, I'll take a stab at it (sorry for the OJ quote!)...

I try to not pick any one performance technique for ALL my songs... Some I do with just ARR drums and LH bass, some I do with SMFs, some I do with full arranger, some I do with nothing but live playing.

It adds variety, and helps me keep several different techniques well practiced...

Beautiful! That's the kind of advice I'm looking for here.....who's next ?

I pretty much follow UD's and Diki's approach, in that I try to mix it up ... although my "piano chops" leave a lot to be desired, I will sometimes start a tune such as "Misty" with just piano, no tempo, then using a preset registration will add bass, then drums ... for some smaller venues, some SMFs, such as "Mack the Knife", I have 'whittled down' (no pun intended ) the arrangement to bass and drums, using an organ voice in the right hand ...
I will often do a tune such as "Summer Wind" or "The Way You Look Tonight" in a bossa nova tempo, just to change things up ...
Of course it all depends on the venue ...
t.

[This message has been edited by tony mads usa (edited 09-03-2007).]

Something else I do:

Since I use a laptop for MP3s, and the on board sequencer in my kb - I have a need to scroll through choices during arranger play,as I decide on the next number. I like having the option of switching my chord trigger hand from left to right on the fly so I can scroll with the opposite hand....whichever is more comfortable.

This is especially important if I'm using the vocal harmonizer, so I can continue to trigger the correct chords as I fumble with directories.

Dave,

I do several songs using only the nylon string, or acoustic guitar patch.

Sometimes I'll layer the guitar with a slow attack string patch and bring it in and out with the volume pedal.

Ian

[This message has been edited by ianmcnll (edited 09-03-2007).]

sometimes the 1st variation isn't the best variation to start a song with..

I agree ! Most times, I never even use the 1st variation !

Another biggie for me is transposing the key of a song or style , modulate up a 1/2 step, just adds a little more...

Only song I won't transpose up ??

"boogie nights" ...

I use the simple one bar ending as a stop(or pause) by going to it, and then, before it completes, hit a fill and go to a variation.

Often, I use the style creator to put the simple ending in the simple intro so that it automatically returns to the last variation. I keep the drum fill but remove the stick count in.

Ian

[This message has been edited by ianmcnll (edited 09-03-2007).]

Themed song medleys are always a winner.

Places/Cities
Seasons
Weather
Artist/Composer
Era
Style: utilizing same on different songs
etc



[This message has been edited by Scottyee (edited 09-03-2007).]

Biggest improvement for me has been the addition of vocal harmonies to backing tracks. Wow, what a difference that makes, especially on tunes that shine with harmony parts.

All great suggestions!
Here's another:

Most of us probably get requested to play Piano Man a little more than we'd like....but it's a good idea to know the name of the bartender so you can give a vocal shout out in the song. Makes you look good, and makes the bartender feel good !

Not sure he wants his employer to know that there's someplace he'd rather be (OR that he's slipping you free drinks)!

I do many medleys where I string songs together by registrations. One particular medley I call "My Dad's Medley" is 8 songs long.

It's for the older folks (17 minutes):

5'2 / Oh You Beautiful Doll / I've Got You Under My Skin / Lullaby Of Broadway / It Had To Be You / I've Got Rhythm / When The Saints

Uh...that's only 7 songs, Zuki.


[This message has been edited by Taike (edited 09-04-2007).]

We've been getting a good responce with a Cajun mix. Take a Cajun tune like 'Down at the twist and Shout'/'Walk of life' or 'Louisana Sat Nite'/'Secret Agent Man'. Gives you a good chance to use an accordian patch.

I like to have no snare on Variation 1, rim on 2, snare on 3, and a lot of time have ride cymbal on Variation 4....kind of reminds me how the drummer in the old band played.

------------------
Tye

I do a version of the Hank Williams classic "Hey Good Lookin" where I use the Cajun style accordion ... provides a nice lift ...
t.

Great thread....some really usefull tips for live performance here.

[This message has been edited by Dnj (edited 09-04-2007).]

Leave it to you T to catch that. Yes, add in Ain't She Sweet after It Had To Be You.

zuki

Donny ... While it might be nice, I don't think we HAVE to see or hear another's performance to get an idea of what they do ... In all walks of life we learn about variations to what we do just by reading ...
t.

Maybe AFTER you have a few more Ketron demos on your site, you can go back to badgering us for more of OUR demos, Donny...

How long you had that Ketron now?

Me, I'll take all the written suggestions I can get (Thank you, Ian!). At least that way I can get some useful information without a format war breaking out...

Like others, I use variations, intros and endings interchangingly throughout some songs - that's what I love so much about my 3K - it handles the changes so perfectly.

Zuki !!!! NO NAMES ! NO BRANDS !!!!
This is about the player and the technique!

Keep 'em comin' folks !

Oh, never mind - I'm not playing anymore teacher

besides....

Tony, Dano, Montana and YOU mentioned song titles, while Diki mentioned a product name too

Good luck on your class.

[This message has been edited by zuki (edited 09-04-2007).]

Seems like some folks just got nothing much to say other than 'my arranger's the best'...

It's a shame we can't discuss technique without invoking brands at some point or another...

My arrange IS THE BEST and goodbye everyone -for goodness sakes...........................................................

Zuki......go to the back of the class

Segueing from one song (aka: medley) to another often utilizing the SAME style, employing an interesting or unusual chord progression "turn around" to modulate to the target key of the next song. Audiences enjoy an element of surprise of being subtlety transitioned (evolved/morphed) from one song to another, sometimes not realizing it happened right away, and then perhaps being taken back to the first song showcased. - Scott

Hey, folks...good topic, Dave (and, thanks for the call-it was a BIG help!).

I, too, shut off all arranger functions for 4-6 tunes a job and just play piano. I also play about 40% with just left-handed bass and drums from the arranger.

I also use a nylon string guitar, a steel string acoustic double 6-12 and a Kydd portable upright.

I play bossas on The nylon, vocal accompanyment on the 6-12 and bass solos on the Kydd. I do this, first for variety and second, so I can justify taking depreciation on the stringed instruments.

On some jobs, I use vibes, and take solos. The extra guitars and vibes are mostly for effect, and don't work for shorter (less lucrative) OMB jobs, although I sometimes use the extra strings, along with extra keys on house jobs. I change out instruments every few weeks to keep things interesting.

Works for me..


R.

Whenever possible, add another instrumentalist and/or singer. Two talented musician-singers on stage typically brings the level up more than a few notches in 'more ways' than one. The spontaneous musical interaction between musicians playing off one another, as well as an eye catchingly attractive vocalist on stage certainly presents an added plus.

Scott

Class reply UD - thanks

Adding drum and/or multi-pad fills at different spots during a song brings added live realism to the auto-accompaniment parts. I like to assign these functions to remote foot pedal controller activation, keeping both my hands simultaneously dedicated to playing the keyboard. - Scott

I use two pedals when playing

Pedal assignments vary based upon several factors: the genre, the main lead instrument and what I want to attain vocally.

For instance:
Pedal one is most often used for sustain. When appropriate I assign it to glide for particular instruments (guitar, strings, sax.)

Pedal two is usually assigned to trigger a "break" or "fill to self" for a drum riff...but on other occasions it is most often used to trigger the harmonizer.

Since I use one registration bank per song, pedal assignments will often change from one registration to another within the same bank.

Eddie

Im done asking and done posting demos....
I'm having a good time sitting back & just watching the fireworks day after day.

If I may teach, I have a question:
Has anyone midi'd a portable/remote controller, like an AX-7 or keytar, to their keyboards? Are there any strap-on controllers that are midi-wireless like the Limex system?
Ciao,
Jerry

One thing I always do with my Yamaha arrangers is drop a small amount of white Tipex in the little hole of the volume knob to make it easier to see where it is on dark stages...not a playing tip but a usefull one all the same.

NJH

I've done that too ! Small thing, but a great idea!