YOu guys are so funny. I love your humor,
Bebop

All it cost me was a new house, in-ground pool, and a new car, and I can buy whatever equipment I want. ;-)

Scott: I have discovered how the Tyros 2 does not always recognize chords the same as I am thinking of them. As example, to me (F,A,B,E) is what you play when you see G7, technically a G13 with no G. Usually, the bass on the Tyros is not too far off, so it sounds OK. BTW, I am not thrilled with the Acoustic Bass sound of the Tyros 2 and will be looking for alternative samples.

I couldn't find your posting about chord voicing with Tyros 2. Can you point me to it? I saw one from you about Ketron.

My approach to the arranger is to not think of it as a piano, but as a band. Melding sounds and rhythms that you couldn’t do solo. The Super articulation voices adds a whole new dynamic if you use the proper phrasing and play it with the limitations of the real instrument (a guitar can’t go belong an E and a Tenor Sax would rarely go to the range of the top of the keyboard). For me, I am looking into building a variety of styles, as example build a collection of multiple bossa nova styles to choose from. Perhaps I would use multiple styles in the same song. The biggest challenge for me is how to make an arrangement interesting in real time. I think that sequencers and other pre-recording tracks have an occasional role but can damper spontaneity in my playing. Any resources you can point me to about acquiring a variety of styles would be appreciated. George Kaye wrote recently that Yamaha is working on bringing the PRS-A1000 sounds and styles to the Tyros 2. That would be pretty cool.

As for audiences, when entertaining at a function, I believe I am not there to perform, but to entertain. I need to put my musical ego aside and play what will make them happy. That’s what they are paying me for. I’m fine with that as I am grateful that they believe in having a live performer instead of a DJ. Even in these kinds of jobs I will still sometimes play something for my own amusement.

As for chops, I still study classical regularly. I find that the classical playing gives me inspiration for jazz and the same is true in the reverse. Currently, I am working on Gershwin, Beethoven, and Chopin pieces. The Tyros 2 is definitely cutting into my classical practice time.

So the way to a man's wallet is through his keyboards?

Robert...good luck with your new T2 Kb .....you made a very wise choice my friend......make some great music and post them here for us all to enjoy !!

Robert,
great story and welcome to the Forum.

Yes, but I really lost out on that exchange.

Robert: your story made me remember how much freedom I enjoy, not having to give any explanations about buying equipment... Selling your telescope seems to me your biggest sin. What kind of telescope did you have? Welcome to the forum.

-- José.

Meade ETX-125EC 8" Schmittt-Casegrain

Give me a year or two and I'll have a new story about replacing it.

Exactly! And of which is popularly known as the Bill Evans, left hand 'rootless' voicing for G13. The G is not played by the keyboard player, as it's already covered by the Bass player, or by the bass part auto accomp on the arranger.




Interestingly enough, I discovered (by accident) that Tyros2 actually supports recognition of an altered variation of the well known and played by jazz players, Bill Evans style left handed : 'rootless chord' recognition (A/B voicings) as of which G13 (F,A,B,E) qualifies.

Bill Evans left hand II-V7-I progression:

'rootless' chord voicing played on piano:
1) F-A-C-E: Dm9
2) F-A-B-E: G13
3) E-A-B-D: C69

'rootless' chord voicings recognized by arranger keyboards (Yamaha, Korg, Technics & Ketron)
1) F-C-E : Dm7(9)
2) F-B-E : G7(13)
3) E-A-D : C69
4) E-Bb-D: C7(9)

Another left hand rootless voicings:

'rootless chord voicing played on the piano:
1) Eb-G-A-D: F13

'rootless chord recognized by arranger keyboards (Yamaha, Korg, Technics & Ketron)
1) Eb-A-D: F13

As you can see (above), the arranger chord recognition version of Bill Evans style 'rootless' chords includes only 3 notes instead of 4. The reason for this limited variation is because the 4 note version (ei: F-A-C-E) is already universally recognized as the root position FMaj7 chord. Removing the 5th (C) is acceptable, because it's considered the least important chord tone, and usally the first tone of a chord to eliminate when chord extensions (9,11,13th) are included. Because these arranger kb variant rootless chords also support smooth II-V7-I voice leading, I spent some time initially to play and memorize the above arranger specific chord progressions in all 12 keys, so they can be easily called up whenever I come upon a II-V7-I chord progression in my music. I forgot to mention that I play all this in "fingered" mode, with both LEFT & RIGHT parts assigned to acoustic GRAND piano. Now I can play two handed piano on the arranger, and include 2-hand full comping chords as well, with the right hand stacking 4th and 3rd above the left hand. Pretty nifty and surprising convincing jazzy sound in auto accomp mode with jazz swing styles.



I wished Yamaha had included a Super Articulation 'acoustic bass' especially for times I want to manually play walking bass patterns with my left hand. On the other hand, I'm quite satisfied with the auto accomp bass 'sounds': mega voice acoustic bass etc. I find that by increasing the volume level of the auto accomp bass part and/or fattening the sound with efx, greatly enhances the auto accomp bass sound.

Robert, I'd really love to telephone chat with you via Skype or by private email, to perhaps share my thoughts & ideas about this in better detail . My Skype id is: Scottyee. Email me privately (address given in my profile) if interested.

Scott