My main problem with the One Finger systems is that it stymies growth, repertoire and musical development.

It's actually a superior system for controlling an arranger, in some senses, because the limited choice makes it MUCH easier for the arranger to divine the chord you want (or are playing, at least ) and to serve it up without ambiguity and the resultant glitches as you try to play a four or more note chord fast enough that the arranger doesn't have time to figure something out from the first two or three notes you play fractionally before the other one or two notes get played...

But it's major drawback comes from the tiny handful of chords that it recognizes, especially when you want to do inversions extensions and 'slash' chords. It makes you 'dumb down' the changes, whether you need to (from inexperience) or not. Especially in the case of the elderly player, who looks for a shortcut, but sadly usually wants to play music that has FAR more chordal complexity (jazz and swing, ballroom and latin) than most pop and R&B musics, yet alone today's three chord slacker cr@p!

It's all well and good to learn a system, but if that system you learn doesn't translate to ANY other keyboard (one finger systems tend to be slightly different across manufacturers), it puts you in a technological dead end, AND frustrates you when faced with any other keyboard than the one you learned on...

And, in all fairness, once you DO try to do more complex chords and extensions on a OFS, you end up playing nearly as much as if you had simply learned the correct way to voice things! But, of course, try to play that rubbish with a left hand sound WHILE you are triggering the chords, and you get mush and nonsense..

I think I also agree with chas on the fact that I don't think that anyone that CAN'T play decently with their LH could ever be described as being 'strong' in the right. Adequate... maybe (barely), but strong? Please I'm sorry, but being able to play a melody without much in the way of embellishment hardly qualifies as 'adequate', yet alone strong, and the interminable number of user demos that seem quite ecstatic in their own ability to simply get through the piece without screwing up the melody or basic chords (forget even playing in the pocket!) simply point to just how low the bar gets, sometimes, around here...

Blowing a decent solo, and reharmonizing on the fly are NOT the sole province of the technical jazz player. Darn near every pop tune out there has a solo of some kind or another in it. Are THEY content to repeat the stupid melody with maybe a different sound? Hell no!

If you want to grow musically, if you want to play older tunes with the CORRECT chords (not the big print bullsh!t), if you want to NOT tie yourself down to one manufacturer, one type of keyboard, if you EVER want to play in a live band, even for fun, you HAVE to learn to play chords correctly. And the sad fact is, it's no more difficult than learning the complexities of a OFS once you get past the baby steps of simple minor and major and sevenths.

So pull that One Finger out your asses, and spend a few weeks (if that) learning the proper way to voice chords! You'll thank me for it later...

I give the One Finger salute to the One Finger Chord system