Hi Walt,

Brief?! Well, here's at least a link to a 'brief' description of the rootless chord voicings played by jazz keyboard players.
http://www.jazzoasis.com/Lessons/Piano/Basic%20Chord%20Voicings.htm

Now for the not so brief part:

These keyboard chord voicings include the 3rd and 7th of a chord, but leave out the root. The reason jazz players prefer leaving out the root when comping, is because the bass player is 'already' laying down the foundataion (root) of the chord in his bass line patterns. If the keyboard player includes the root in his comping chords as well, it creates a less jazzy sound, as both the bass & piano player would essentially be 'doubling the root', over emphasizing the root tonality, which is not typically desirable in straight ahead jazz styles played by jazz keyboardists from Bill Evans to Diana Krall.

Because of certain limitations of arrangers in general, the 'rootless' chord voicings recognized by the Technics KN keyboards are actually a 'slight variation' from the actual rootless voicings I learned from my experience in jazz education , but they are still quite appropriate when you want to sound like an authentic live jazz keyboard player comping in a jazz combo setting, with the auto accompaniment playing the bass player & drum parts.Playing 'rootless' chords gives the music a more 'open' sound which is the trademark of straight ahead jazz. Most jazz tunes are based on the II-V7-I chord progression, so here are some of the rootless voicings which the KN keyboards recognizes. I encourage everyone (especially people who like to play jazz styles) to try them out and memorize these II-V-I chord progressions as it involves very little finger movement (smooth voice leading) between the chords. Hope some of you will write back and let me know what you think, and if you find these chords useful in your playing. I'm confident it will expand your arranger keyboard playing possibilities and provide a more authentic jazzier sound as well. - Scott

Bill Evans: A Type IIm9-V13-I69 Chord Voicings
(both split & full keyboard modes):

Cm7(9): (Eb-Bb-D)
Dbm7(9): (E-B-Eb)
Dm7(9): (F-C-E)
Ebm7(9): (Gb-Db-F)
Em7(9): (G-D-F#)
Fm7(9): (Ab-Eb-G)
F#m7(9): (A-E-G#)
Gm7(9): (Bb-F-A)
Abm7(9): B-Gb-Bb)
Am7(9): (C-G-B)
Bbm7(9): (Db-Ab-C)
Bm7(9): (D-A-C#)

C13: (Bb-E-A)
C#13: (B-F-A#)
D13: (C-F#-B)
Eb13: (Db-G-C)
E13: (D-G#-C#)
F13: (Eb-A-D)
F#13: (E-A#-D#)
G13: (F-B-E)
Ab13: (Gb-C-F)
A13: (G-C#-F#)
Bb13: (Ab-D-G)
B13: (A-D#-G#)

C69: (E-A-D)
Db69: (F-Bb-Eb)
D69: (F#-B-E)
Eb69: (G-C-F)
E69: (G#-C#-F#)
F69: (A-D-G)
F#69: (A#-D#-G#)
G69: (B-E-A)
Ab69: (C-F-Bb)
A69: (C#-F#-B)
Bb69: (D-G-C)
B69: (D#-G#-C#)


B Type IIm7-V13-Imaj7 Chord Voicings
(both split & full keyboard modes):

Cm7: (Bb-C-Eb-G)
Dbm7: (B-Db-E-Ab)
Dm7: (C-D-F-A)
Ebm7: (Db-Eb-Gb-Bb)
Em7: (D-E-G-B)
Fm7: (Eb-F-Ab-C)
F#m7: (E-F#-A-C#)
Gm7: (F-G-Bb-D)
Abm7: (Gb-Ab-B-Eb)
Am7: (G-A-C-E)
Bbm7: (Ab-Bb-Db-F)
Bm7: (A-B-D-F#)

C13: (E-A-Bb-D)
C#13: (F-A#-B-D#)
D13: (F#-B-C-E)
Eb13: (G-C-Db-F)
E13: (G#-C#-D-F#)
F13: (A-D-Eb-G)
F#13: (A#-D#-E-G#)
G13: (B-E-F-A)
Ab13: (C-F-Gb-Bb)
A13: (C#-F#-G-B)
Bb13: (D-G-Ab-C)
B13: (D#-G#-A-C#)

Cmaj7: (B-C-E-G)
Dbmaj7: (C-Db-F-Ab)
Dmaj7: (C#-D-F#-A)
Ebmaj7: (D-Eb-G-Bb)
Emaj7: (D#-E-G#-B)
Fmaj7: (E-F-A-C)
F#maj7: (F-F#-A#-C#)
Gmaj7: (F#-G-B-D)
Abmaj7: (G-Ab-C-Eb)
Amaj7: (G#-A-C#-E)
Bbmaj7: (A-Bb-D-F)
Bmaj7: (A#-B-D#-F#)


3 note Dominant Rootless Chords
(both split & full keboard modes):

C7(9): (E-Bb-D)
C#7(9): (F-B-D#)
D7(9): (F#-C-E)
Eb7(9): (G-Db-F)
E7(9): (G#-D-F#)
F7(9): (A-Eb-G)
F#7(9): (Bb-E-G#)
G7(9): (B-F-A)
Ab7(9): (C-Gb-Bb)
A7(9): (C#-G-B)
Bb7(9): (D-Ab-C)
B7(9): (D#-A-C#)

C13: (Bb-D-E-A)
C#13: (B-D#-F-A#)
D13: (C-E-F#-B)
Eb13: (Db-F-G-C)
E13: (D-F#-G#-C#)
F13: (Eb-G-A-D)
F#13: (E-G#-A#-D#)
G13: (F-A-B-E)
Ab13: (Gb-Bb-C-F)
A13: (G-B-C#-F#)
Bb13: (Ab-C-D-G)
B13: (A-C#-D#-G#)

C7: (Bb-E-G)
C#7: (B-F-G#)
D7: (C-F#-A)
Eb7: (Db-G-Bb)
E7: (D-G#-B)
F7: (Eb-A-C)
F#7: (E-A#-C#)
G7: (F-B-D)
Ab7: (Gb-C-Eb)
A7: (G-C#-E)
Bb7: (Ab-D-F)
B7: (A-D#-F#)


Two Handed Open Voicing Chords (great for coming jazz blues)
(full keyboard mode ONLY):

Chord Name (lt hand) (rt hand)
C13: (Bb-E-A) (D-G-C)
C#13: (B-F-A#) (D#-G#-C#)
D13: (C-F#-B) (E-A-D)
Eb13: (Db-G-C) (F-Bb-Eb)
E13: (D-G#-C#) (F#-B-E)
F13: (Eb-A-D) (G-C-F)
F#13: (E-A#-D#) (G#-C#-F#)
G13: (F-B-E) (A-D-G)
Ab13: (Gb-C-F) (Bb-Eb-Ab)
A13: (G-C#-F#) (B-E-A)
Bb13: (Ab-D-G) (C-F-Bb)
B13: (A-D#-G#) (C#-F#-B)

C7(9): (E-Bb-D) (G-C)
C#7(9): (F-B-D#) (G#-C#)
D7(9): (F#-C-E) (A-D)
Eb7(9): (G-Db-F) (Bb-Eb)
E7(9): (G#-D-F#) (B-E)
F7(9): (A-Eb-G) (C-F)
F#7(9): (Bb-E-G#) (C#-F#)
G7(9): (B-F-A) (D-G)
Ab7(9): (C-Gb-Bb) (Eb-Ab)
A7(9): (C#-G-B) (E-A)
Bb7(9): (D-Ab-C) (F-Bb)
B7(9): (D#-A-C#) (F#-B)



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http://scottyee.com

All the keyboard makers copy & borrow from each other. My Roland has the Dynamic Accomp feature. And also, the Ritard tempo feature. In the Roland, you can specify the % of slow down from the original tempo over what number of measures. Even my older Roland E-96 could do both of these.
Still, I can't wait to see the new KN7000. But I'm really excited about Yamaha's new Tyros, too!

Tom G.

[This message has been edited by TomTomSF (edited 07-18-2002).]

I think it's really a pity that they removed the Sound Controller from the new KB. I think it will be the most important reason not to upgrade to the KN7000. I have come to use this feature a lot while playing live with my band. It creates a great sound when used properly, especially while playing (sort of) chemical beat, or more electronic oriented music. During the entire song your sound can be different! It's so easy to put a lot more feeling into the music this way. I really cannot understand why on earth technics dropped this feature. While other KB manufacturers put so much effort in creating new possibilities to change/control the sounds realtime. I thought technics got it right at this point since options of other manufacturers don't appeal to me that much (Blessing the audiance while using the D-Beam of Roland )
So it's really a drawback that it is left of on the KN7000. Or are there any other ways to change/control the sound realtime? I hope there is...

HI: Is there a way to covert other brand styles to the KN7000 ?
Mainly Yamaha STY files to KN7000.
I hope so because I couldn't imagine going back to just the
few hundred onboard styles & having to buy new styles,
When I have thousands of Styles converted to Yamaha already.

If it is possible is it easy to do, or a complicated procedure ?
Thank You for any help you can give me.
The KN7000 looks nice.
Denny

try Gunnar Johnny. He has tons of conversions to 5000 format, and these should load into the 7k. Probably the 3000 and 2000 pages too. Like all conversions you may have to tweak them yourself to personal taste, they won't come out as good as the presets, but can easily be improved. http://home.c2i.net/gjgotaas/

HI: technicsplayer
Thank You for your reply, but I was wondering if the KN7000
comes with a program to convert Yamaha STY files to
Technics KN7000.
I can't remember but I think the KN5000 came with something
like this.
Thanks Again
Denny

no official information yet. There is a style conversion disk supplied with 6k that does various Roland, Solton, Korg, Gem, old Technics except Yamaha. There was an inexpensive upgrade disk for the 6k that included Yamaha and a few other new models. I talked to the software creator at Frankfurt and he said the 7k would come supplied with this new including Yamaha disk. But as I say, no official info or confirmation, so we have to see what turns up.

HI: technicsplayer
Thank You for the info I hope this disk is
supplied with the KN7000.
I might be interested in one if it is.
Thanks
Denny
PS: Is it easy to convert styles with this
disk ?
I never tried it on my KN5000

easy? - very.
long-winded? - somewhat.
you can save lots of time with the EMC software program, but then that costs, the disk comes free with the keyboard. The EMC is great if you have thousands of conversions to do. But Gunnar, and others like Bud Whipple here may have done a few for you already? The style converter disk is a nice no-cost plus if you want your favourites from some other previous keyboard carried over. But remember the tweaking. They come out good, but not perfect. You need to balance, add DSP, maybe change a voice or drum kit here and there to get something that sounds comparable to the built in presets, it's like this for any conversion.

HI: technicsplayer
EMC won't convert to KN6000/6500 or 7000
will it ?
Denny