Russ-

I tried the different available modes...and full keyboard immediately was the one I felt the most comfortable with. Trying to learn new 1-2-3 special fingerings for the chords I wanted made my brain hurt.

Honestly, I find it pretty easy to play in this mode...The only thing that will catch me sometimes is if I do too much in the LH while moving about with the RH at the same time. I find full voice chords will do the best with the LH (Root,3rd, 5th). As long as you give the KB a fully voiced chord (in root position)you can play just about anything you want with you RH.

Some times I'll slip and play a 5th on the bottom and then depending on my RH, I can wind up with an odd chord. (EX: C-G in LH, C6 chord on the RH---depending on your RH styling, I've would up hearing a AM by mistake.)

I'd suggest practise, practise, practise to get mode comfortable with this mode. Also, Scott Yee (I think)uses the full keyboard mode like I do and has done it longer. Hopefully Scotty will check in with some feedback of his own.

Hope it helps-

Bill

I don't use it much, but the SD1 has an interesting feature in that you can use the footswitch to "hold" a chord, allowing you to play anything you want. You can change chords only when the pedal is depressed.
DonM

Thanks so much for the info. Is it published anywhere what algorithm the keyboard uses to determine which chord to play in full keyboard mode? It seems if I understood the method the KB uses, I would be better able decide how/where to form my chords.

Thanks again, Russ

Don, that is chord recognition on Roland..It actualy works great, especially if you are using a guitar as a controller..
It would work perfectly in full keyboard mode..

Hi Bill - sounds like a great opportunity for you there!
I used to play in full keyboard mode exclusively when I first got my PSR2100, since i was trained as a pianist, and was used to 88 keys, and the "split" point took some getting used to!
You are right - it has it's glitches, and practice was the only way around those "missed" chords -
I'm actually trying to work on the fingered mode, and learn that better, as it lends itself a little more to some of the songs i'm working on now.
Do you have the choice of the A1 full keyboard mode? I still use that one most of all, and it works best for me - a little smoother when changing chords, and not as many missed chords, and still full arpeggio use. Again, it seems the best "choice" is what feels best with the way you play.
Congrats on the new opportunity! Can't wait to hear how it goes!

Jill

Good topic. On the Tyros (and Yamaha arrangers), I've found 'full keyboard' mode playing to be a mixed bag of both advantages & disadvantages. The advantage of course is that your able to trigger chords with either or combination of hands. In addition to the ability to play in a more traditional solo acoustic piano style, if you set the chord recognition to full keyboard mode, yet keep the split point at F#2, you can play bass lines with my left hand and trigger auto accomp from the chords I played in the right hand (right of split point). The bass auto accomp part obviously needs (in this situation) to be muted if you choose to play manual bass lines with your left hand.

I remember experiencing problems playing in full keyboard on my Tyros in the distant past, where when playing a RH solo melody 'within an octave above' the highest note of the LH chord played, would negatively alter the chord recognition, and cause the auto-accomp bass line to sound inaproppriate, repeating on bass notes unexpectantly. Thankfully (recent OS update?), this seems to be a lot less noticeable now.

For example in full keyboard mode, select a style & variation which includes a walking bass line. I suggest "Acoustic Jazz", variation "C". Play a LH 1st inversion C7 chord: E1-G2-Bb1-C2. Now play the following notes contained in a descending C Dorian Scale with your right hand: C3-Bb2-A2-G2-F2-E2-D2-C2. As you will observe, for all descending RH notes played, the chord recognition remains C7 except for G2 & E2. These result in a chord recongition of C7/E, of which triggers the bass auto accompaniment to play a continously repeating on Bass E note instead of walking bass. I would prefer that chord recognition to REMAIN consistant with the other notes and recognized as a C7 to preserve the walking bass line feel of the style variation. Though I of course appreciate the full keyboard mode ability to recognize chords in either or combination of both hands, playing in split mode eliminates the full keyboard mode problem outlined above, allowing me to play chord tensions upper structure alterations with the right hand without affecting the fundamental chord recognition.

I agree with the comments made by Jill (btw Jill: a big welcome to the Synthzone forum to you). Great to finally see more woman arranger players here contributing to the forum. Interestingly enough, I'm actually using a combination of split & full keyboard mode. Though I now set the Tyros to 'Full Keyboard" chord recognition mode, I also keep the split point (S) & Left (L) set to F#2. What this does is allows the RIGHT voice (G2) to have the same octave pitch as the LEFT Voice (G1) extending the right hand notes down within the left hand comping chords played providing a better more authentic (to my ears) sounding two-handed chord comping.

I didn't mean to bore you with so many details, but since you asked.

Scott

Hi,
I use full keyboard mode with one man band (omb)software , with an 88 note digital piano as controller. Works well.

I personally found it of more use with 76 or 88 notes, but was still handy to have the option on my 61 note keyboards.

My local keyboard salesman used to be an absolute whizz playing demo's on technics (arranger) piano's. Managed to fit in runs & fills and never seemed to hit a wrong chord.
Stuff you just couldn't play in split mode.
best wishes
Rikki
[QUOTE]Originally posted by Bill in Dayton:
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