Originally posted by Tom NL:
I was curious as to how my Technics KN6000 would recognize them. In fact the result was the same as you wrote, the only exeption is E1 - Bb1 - D2, that is recognized as C79 instead of C9:
Tom, a C9 & C79 chord are basically the same thing, both are dominant family 7th chords but with a 9th added, so indeed all your KN6000's chord recognitions are the SAME as I wrote. ;
To summarize the IMPORTANCE of rootless chord recognition in arranger keyboard mode 'LH split mode' or 'full keyboard mode' piano playing:
When playing in 'live' jazz combo trio rhythm section situation, the piano player typically is expected to play comping chords, with the bass player supplying the bass lines based on the root chords of the tune, and drummer supplying the rhymthmic groove. It's important, particularly in this style of music, that the piano player not play the root tones (foundation notes) of the chords as this is the function of the bass player.
Emulating this trio setup on an arranger keyboard (with us (the arranger player) functioning as the rhythm section keyboard player, is no different. First of all, for jazz combo styles in which a piano auto accomp part is included, I ALWAYS delete the accomp instsrument part because I want to supply all piano accomp in my LIVE playing, it ALWAYS sounds better and more professinal. I've found most auto accomp piano parts to sound too rigid & computer like. Ok, back to my explaination. Once the auto accomp piano part(s) are muted, I can procede to supply left hand (assigned to a Piano Voice) comping, which include the rootless voicings given above. Even though I'm not playing the chord's 'root' tones, the arranger recognizes them as if I were, and has the auto-accompaniment BASS part (acoustic bass) supply and play the root tones (and other notes of chords) of the chords instead. This is how it is and should be to most accurately reproduce the sound of a true jazz style combo. This was the type of combo sound made popular by the Bill Evans Trio in the 60's and is carried on with the like of Diana Krall, Peter Cincotti, Jamie Cullum and other contemporary jazz kb artists. I hope my explaination was clear here. Changing the above chord recognition (and in addition to the above specific instances, in ALL 12 keys as well) expands the playing possibilities for the arranger keyboard player without sacrificing anything as the existing chords recognition (as Roland currently assigns them) is totally useless and never played by anyone as far as I can tell. Can even ONE person here report back and tell me that they actually play any of the above chords voicings to trigger the chords (EXCEPT for the ones that already match mine) Roland currently assigns them? I bet not.
Originally posted by Tom NL:
am not as musically educated as you are and didn't know these type of chords.
Don't worry. ; Actually, musical education is'nt required. You can easily hear the DIFFERENCE in the sound of the chords being played. Many terrific musicians have never had a formal music lesson in their life, yet are able distingish the difference in the chord type voicings being played. Ear training is the key.
Many thanks for listening everyone, especially if you're someone from Roland Corp.
Scott
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http://scottyee.com [This message has been edited by Scottyee (edited 04-30-2005).]