guzman

Couldn’t have said it any better.

Yeah man. F diminished is very cool for that chord. The F melodic minor does miss the B natural, but it also just works - at least to my ears. YMMV. I was simply trying to show another application for the melodic minor scale. Thanks for posting.

There is a simple code I use for applying melodic minor over dominant 7th chords. Which melodic minor to use depends on what position the dominant 7th chord is. I’ll use the key of C for reference, since everyone likes the people’s key. Dominant 7 13/b9 (almost always a V chord) - Play melodic minor down a whole step from the dominant chord root. So for the key of C, the chord would be a G7 13/b9 - you would play an F melodic minor. If the dominant 7 is altered in these positions - III7, V7, VI7, VII7 - Play melodic minor up a 1/2 step from the dominant chord root. So for the key of C, this would be: E7 (alt) - F melodic minor G7(alt) - Ab melodic minor A7 (alt) - Bb melodic minor B7 (alt) - C melodic minor If the dominant 7 is a #11 in these positions - II7, V7, (and any non-diatonic 7 chord) - Play melodic minor up a 5th from the dominant chord root. So for the key of C, this would be: Db7#11 - Ab melodic minor D7#11 - A melodic minor Eb7#11 - Bb melodic minor Gb7#11 - Db melodic minor G7#11 - D melodic minor Ab7#11 - Eb melodic minor Bb7#11 - F melodic minor Also, for III7, V7 and VI7 dominants, you can play a diminished scale up a half step from the dominant chord root. So for the key of C, this would be: E7 - F diminished scale G7 - Ab diminished scale A7 - Bb diminished scale This is a quick and easy formula - at least for my brain.

Thanks for posting this. I like that right hand chord progression starting at 2:50 with the descending fourths. I’ve made it my own. As you were.

Don"t forget General Cinema Corporation"s gem! I worked at one of their theaters for 3 years while going through college. I can"t even begin to think how many times I heard it. [video:youtube]

Love my KP-500S. The single box/set up ease is outstanding, with hardly any compromise on sound quality. The stereo imaging and design just works. I"ve posted this before - I play mostly jazz gigs with vocalists that use the mic input on the KP. I utilize a mic mechanic for the mic input that really does the trick. For you clone users, the Motion Sound amps are the best I"ve experienced for clone amplification. If I was still playing in loud bands (that ship sailed long ago), I would be all over this, 70 lbs and all. I have no doubt it delivers.

Well put. I use mine the same way - strictly jazz gigs in the Piano stage sound setting. Works exceptionally well for that. Set the action parameter to the lightest setting, and you have a very expressive and capable instrument. I think the reviewer missed the point. I suspect the weighting delta on the white vs. black keys was fully intentional. We all know the slight issue with the black keys needing more pressure towards the fallboard. The lighter weighting compensates for that. If the black keys took the same weight to move them as the white keys, the black key pressure needed near the fallboard would be much more noticeable, and would probably be felt halfway down the black key. My $.02 Guz

Does measure 38 look right to you?

I have a capabilities question that Im hoping can get answered by Mike. When doing a split w/left hand bass, is it easy to change sounds on the upper portion (say, changing from acoustic piano to a Rhodes) without changing the bass patch? Or, is it easy to simply store separate presets with the same LH bass patch and separate RH patches and change on the fly without the volume levels changing? Finally, if splitting bass for LH and piano for RH, is it easy or even possible to change the volume of either split on the fly? For instance, if I need to turn up the volume on the RH patch a bit during a solo (leaving the LH bass patch volume the same volume), then back down after the solo... Is this doable and easy? Things get hairy during a performance, and it would need to be quick and easy. Thanks.

Is it just me or do the heavy strikes from 2:05 to 2:15 in the long Kraft demo seem abnormally pingy and brittle? Not authentic- hopefully this could be dialed out. But I really like the rest of how it sounds, and the interface is a huge step up. Good job Yamaha. My $.02

I really like mine. The action is nice - I can play much quicker phrases on it than my CP33, which I always found heavy and sluggish. Not sure why people are bagging on the Medeli action in general - I find it very responsive and playable. Now to be fair, I use a whopping 5 sounds - all Dave Weiser customs - 2 of his AP's, 2 of his Rhodes, and one of his bass patches for LHB that I modified slightly on the attack. This is a nice board - especially for $1,295.

This is why I placed my SP6 order from Dave Weiser. What a stand up dude. Best support in the business.