Ivory
apparently this is the hot new piano sample program. all hype
aside, has anyone tried it? at $375, the price seems right.
aside, has anyone tried it? at $375, the price seems right.
There are 13 comments, leave a comment.
all 88 keys individually sampled in up to 10 dynamic levels. (each individual piano is about 6 gigabytes of sample, 40 gigs total)
review:
https://www.audiomidi.com/aboutus/reviews/paxton_ivory.cfm
demos:
https://www.ilio.com/synthogy/ivory/index.html
review:
https://www.audiomidi.com/aboutus/reviews/paxton_ivory.cfm
demos:
https://www.ilio.com/synthogy/ivory/index.html
no, not at all. i've never heard anyone explain these in any coherent way, much less present a convincing argument as to why this is a good way to think about soloing. this is his own terminology and concept, which he explains, i'm sure, in his videos and workshops in nyc.
you sure couldn't tell he was using any special scales by transcribing his solos, but apparently it makes sense to him. i'm happy enough if he keeps playing his music, regardless of whatever theory he's come up with.
you sure couldn't tell he was using any special scales by transcribing his solos, but apparently it makes sense to him. i'm happy enough if he keeps playing his music, regardless of whatever theory he's come up with.
i've been using it for over a year, but it really requires more computer resources than i have for live performance. (i use a mac 1.5g powerbook with an external fw800 drive). i occasionally get a little noise burst.
the sound is good,though maybe a little "distant". when i use it live, i mix it with the p250 sound - this really sounds good.
ivory sounds very good when used to render midi files.
i'll need to get a new mac with a fast drive to be able to utilize it fully as a live medium.
the sound is good,though maybe a little "distant". when i use it live, i mix it with the p250 sound - this really sounds good.
ivory sounds very good when used to render midi files.
i'll need to get a new mac with a fast drive to be able to utilize it fully as a live medium.
those are just other names for the following scales:
ionian (major) bebop scale
1 2 3 4 5 #5 6 7
c d e f g g# a b
minor major bebeop scale
1 2 b3 4 5 #5 6 7
c d eb f g g# a b
mixolydian bebop scale
1 2 3 4 5 6 b7 7
c d e f g a bb b
lydian dominant bebop scale
1 2 3 #4 5 6 b7 7
c d e f# g a bb b
the names harris gives those four scales relates to their usage for block chords where you alternate between chord tone voicings and diminished chord voicings. see mark levine's chapter on block chords and it will become clear to you.
in my opinion harris neglects to mention that jazz pianists need to also know the three diminished scales, the two whole tone scales, the 12 blues scales (bot in minor & major forms) and the 12 pentatonic scales (in both major and minor forms).
ionian (major) bebop scale
1 2 3 4 5 #5 6 7
c d e f g g# a b
minor major bebeop scale
1 2 b3 4 5 #5 6 7
c d eb f g g# a b
mixolydian bebop scale
1 2 3 4 5 6 b7 7
c d e f g a bb b
lydian dominant bebop scale
1 2 3 #4 5 6 b7 7
c d e f# g a bb b
the names harris gives those four scales relates to their usage for block chords where you alternate between chord tone voicings and diminished chord voicings. see mark levine's chapter on block chords and it will become clear to you.
in my opinion harris neglects to mention that jazz pianists need to also know the three diminished scales, the two whole tone scales, the 12 blues scales (bot in minor & major forms) and the 12 pentatonic scales (in both major and minor forms).
by the way it's not only his concept, big band arrangers, pianists that play block chords and early bebop players were using those scales before harris. harmonicly, the concept relies on the 6th chord and the 8-note, rather than seven-note, jazz scale as a basis for melody and harmony. this is the material used by bud powell, joseph schillinger, george gershwin, glenn miller, and even frédéric chopin.
harris also emphasizes the concept of building a repertoire of one's own "musical movements" over common licks and phrases.
harris also emphasizes the concept of building a repertoire of one's own "musical movements" over common licks and phrases.
j+ - really interesting stuff you touched upon there...i'm especially intrigued by the mention of chopin - do you have any works for reference?
i'm just learning about the eight-note scales. they have one huge advantage in their symmetry – if you are on a consonant note at the start of a run and use one of these, you’re consonants will stay on the same part of the beat. hmm, i can’t explain this well (probably because i don’t yet understand it well). the possibilities are terrific but as i say, i’m just getting familiar with them.
thanks for your excellent explanation jazz+. i think that stuff is a bit too advanced for me at present but it gives me something to think about. as a 60 year old beginner my biggest problem is short term memory loss. now if anybody has any advice on that subject......
john.
john.
to take care of the persons you love, and to pay your taxes :)
if you are just beginning let me say it this way:
the bebop scale simply add the #5 passing tone to the regular major scale.
c d e f g a b scale
becomes
c d e f g g# a b
and for the c7 chord scale it add the raised 7:
c d e f g a bb
becomes
c d e f g a bb b
that's all it is.
the bebop scale simply add the #5 passing tone to the regular major scale.
c d e f g a b scale
becomes
c d e f g g# a b
and for the c7 chord scale it add the raised 7:
c d e f g a bb
becomes
c d e f g a bb b
that's all it is.
thanks again jazz+ i think i understand your explanations. it¡¦s just a matter of putting the theory into practice; but i¡¦m working on it. ƒº thanks also to scott for this wonderful site, i have been hanging around for a couple of months now absorbing the atmosphere and picking up tips from all the regular contributors. it¡¦s a truly noble enterprise. by the way i have just come across another free site based over here in britain which may be of interest to other beginners. www.petethomas.co.uk his theory section is the clearest and simplest explanation of jazz theory i have so far seen. john.
i take it that those chromatic passing tones can resolve either up or down, right?
the block chords are the real brain f**k, ya got a 6th chord and then a dim. chord, ouch! i don't even know how guys can play that sh*t. any helpful hints on how to approach these block chords.
block chords, red, block chords.
-j
the block chords are the real brain f**k, ya got a 6th chord and then a dim. chord, ouch! i don't even know how guys can play that sh*t. any helpful hints on how to approach these block chords.
block chords, red, block chords.
-j
you might try thinking of the passing chords of v7(b9) instead of diminished. obviously they are diminished chords, but, since v-i is such a common cadence, it may allow your mind to process the movement a little easier. plus, it's not always necessary to have that (b9) there, thus eliminating the diminished chord. this is particularly true in older styles of jazz piano. say if you are playing in e-minor and you want to move upward to first inversion of the e-minor chord. it would sound good(especially if you are playing in a stride style) to go e-, b7, e-. so your left hand would be: e, b, g; f#,d#,a; g, e, b. since the (b9) does not always need to be there, it would probably be more worth your time to learn these movements as v-i. once you get the basic block chord movements down, practice the motions as a drop-2. the way to master these movements is simply by shedding them. it's not only useful to practice them up and down the scales, but also as approaches to chord tones. you might practice moving from b to c, then f to g, then d to e.....etc. the purpose is just to get comfortable adding these harmonic motions in all areas of the keyboard, and in different ways.
you can also utilize this v-i idea within your lines. say you have a tune that has an area where one chord lingers for a while. in these situations, you can utilize v-i to add motion to your line. find interesting ways to weave in and out of v and i. since this is such a strong cadence, it will usually be pleasing to the ear.
as far as the scales, when they are played in an improvisatory line, they are more often played descending. obviously, that is not always the case. when using the scales as a foundation for moving block chords around, it goes either way.
it should also be noted that barry has a method for playing block chords up a diminished scale using v-i to minor-6 chords. so, if you are playing up cdim7 scale, you would play c-6, bb7(b9), eb-6, db7(b9), gb-6, e7(b9), a-6, g7(b9). this opens the door for some interesting sounds.
as far as the scales, there are extensions to the basic rules for the bebop scales. what if you start on d, and descend down the c7 bebop scale? well, if you start on the beat, it actually will not work using the normal rule. you would either a. use no passing tones, or b. insert db, and b as passing tones. for e, you would either use the regular rule, or you could insert eb, db, and b as passing tones. f uses the same rule as d, and so forth. obviously, if you start on the upbeat, the rules are flip-flopped.
"i think that stuff is a bit too advanced for me at present but it gives me something to think about."
there is really nothing advanced about the basic premise of these bebop scales. you just add passing tones to even out the scale. that's it. obviously, it can get in depth, but just using the basic rules that jazz+ outlined will get your lines flowing a lot better.
you can also utilize this v-i idea within your lines. say you have a tune that has an area where one chord lingers for a while. in these situations, you can utilize v-i to add motion to your line. find interesting ways to weave in and out of v and i. since this is such a strong cadence, it will usually be pleasing to the ear.
as far as the scales, when they are played in an improvisatory line, they are more often played descending. obviously, that is not always the case. when using the scales as a foundation for moving block chords around, it goes either way.
it should also be noted that barry has a method for playing block chords up a diminished scale using v-i to minor-6 chords. so, if you are playing up cdim7 scale, you would play c-6, bb7(b9), eb-6, db7(b9), gb-6, e7(b9), a-6, g7(b9). this opens the door for some interesting sounds.
as far as the scales, there are extensions to the basic rules for the bebop scales. what if you start on d, and descend down the c7 bebop scale? well, if you start on the beat, it actually will not work using the normal rule. you would either a. use no passing tones, or b. insert db, and b as passing tones. for e, you would either use the regular rule, or you could insert eb, db, and b as passing tones. f uses the same rule as d, and so forth. obviously, if you start on the upbeat, the rules are flip-flopped.
"i think that stuff is a bit too advanced for me at present but it gives me something to think about."
there is really nothing advanced about the basic premise of these bebop scales. you just add passing tones to even out the scale. that's it. obviously, it can get in depth, but just using the basic rules that jazz+ outlined will get your lines flowing a lot better.
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