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Desktop environments via HDX. It's expected that Wyse Xenith will just be the first of many "engines" that could plug- in to Wyse Zero, with future ones potentially built around PC- over- IP, Remote. FX, Win. CE, and Thin. OS. I posted a full analysis of the Wyse Zero product and strategy yesterday, along with a video demo from the expo hall of Citrix Synergy 2. In today's article, I'll dig deeper into the technical aspects of the Wyse Xenith client device. The Wyse Zero client device. As I wrote yesterday, Wyse Zero clients share a hardware platform with current Wyse C class clients (which can be Thin. OS, Win. CE, Windows XPe, WES, or Linux). Check out Wyse’s PDF spec sheet for more details on the C class, or read our article about them when they were released last year. I need to install Adobe reader on a Wyse thin client. There is only about 100MB free space on the system. Is there a small footprint version that would serve my needs. Support Downloads. To find available. If you have a Windows Embedded based Wyse product, would you like to be notified of Security Updates when they are released? One of the things about Wyse Zero that I didn’t like initially was that customers can’t “convert” an existing C class thin client into a Wyse Xenith or a Wyse Zero client. That’s crazy!” I thought, “it’s the same hardware!?!” While this is true, it occurred to me a few days later that this is already the case for just about any thin client. For example, a customer can’t convert a Win. CE C class into an embedded Linux C class, so why would the Wyse Zero be any different? Of course this doesn’t explain why this is the case, but I’m just pointing out that it’s not new with Wyse Zero.) It's probably possible from a technical standpoint, because the the Wyse Xenith at Synergy had a masking tape sticker on the bottom with the word “converted” written in pen. Regardless, choosing to leverage the C class platform for the Wyse Zero products is a great move on Wyse’s part. The C class is Wyse’s most advanced yet lowest- powered device. It has a dedicated media decoder chip, Wi. Fi, and a super- tight package. Wyse Zero architecture. As I touched on yesterday, there are a few moving parts in the Wyse Zero / Wyse Xenith architecture, including: The client device, with some bare- bones capabilities (Wyse claims this isn’t firmware, so whatever.. DHCP address to read the URL of the engine it should download. A web server containing the protocol “engine” the device should download which provides the core functionality (optional) A central configuration file on the web server which controls settings for the clients like key rate, language, mouse tracking speed, etc. These settings can also be controlled in the client by editing the.. Nonfirmware? So the boot process of the Wyse Xenith looks like this: Client powers on. Client requests an IP address via DHCP. Client requests DHCP option tag 1. INI file) and then 1. Xen. Desktop)Client checks to see if there is an updated version of the Xenith HDX engine (officially called "Citrix Receiver for Wyse Xenith) or any additional central configuration present (via FTP/HTTP/HTTPS) and updates itself accordingly. User sees the Xen. Desktop login screen. A few notes on this process: The Xenith checks for DHCP option 1. Xen. Desktop Web Interface as part of config file which is delivered via the location specified in 1. If you don't have the ability to configure any DHCP options (locked down DHCP or maybe for home users) then you can hard- code the central config file URL in the firmware of the device. Although the device will still try to read DHCP flag 1. Finally, the HDX engine and config file location doesn’t have to be on the Citrix Web Interface Server. That’s just the default that Wyse suggests since customers will already have it up and running. And by the way, the “installation” on the web server is just creating a folder called “wyse” and copying some files in. Future versions of Citrix Web Interface will actually even have this built- in.)How much "HDX" does the Xenith support?
Visit our Dell Wyse Thin Client Knowledge Base and Manuals. I try to install adobe acrobat reader 9 but it keeps saying 'I should insert adobe reader disk in. . Adobe Flash capability to the endpoint device rather than having it sit on a central server and then be streamed to the thin client. Wyse's. Software, Thin. In the video from yesterday, Jeff referred to the Xenith as a “real” HDX client, pointing out that you don’t need a host- side agent or special driver or anything to connect to your Xen. Desktop environment. But nowadays the term “HDX” means so much more than just the old core ICA protocol. I asked Wyse for clarification on which exact HDX features are supported on the Wyse Xenith device, and here’s what they told me (most of this was demoed in the video): HDX Plug- n- Play: USB 2. USB 2. 0 (webcam, etc.) HDX Real. Time: VOIP on LAN, client audio recording. HDX Mediastream: CD quality audio on LAN HDX Mediastream (via client- rendered multimedia redirection): WMV, H. DIVX, MS- MPEG4 HDX Mediastream (via host- rendering): Flash, Quicktime, and everything else. HDX WAN Optimization (Branch Repeater, etc)HDX Broadcast (Session Reliability, etc)Other: Access Gateway (in CSG mode), Progressive Display, desktop restart, auto- connect, ICA ping, etc This is certainly an impressive list, and I don’t want my following comments to suggest that I’m not happy with it. However, it’s important to point out that the HDX that the Wyse Xenith supports is not 1. HDX you get with the full Win. Citrix Receiver stack. Specifically the Wyse Xenith doesn’t support as many types of multimedia redirection (i. Win. 32 Receiver. The big thing that most people will probably miss is Flash redirection. With Win. 32 HDX Receivers and the latest version of Xen. Desktop or Xen. App, you can get Flash redirection where the Flash content will be redirected from the remote host and rendered on the client device. With Wyse Xenith, all Flash rendering happens on the remote host and is sent to the client just like any ordinary remote graphical objects. Of course it’s understandable why Wyse is taking this approach. HDX Flash redirection requires a Flash client on the client device, and I can’t imagine that Wyse wanted to pollute their Xenith HDX engine with Flash decoding garbage. And I’m sure they had much more access to the HDX Receiver code from Citrix than they would from Adobe for a Flash client.)If you want to know which media types will be processed on the client and which will be host- rendered, just take a look at the spec sheet for the VIA VX8. Wyse builds into the C class devices. According to VIA’s website, “The VIA Chromotion™ video engine delivers .. H. 2. 64, MPEG- 2, MPEG- 4, and WMV9 video formats.” It's safe to assume that the Wyse Xenith's local media decoding capabilities for HDX Media. Stream align with what the VIA chip can do. While we’re on the topic of media processing it’s worth sharing another funny anecdote: At Synergy last week one of VMware’s competitive folks was complaining about Wyse Xenith marketing claiming that “Xenith isn’t even full HDX because it doesn’t do client- side Flash redirection.” Very true. However, this is the same VMware employee who often talks about how good PC- over- IP is because it doesn’t require client Flash components to do Flash. So by VMware's logic, Flash on Wyse Xenith should be better than Flash via normal HDX because the Xenith approach is philosophically more like PC- over- IP. But this VMware guy is claiming that Wyse's HDX Flash claims are actually misleading because they're not inline with how people expect HDX Flash to work (which is worse than PC- over- IP)! Regardless of your perspective, Wyse realized that Flash is important and host- rendered Flash performance over HDX is not always good. At Synergy last week we learned that Wyse worked with Citrix to “optimize” Flash for the Xenith. But what exactly does that mean? I asked and received this answer: Since Wyse Xenith is a zero client, embedding the Adobe Flash player and all the framework required around it was not possible without compromising the key security and simplicity attributes we aimed to achieve with a zero client. We know most enterprise users view flash videos and animation in their native resolution (i. Wyse Xenith we are able to provide a smooth video and animation with audio synchronization without requiring native flash components. This significant improvement was achieved in conjunction with the Citrix HDX team by optimizing the internal algorithms used to decode the visual plane as well as dynamically prioritizing the audio versus video channels to provide smooth movement and audio synchronization even with heavy flash content. Citrix also has details in their knowledge base on how the server- rendered flash experience can be improved further for customers with challenging environments. Don’t forget Xen. App! In the comments of yesterday's Xenith overview article someone asked whether Wyse Xenith could also be used with Xen. App. I checked with Wyse, and as long as you’re connecting to Xen. App published desktops, then yes, the Xenith will work fine. Same Citrix Web Interface, same HDX, same central config, etc. The main caveat they pointed out was that Xenith is designed to connect to a full desktop, so there's no support for seamless apps on the client or anything. If you want to publish seamless apps directly to clients then you’d want to use a more traditional thin client.) But in terms of connecting to desktops, either Xen. App or Xen. Desktop are fine. Pricing. Wyse Xenith devices will start at USD $3. Wi. Fi b/g/n. Standard volume discounts will apply. Tweet. (Note: You must be logged in to post a comment.)If you log in and nothing happens, delete your cookies from Brian. Madden. com and try again. Sorry about that, but we had to make a one- time change to the cookie path when we migrated web servers. Pearson - Creative Jazz Improvisation, 4/EAbout This Product. For college- level courses in jazz improvisation and advanced high school students. The book is also a focused curriculum for private teachers and self- directed learners. Scroll to the bottom of this page for ordering information. Jazz Improvisation Texts. Creative Jazz Improvisation, (fourth edition) published by Prentice-Hall, Inc. Scott reeves creative jazz improvisation pdf Creative Jazz Improvisation 4th Edition Scott D. Reeves on Amazon.com. FREE shipping on qualifying offers. Scott Reeves Creative Jazz Improvisation. Scott Reeves is a Professor of Music at the City College of New York and has also been on the faculties of the Juilliard. Integrates many things jazz musicians need to master including theoretical explanations, exercises in all keys and tempos; transcribed solos of master improvisers; repertoire lists; as well as discussions of creativity and how to play with other musicians. This text is a direct outgrowth of Scott Reeves' experience teaching jazz improvisation at the college level for over twenty- seven years, as well as his own personal quest to develop as a jazz artist. When he first began teaching improvisation, he could not find a text that incorporated all of the diverse learning strategies that jazz musicians typically practice. So he wrote out worksheets which eventually evolved into Creative Jazz Improvisation. Features. Would you like a comprehensive and user- friendly text for your jazz improvisation course? A philosophy that encourages creativity. The philosophy of this text is that there are several paths to the same goal and that each student learns in his or her own unique way. Encourages instructors to go beyond merely the theoretical aspects of the music. Helps keep students from sounding mechanical and predictable. A logical organization. The majority of chapters are divided into sections devoted to jazz theory; exercises over a specified chord progression; a list of relevant compositions; and a transcribed solo (transposed and edited for concert pitch treble clef, B flat, E flat, and bass clef instruments). Every solo can be played in unison in a classroom setting or with the original recording. A thorough discussion of all facets of jazz theory. Provides students with the tools they need for successful improvisation. Chord progressions keyed to either the widespread Jamey Aebersold series or the compact disc accompanying Creative Beginnings. Exercises that include not only basic scales and arpeggios but also melodic ideas taken directly from cited recordings by master improvisers, arranged in order of difficulty. Indexing of the compositions to legal fake- books, particularly the New Real Books and the Jamey Aebersold play- along series. The correlation of half of the transcribed solos with The Smithsonian Collection of Classic Jazz. Many libraries and schools retain copies of this collection, so it remains one the most comprehensive sources of stylistic diverse recordings. Allows a classroom of mixed instrumentation to work simultaneously from the text. Convenient for students and instructors. Covers both technical and intellectual aspects of jazz. Allows students to explore ways to bridge the gap between these two aspects of their creative work. Transcriptions of solos by jazz mastersreinforce theoretical discussions in each chapter. Provides instructors with pieces transposed and edited for all instrumentation, so that a mixed classroom can work simultaneously from the text. Helps students assimilate the jazz vocabulary and phrasing. Chapter- by- chapter examinations covering all facets of jazz theory. Promotes an understanding of chord structure, form, and chord- scale relationships. Exercises drawn from the jazz vocabulary that can be practiced in all keys over a specific chord progression. Assists students in making the transition between theory and material they can hear and play. Ear- training exercises and concepts for creative soloing arranged in order of relative difficulty. Familiarizes students with basic scales and arpeggios, as well as melodic ideas taken directly from cited recordings by master improvisers. Song lists. Offers instructors the convenience of finding the right songs to use. Creative Jazz Improvisation Pdf CreatorFree Download Creative Jazz Improvisation 4th Edition Book Creative Jazz Improvisation (4th Edition) is writen by Scott D. Reeves in English language. However, all of the same features that made Creative Jazz Improvisation a popular choice for classroom use are retained, including. Enables students to apply the practice materials to the standard jazz repertoire. Detailed discussions on how to practice, creatively improvise, and teach improvisation. Gives instructors helpful advice on how to teach and use the text through the layout of practice procedures for the students. Shows students how to get started. NEW TO THIS EDITIONChapter one has been greatly expanded. Includes new information on how to practice, constructing solos, playing with other musicians, Kenny Werner’s Creative Mastery concepts, performance anxiety, and information for teachers. A greatly expanded analysis of each transcribed solo, along with a historical overview of each artist and recording. The transposition of each exercise or musical quote, so that each transposing instrument begins in the same concert pitch key. Although the exercise must be played by ear in the remaining eleven keys, this greatly facilitates usage in a classroom of mixed instruments. An expansion of the list of compositions in each chapter to reflect the ever- increasing number of play- along recordings by Jamey Aebersold. The fourth edition is now keyed to the first 1. A New Approach to Jazz Improvisation. The addition of a transcription of Ornette Coleman’s improvised solo on “Congeniality” in the chapter on Free Forms. The expansion of the chapter on “Whom to Listen To.”A reappraisal of all exercises, with selected replacements and additions. New To This Edition. Chapter one has been greatly expanded. Includes new information on how to practice, constructing solos, playing with other musicians, Kenny Werner’s Creative Mastery concepts, performance anxiety, and information for teachers. A greatly expanded analysis of each transcribed solo, along with a historical overview of each artist and recording. The transposition of each exercise or musical quote, so that each transposing instrument begins in the same concert pitch key. Although the exercise must be played by ear in the remaining eleven keys, this greatly facilitates usage in a classroom of mixed instruments. An expansion of the list of compositions in each chapter to reflect the ever- increasing number of play- along recordings by Jamey Aebersold. The fourth edition is now keyed to the first 1. A New Approach to Jazz Improvisation. The addition of a transcription of Ornette Coleman’s improvised solo on “Congeniality” in the chapter on Free Forms. Creative Jazz Improvisation Pdf ReaderThe expansion of the chapter on “Whom to Listen To.”A reappraisal of all exercises, with selected replacements and additions. Table of Contents. Contents. Preface PART 1: THE ART OF IMPROVISATION Chapter 1: Practicing Jazz, Constructing Solos, Playing with Other Musicians, Creative Improvisation, Performance Anxiety, and Teaching Jazz Practicing Jazz Constructing Solos and Playing with Other Musicians Creative Improvisation and Kenny Werner’s “Effortless Mastery” Performance Anxiety How to Teach Jazz Improvisation Chapter 2: Essential Listening: Major Innovators, Important Contributors, and Women in Jazz Major Innovators Who Changed the Direction of Jazz Important Jazz Contributors Women In Jazz Chapter 3: Rhythm Gaining Facility with Rhythm Listening to Rhythms in Jazz Compositions Max Roach’s Improvised Solo on “Blue Seven” PART 2: DIATONIC CHORDS AND THE MODES IN THE MAJOR SCALE Chapter 4: Major Scales and Major 7th Chords Theory/Ear Exercises Gaining Facility with Major Scales and Major 7th Chords Improvising on Jazz Compositions Based on Major 7th Chords Louis Armstrong’s Improvised Solo on “Hotter Than That” Chapter 5: Mixolydian and Bebop 7th Scales, and Dominant 7th Chords Theory/Ear Exercises Gaining Facility with Mixolydian and Bebop 7th Scales, and Dominant 7th Chords Improvising on Jazz Compositions Based on Dominant 7th Chords Lester Young’s Improvised Solo on “Lester Leaps In” Chapter 6: Dorian Scales and Minor 7th Chords Theory/Ear Exercises. Gaining Facility with Dorian Scales and Minor 7th Chords Improvising on Jazz Compositions Based on Minor 7th Chords Miles Davis’s Improvised Solo on “So What” Chapter 7: The ii—V—I Progression Theory/Ear Exercises Gaining Facility with ii—V—I Progressions Improvising on Jazz Compositions Based on ii—V or ii—V—I Progressions Clifford Brown’s Improvised Solo on “Pent- Up House” Chapter 8: Locrian and Aeolian Scales, and Minor ii. V7—i Progressions Theory/Ear Exercises Gaining Facility with Minor ii. V7—i Progressions Improvising on Jazz Compositions Based on ii. V7b. 9—i. Progressions Milt Jackson’s Improvised Solo on “Django” Chapter 9: Lydian and Phrygian Scales, Major 7th b. Chords Theory/Ear Exercises. Gaining Facility with Lydian and Phrygian Scales Improvising on Jazz Compositions Based on Major 7b. Chords and Lydian Scales, or i—bii Progressions and Phrygian Scales Miles Davis’s Improvised Solo on “Solea” PART 3: CHORD SUBSTITUTIONS, HARMONIC STRUCTURES, AND FORMS Chapter 1. The Blues Scale, the Blues Form, and Chord Substitutions The Blues Form The Blues Scale Chord Substitutions Theory/Ear Exercises Gaining Facility with the Basic Blues Progression Gaining Facility with Blues Substitutions Improvising on Jazz Compositions Based on the Blues Form Charlie Parker’s Improvised Solo on “Now’s the Time” Chapter 1. Sectional Forms and Rhythm Changes Theory/Ear Exercises Gaining Facility with Rhythm Changes Improvising on Jazz Compositions Based on “Rhythm Changes” and Through- Composed Forms Charlie Parker’s Improvised Solo on “Shaw ’Nuff” Chapter 1. Harmonic Structures and Coltrane Substitutions Coltrane Substitutions Theory/Ear Exercises Gaining Facility with Coltrane Substitutions Improvising on Jazz Compositions Based on Coltrane Substitutions John Coltrane’s Improvised Solo on “Giant Steps” Chapter 1. Free Forms Gaining Facility with Free Improvisation Improvising on Jazz Compositions Based on Free Forms Ornette Coleman’s Improvised Solo on “Congeniality” PART 4: ALTERED CHORDS, DIMINISHED MODES, WHOLE- TONE AND HARMONIC MINOR SCALES, AND MELODIC MINOR MODES Chapter 1. Diminished Scales, Diminished and Altered Dominant 7th Chords Theory/Ear Exercises Gaining Facility with Diminished Scales Improvising on Jazz Compositions Based on Altered Dominant or Fully- Diminished Chords J. |
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September 2016
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