JPCLASS

Jazz Piano MasterClass
with Miles Black
CD-ROM Interactive Jazz/Pop Piano Lessons
PG Music Inc. License Agreement

Program License Agreement
CAREFULLY READ THE FOLLOWING TERMS AND CONDITIONS BEFORE COMPLETING THE INSTALLATION OF THIS SOFTWARE. USAGE OF THE SOFTWARE INDICATES YOUR ACCEPTANCE OF THE FOLLOWING TERMS AND CONDITIONS. LICENSE A. The program may only be used on a single machine. B. You may transfer the program and license to another party if the other party agrees to accept the terms of this Agreement. If you transfer the program, you must either transfer all copies, whether in printed or machine readable form, to the same party, or, destroy all copies not transferred. This includes all modifications and/or portions of the program merged into other programs. C. You may receive the program in more than one media. Regardless of the type or size of media you receive, you may install or use the media on a single machine. D. The program (including any images, "applets", photographs, animations, video, audio, music and text incorporated into the program) is owned by PG Music Inc. or its suppliers, and is protected by international copyright laws and international treaty provisions. YOU MAY NOT USE, COPY OR TRANSFER THE PROGRAM, OR ANY COPY, MODIFICATION OR MERGED PORTION OF THE PROGRAM, IN WHOLE OR IN PART, EXCEPT AS EXPRESSLY PROVIDED FOR IN THIS LICENSE. IF YOU TRANSFER POSSESSION OF ANY COPY, MODIFICATION OR MERGED PORTION OF THE PROGRAM TO ANOTHER PARTY, YOUR LICENSE IS AUTOMATICALLY TERMINATED. LIMITATION OF REMEDIES PG Music Inc.'s entire liability, and your exclusive remedy shall be: A. The replacement of any media not meeting PG Music Inc.'s "Limited Warranty", which are returned to PG Music Inc., or an authorized PG Music Inc. Dealer, with a copy of your receipt. B. If PG Music Inc. or the authorized dealer is unable to deliver replacement media which is free of defects in materials or workmanship, you may terminate this agreement, and your money will be refunded. IN NO EVENT WILL PG MUSIC INC. BE LIABLE TO YOU FOR ANY DAMAGES, INCLUDING BUT NOT LIMITED TO LOST PROFITS, LOST SAVINGS, OR OTHER INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR THE INABILITY TO USE SUCH PROGRAM, EVEN IF PG MUSIC INC. OR AN AUTHORIZED PG MUSIC INC. DEALER HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES, OR FOR ANY CLAIM BY ANY OTHER PARTY. TRADEMARKS Microsoft and Windows are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Apple, the Apple logo, Mac, Macintosh, Power Mac , the MacOS logo, QuickTime, and True Type are trademarks of Apple Computer, Inc. IBM and Power PC are trademarks of International Business Machines Corporation. Other brands and their products are trademarks or registered trademarks of their respective holders and should be noted as such. Printed in Canada
PG Music Inc. License Agreement
Master Class: JAZZ PIANO

Table of Contents
PG MUSIC INC. LICENSE AGREEMENT TABLE OF CONTENTS CHAPTER 1: INTRODUCTION & OVERVIEW
Welcome to Jazz Piano MasterClass Program Overview Program Lesson Details
2 3 5
5 6 9
CHAPTER 2 : INSTALLATION
Installing to Windows Running the Program Selecting Your Sound or MIDI Driver
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53 53 54
CHAPTER 3: TUTORIAL
Exploring the Jazz Piano MasterClass Features Tool Bar Features And Feature Buttons: The PLAY Buttons Multiple Play Buttons Check out the Main Program Screen Navigation Buttons Lesson Details Play Your Favorite Pieces.
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57 58 62 62 64 64 64 71
CHAPTER 4: USING THE PROGRAM

Selecting and Playing Pieces
73
73
Table of Contents
Selecting Pieces Playing The Pieces
73 73
CHAPTER 5: OPTION PANELS SETTINGS

General Options Panel
78
78
CHAPTER 6: NOTATION MODES

TRANSCRIPTION NOTATION General Options Settings for Transcription Notation Print Transcription Notation Button MIDI Notation Window Notation Window Options
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86 87 87 89 90
CHAPTER 7: PULL DOWN MENU ITEMS APPENDIX A: KEYSTROKE SHORTCUTS APPENDIX B: TROUBLESHOOTING & DRIVERS
Section 1: Troubleshooting Memory Hard Drive WAVE Sound MIDI SOUND Section 2: Setting up Wave/MIDI Drivers Checking Drivers Installing Windows 95/98 Soundcard Drivers. Installing the Windows 95/98 MPU-401 Compatible Driver. Installing third-party or unlisted drivers in Windows 95/98.
93 98 99
99 99 100 102 103 106 106 110 111 112
APPENDIX C: PG MUSIC INC. CONTACT INFO INDEX 4 Chapter 1: Introduction & Overview
114 115
Chapter 1: Introduction & Overview Welcome to Jazz Piano MasterClass

Thank you for purchasing this program. This is a Multimedia CD-ROM for the student or aficionado of Jazz piano. It features over 5 hours of lessons by Jazz recording artist and teacher, Miles Black. The course is designed for the beginner to advanced level pianist or instructor. Although the emphasis is on Jazz, we also cover the Pop & Latin music genres. The main elements in this Multimedia program are: ! 56 Audio Lessons, which feature over 5 hours of verbal and playing instruction, as well as actual piano keyboard and notation display. MIDI Exercises (linked to each lesson), in which the complete concept is played by Miles, in tempo, either solo, or with bass and drums. These MIDI files are where you will do your practicing. You can play them at any tempo, or print them out for further study, and if you wish, you can even mute Miles' playing and replace it with your own. Backing Trax where you can practice various chord progressions in all keys at varying tempos. The Exercise Coach in which Miles describes how to get the most out of the MIDI exercises. 11 Original Tunes - with typical chord progressions which cover the different styles and tempos. These are used as practical examples in the lessons.
The 56 lessons are generally presented in an easier to more difficult sequence. The lessons cover all aspects of chord voicings, accompaniment, improvisation, theory as needed, in solo, duo or trio playing situations. The styles discussed include Swing, Ballad, Pop, Latin, Blues, Funk, Waltz, Bebop, Stride, walking bass lines, block chords, and much, much more. This is 'teaching by example' at its best! We hope that you enjoy learning from this presentation as much as we've enjoyed creating it. Have fun!
Chapter 1: Introduction & Overview
Program Overview Jazz Piano MasterClass - Overview

How to get the most out of these lessons
In order to understand the different features associated with each of the lessons, let's go through one of the 37 lessons on Volume 1. In this example we will examine lesson number 3. Before we start with this example of Lesson # 3, here are a few important things you should know about navigating and stopping and starting within the program: There are 2 main views (or windows) in this program: The 'Graphics/Text Mode' view and the 'Notation Mode' view. The program boots up in the 'Graphics/Text Mode' view. You can toggle back and forth between these two views by pressing the F2 hot key. Try this now. You can also toggle these views by using the 2 buttons located at the top left directly under the File menu. Notice that if you hold the mouse (without pressing it) over any button on the program a short description will appear. To go back or forward between opened windows, use the 'Prev' and 'Forward' buttons.
At any time, you can stop (pause) or start (resume) a lesson or MIDI file by pressing the spacebar. This can also be accomplished by pressing the Stop and Play buttons.
Let's open up Notation Mode by selecting the notation-icon button located in the upper left of the screen. This screen is where you will see the outline of the topics discussed in the lesson as they are being described. You will see lesson #1 displayed. To play this lesson, press the spacebar or click the 'Play'. Now press the spacebar again to pause the lesson. You can also access the lessons by clicking on the 'Lessons' menu item at the left of the 'Text/Graphics Mode' page. Try this now. Press F2, then 'Lessons' button under the Main Menu. Notice the lesson numbers and the topics are displayed. Pressing the yellow speaker icon to the left of the lesson number will start or resume the lesson in Notation Mode view. Pressing the blue notes icon will play the lesson but leave you in the 'Graphics/Text Mode' view. Now press F2 to return to the Notation Mode. Since lessons #1 and 2 are more introductory in nature, let's start with lesson #3. The lessons are presented in a logical 'easier-to-harder' order although you can choose to do them in any order you like.
To the right of the Notation Mode button is the 'Song Types' combo box. This displays lesson-related material by categories. Try this now. Directly under this is the 'Song Titles' combo box which displays the files in the category you have selected. For now, let's select 'All' for the 'Song Types' and 'L3-Roots and ShellsPL010' from the 'Song Titles' combo box. (Incidentally, 'L3' stands for Lesson #3. You don't have to worry about 'PL010' - it's the Audio and MIDI file number, provided in case you would like to use/modify the file for your own use.) Lesson #3 will automatically start to play. For now, press the spacebar to pause it so that you can continue with this example. Many of the lessons have leadsheets associated with them. These are 11 original tunes in different styles which are based on common chord progressions. You can jump to the notation for the leadsheets, and print them out, so that you can have them handy for easy reference. For example, at the beginning of lesson 3, (blue text) we are reminding you that this lesson will be talking about the tune 'Boundary Bay'. Click the link button [!] at the end of the reference to display the leadsheet for 'Boundary Bay'. Notice a simple melody-only version will start playing. Click the spacebar to stop/start music or lessons. To print out this leadsheet, press the Printer icon at the top right. We strongly recommend that you print all of the 11 leadsheets as you will be using them frequently. We have also included a 'chords-only' version of each of these (referred to as 'slash' versions). To print all of the leadsheets, choose 'Leadsheets' from the 'Song Types' combo box. Then select each leadsheet and print as described above. Assuming you are still in the 'Boundary Bay' leadsheet window, click the 'Prev' history button located 2nd from the top right. Similarly to move forward to a previously opened page you would press the 'Next' history button. You should now be back to the lesson #3 window having printed the leadsheet for 'Boundary Bay'. As you listen to the lesson, and as the topics change, notice that the new topic is automatically highlighted. Although it's best to hear the lesson in sequence, you can click on any topic to skip to, or review any topic within the lesson. You can use the 'Page Up or 'Page Down' keys or the vertical scroll bar at the right to move up or down a page. Another way to move around in a lesson or music is to left-click on any part of the wave display line located above the keyboard display. Ideally, you will be listening to the lesson and watching the Piano keyboard display. Tip: you should try to use 1024x768 resolution and then choose the General Option : 'Show Big Piano'. This greatly enhances the keyboard display.
It is not intended that you learn the piano playing in the lessons "note-for-note", but if you want to see the notation for the lessons at any time, press the MIDI notation button. Press it again to return to the normal viewing of the lessons.
Once you have listened to the lesson, you are ready for the MIDI exercise(s) associated with the lesson. These are indicated at the end of the lesson page. Before jumping into the exercise, you should listen to the Exercise Coach. This is where Miles discusses the exercise and suggests how it should be practiced. There are link buttons that you can click on to jump to the Exercise Coach and MIDI exercises, or you can choose the Exercise Coach or MIDI exercise number directly from the pull down list of files at the top left of the screen. You can also access the Exercise Coach and MIDI exercises from the Text/Graphics Mode page by clicking on 'MIDI Exercises'. The MIDI exercises are where you will do your practicing and remember, it is intended that you LEARN THE MIDI EXERCISES, NOTE-FOR-NOTE. To do this, put the program into 'loop mode' so that it plays the exercise over and over. Or print out the exercise as notation for further study. Some of the lessons have MIDI practice or Backing Trax (BkTrax) associated with them. These MIDI tracks feature bass and drums only with well-known chord progressions which take you through all the keys. As usual, we suggest that you print out these practice exercises. For more details on how to practice with and print out the BkTrax, please click on the 'Backing Trax' button on the main page of the program. When you have listened to the lesson, the Exercise Coach, and have mastered the MIDI exercise(s) associated with the lesson, you are ready to move on to the next lesson!
Hardware Requirements: Windows (IBM) Fast 486 (i.e.486DX-100) or Pentium (I/II- or equivalent), 16MB RAM memory, Windows 3.1, 95, 98 or NT, 16-bit Sound Card (Sound Blaster-16, etc.) and MIDI system, Quad speed (or higher) CD-ROM or DVD2-ROM Drive. Love of music!
Program Lesson Details Lesson Number 1 - Program Introduction -PL058

Hi, my name is Miles Black. We've had fun putting together this program for you, the student of Jazz piano. This program is designed for the beginner to advanced level pianist or instructor. Although the emphasis is on jazz, we also deal with the Pop & Latin music genres. Being a Multimedia program, the elements you'll be dealing with will be my audio-lessons, which feature over 5 hours of verbal instruction, as well as actual piano keyboard and notation display. Linked to each lesson will be MIDI examples in which I'm playing the complete concepts in tempo, either solo, or with bass and drums. These MIDI files are where you will do your practicing. They can be slowed down, or printed out, and if you wish, you can even mute my playing and replace it with your own.
Another element to this program is the 11 original tunes to which I will be referring quite often. We hope that you enjoy learning from this presentation as much as we've enjoyed creating it. Have fun, and remember: Practice, Practice, Practice!
Lesson Number 2 - Tune discussion -PL049

This is the list of the 11 leadsheets in the program. Although they are included in the manual, we strongly recommend that you print them out, as they will be referred to often. These tunes, written by Miles Black and Oliver Gannon, reflect typical chord progressions in the following styles: Style Medium Swing: Song Title Boundary Bay The Dream Candlelights So Nice Bossa Fantasy Waltz Up Doc Gardenia Jays Blues Clean Sweep (Up-Tempo) Count Me In (Up-tempo) I Remember File Name PL201.MID PL202.MID PL203.MID PL204.MID PL205.MID PL206.MID PL207.MID PL208.MID PL209.MID PL210.MID PL211.MID
Latin Jazz Waltz Ballad Blues Rhythm changes Be-bop Pop
Lesson Number 3 - Roots & Shells PL010

This lesson references the leadsheet for Boundary Bay PL201.MID Examining the basic harmonic structure of 'Boundary Bay' Roots & Shells Inverting the shells Best register for shells The II-V-I or || Gm7 C7 | F6 || progression in F -Bar 10 -Bar 14 -Bar 26 -Bar 29 -Bar 33
Intro to 'Boundary Bay' in roots and shells Different approaches Swing rhythms- How to learn them 1st 8 bars of tune in Roots & Shells
-Bar 71 -Bar 80 -Bar 98 -Bar 107
10
Inverting the shells LH bass parts - "2 feel" LH How to create 2 feel" LH bass parts Practicing piano fingerings How to practice roots and shells.
-Bar 120 -Bar 136 -Bar 139 -Bar 175 -Bar 183
Now it's your turn to practice the exercise for this lesson. Click on the MIDI exercise button below. Remember, with these MIDI exercises you can Loop sections for practicing, Print out the exercise, Play them at any speed Associated MIDI exercise: Boundary Bay - Roots and Shells
Lesson Number 4 - Roots & Shells - Shells that are tricky PL011
This lesson references the leadsheet for Boundary Bay PL201.MID DmMaj7, Dm6, Dmb6, Dm7b5, D7 Why shells? Discussion and music terminology -Bar 10 -Bar 35
Arrangers piano approach LH root and RH shell with melody Stride with Roots and shells How to learn to play arrangers piano
-Bar 48 -Bar 56 -Bar 84 -Bar 109
11
How to play the shell if the melody is part of the shell More discussion of Root & Shells melody approach Hand size considerations A good exercise for roots and shells.
-Bar 125 -Bar 142 -Bar 153 -Bar 188
Practice in all keys - cycle of 5ths Minor II - V - I exercise - IIm7b7 to V7 to I minor Write out II -V - I chord progressions Associated MIDI exercises: 'Boundary Bay' - Roots and Shells MIDI practice II-V- I (bass and drums only) links to .. [PL301] [PL302] [PL303] [PL304] [PL305]
-Bar 207 -Bar 209 -Bar 234
Tip: Print out the chord progressions first, or read from the screen with Scroll Ahead enabled.
Lesson Number 5 - Walking Bass Lines -PL012

Walking bass lines - techniques Triad chromatic approach Triad chromatic approach with shells Different walking patterns -Bar 15 -Bar 32 -Bar 74 -Bar 77
12
Moving down the scale II-V-I Combining all approaches Approach to practicing bass lines Using a metronome on beats 2 and 4 Associated MIDI Exercise: Boundary Bay- walking bass lines and chords [PL102.MID]
-Bar 97 -Bar 110 -Bar 143 -Bar 150
Lesson Number 6 - Adding Shells with Walking Bass Lines PL013

This lesson references the leadsheets for: Boundary Bay, Jays Blues, Clean Sweep Reference tune is 'Boundary Bay' -Bar 13
Walking over a Blues 'Jay's Blues'
Bar 26
13
Rhythm changes bass lines 'Clean Sweep' Adding notes to a shell Adding more color tones Inverting the chords V7 Altered to I
-Bar 88 -Bar 93 -Bar 120 -Bar 148 -Bar 185 -Bar 190
Associated MIDI Exercises: 'Boundary Bay' - walking bass lines and chords [PL102.mid] 'Boundary Bay' - Root and Voicings [PL168.mid]
Lesson Number 7 - Chord Voicings - PL014

This lesson references the leadsheet for Boundary Bay PL201.MID Leaving some notes out of voicing 4 note density
-Bar 29
14
4 and 5 note density LH voicings and RH solo on 'Boundary Bay' Bill Evans Red Garland approach to LH comping Errol Garner LH approach Red Garland or Wynton Kelly 'charlston' rhythm comping
-Bar 68 -Bar 78 -Bar 96
Associated MIDI Exercises: 'Boundary Bay' - Root and Voicings [PL168.mid] 'Boundary Bay' - Trio simple solo [PL103.mid] 'Boundary Bay' - Trio Simple Melody [PL104.mid] 'Boundary Bay' - Bass & Drums only [PL106.mid]
Lesson Number 8 - Stride Piano PL015

This lesson references the leadsheet for Boundary Bay PL201.MID 'Boundary Bay' in stride piano style
15
LH piano stride techniques LH chords RH parts in stride Simple LH stride & more advanced Broken stride LH patterns Staggered Stride LH th Tenths and 7 's in LH stride Walking tenths in LH Walking tenths on 'Boundary Bay' Broken tenths in LH
-Bar 12 -Bar 27 -Bar 36 -Bar 74 -Bar 88 -Bar 95 -Bar 105 -Bar 126 -Bar 144 -Bar 170
Associated MIDI Exercise: 'Boundary Bay' Solo Stride [PL107.mid]
Lesson Number 9 - Block Chords PL016

This lesson references the leadsheet for Boundary Bay PL201.MID Reference tune: 'Boundary Bay' Block chords- closed position 4 notes in RH and LH doubles melody Exercises Approach to 'Boundary Bay' in block chords
-Bar 12 -Bar 30 -Bar 37 -Bar 96
Associated MIDI Exercise: 'Boundary Bay' - Trio Melody In Block Chords [PL108.mid]
Lesson Number 10 - Block Chords- Continued PL017

Block chord exercise Harmonizing a major scale Alternate harmonizations New block chord exercise Another block chord exercise using extensions Harmonizing 7th b9 chords in block chords Associated MIDI exercise: 'Boundary Bay' - Trio Melody In Block Chords [PL108.mid] -Bar 4 -Bar 36 -Bar 88 -Bar 111 -Bar 138
16
Lesson Number 11 - Drop '2' block chords PL018

Definition of 'drop 2' Exercises - moving up the C major scale Cycle of 5ths Cycle of 5ths drop "2" exercises Discussion of the Drop 2 MIDI exercise 'Boundary Bay' - Trio Comp -Bar 18 -Bar 29 -Bar 62 -Bar 67 -Bar 96
Comping with Drop '2' voicings Associated MIDI exercise: 'Boundary Bay' - Trio Comp [PL105.mid]
-Bar 100
Lesson Number 12 - Intro Transition -PL005

Let's now move on to the exercises. These are MIDI exercise files which are linked from the lessons. You can also use them as stand-alone MIDI files [PL101.MID to PL189.MID]. For a description of each file, please see the file PLMidEx.Doc. Be sure to practice each one slowly at first, and pay attention to dynamics and time feel. Being MIDI files, you can slow each one down and easily transpose the examples into other keys, or print them out for further study.
Lesson Number 13 - Pop piano styles -PL004

This lesson references the leadsheet for I Remember PL211.MID
17
Some of the great Pop piano players Hammer-ons like Country music Approach to melody in solo context Bringing out the melody Alternate approaches 16th Pop ballad Country swing approach Bass notes with LH, melody and chords with RH Working from a lead sheet in the Pop style Use of the pentatonic scale Accompanying a singer Using blues ideas Solo approach to playing a Pop solo Use of 6ths Trio setting approach - with bass and drums
-Bar 12 -Bar 36 -Bar 58 -Bar 100 -Bar 123 -Bar 136 -Bar 150 -Bar 166 -Bar 178 -Bar 186 -Bar 202 -Bar 216 -Bar 250 -Bar 263
50's and 60's approach Working with guitar, bass & drums Playing simply with riffs and 'hooks' Funk R&B Sustained chord approach Associated MIDI exercises:
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'I Remember' - (Solo piano) [PL110.mid] 'I Remember' - Bass & Drums only [PL109.mid] 'I Remember' - Trio [PL112.mid]
Lesson Number 14 - Role of Piano in the Pop Music genre PL006

This lesson references the leadsheet for I Remember PL211.MID Different approaches to playing Pop music Reference tune is "I Remember"
Examine as a solo piano performance Suggestion: Print out leadsheet How to play melody and basic chords in a simple way Arpeggiate LH chords (first 4 bars of tune) Integrating 2 hands to play all parts Varying rhythm - different approaches
Use of 6ths Modes and modal playing in pop music Mixolydian scale Harmonizing modes Arriving at a IV chord The bVII7 (Bb9) chord and Lydian b7 mode (in pop) Using the modes for fills Associated MIDI exercises: 'I Remember' - (Solo piano) [PL110.mid] 'I Remember' - Bass & Drums only [PL09.mid] 'I Remember' - Trio [PL112.mid]
-Bar 100 -Bar 103 -Bar 116 -Bar 128 -Bar 140 -Bar 150 -Bar 170
19
Lesson Number 15 - Pop piano in accompaniment or duo setting PL007

This lesson references the leadsheet for I Remember PL211.MID
Grace notes & 6ths & 3rds Simple approach to comping pop More advanced styles Breaking up rhythm and adding patterns LH leading bass tones Use of repetitive figures Keith Jarrett or Hancock approach Use of passing chords Steady pulse Approach to playing with good time Trio LH accompaniment LH voicings Adding melody and LH voicings
-Bar 15 -Bar 22 -Bar 32 -Bar 56 -Bar 58 -Bar 65 -Bar 73 -Bar 99 -Bar 108 -Bar 114 -Bar 119 -Bar 123 -Bar 138
Associated MIDI exercises: 'I Remember' - Solo Accompaniment [PL111.mid] 'I Remember' - Solo [PL110.mid] 'I Remember' - Trio - Accompaniment w/BD & Lead [PL115.mid] 'I Remember' - Trio improvisation [PL112]
20
Lesson Number 16 - Pop piano - Soloing in a Trio situation PL008

This lesson references the leadsheet for I Remember PL211.MID Simple LH comp -Bar 10
Modal Solo RH Soloing with RH intervals (3rd's 4ths etc..) Examining 'I Remember ' Trio Improv [PL113.mid] Pickups Pentatonic scale in Pop Looping 1st 8 bars of "I remember"
Start with simple improvisation. More advanced version Syncopation with 16th notes Example of funky rhythms and blues notes
-Bar 94 -Bar 107 -Bar 114 -Bar 137
Associated MIDI exercises: 'I Remember' - Trio [PL112.mid] 'I Remember' - Trio Improv [PL113.mid] 'I Remember' - Trio Comp B&D [PL114.mid] 'I Remember' - Trio - Accompaniment w/BD & Lead [PL115.mid]
Lesson Number 17 - How to improvise over Pop tunes -PL009 Chapter 1: Introduction & Overview 21
This lesson references the leadsheet for I Remember PL211.MID LH simple chord inversions and modes in RH Locrian scale Improvising in RH using modes and simple LH Refer to the topic Modal Playing Associated MIDI exercises: 'I Remember' - Trio Improv [PL113.mid] 'I Remember' - Trio Comp B&D [PL114.mid] 'I Remember' - Trio Comp BD & Lead [PL115.mid] 'I Remember' - Trio [PL112.mid]
-Bar 12 -Bar 40
Lesson Number 18 - Basic blues PL029

This lesson references the leadsheet for Jays Blues - PL208.MID Blues scale For further info on the Blues scale Discussion of the basic blues progression LH basic blues Coordinating the RH and LH Another LH device Sneaking in simple RH licks Associated MIDI exercises: Basic Blues [PL116.mid] Basic Boogie [PL117.mid] 'Jay's Blues' - Bass & Drums [PL118.mid] 'Jay's Blues' - Comp & Solos [PL119.mid] -Bar 8 -Bar 13 -Bar 18 -Bar 36 -Bar 54 -Bar 60 -Bar 72
Lesson Number 19 - Blues turnarounds PL030

This lesson references the leadsheet for Jays Blues - PL208.MID Turnaround definition Common turnaround in C A Variation Another variation I-VI-II-V turnarounds Improvising on a basic boogie blues with turnaround Walking bass line -Bar 8 -Bar 11 -Bar 16 -Bar 20 -Bar 25 -Bar 62 -Bar 94
22
More sophisticated bass line and chords Combining Bass lines, chords and improvisation Associated MIDI exercises: Basic Blues [PL116.mid] Basic Boogie [PL117.mid] 'Jay's Blues' - Bass & Drums [PL118.mid] 'Jay's Blues' - Comp & Solos [PL119.mid]
-Bar 108 -Bar 120
Lesson Number 20 - Minor blues PL031

This lesson references the leadsheet for Jays Blues - PL208.MID C minor blues chord progression Played with a slow stride feel D7 substituted for Ab7 Doubling the tempo feel Adding 9ths Associated MIDI exercise: II-V-I in minor keys Bass & Drums only [PL304.mid] -Bar 12 -Bar 34 -Bar 64 -Bar 87 -Bar 93
Lesson Number 21 - Advanced Minor Blues Ideas -PL032

Adding chords C minor blues with walking bass - adding and substituting chords Walking bass, comping, and soloing Some other substitutions I-VI-II-V in a minor key Walking accompaniment Using the 'charlston' rhythm in the RH The G7altered chord The G7 altered scale Another chorus featuring these harmonic options Associated MIDI exercise: II-V-I in minor keys Bass & Drums only [PL304.mid] -Bar 14 -Bar 20 -Bar 55 -Bar 98 -Bar 108 -Bar 118 -Bar 132 -Bar 141 -Bar 148 -Bar 166
23
Lesson Number 22 - Playing Intros -PL001

Example of a Bb Blues intro - 4 Bars (over F pedal) 4/4 med. Pedalling over the "5" - common devices used. Example in Bb - of a 4 bar Bb/F pedal [PL120.mid] Key of F, in 3/4 || F /C to C7sus/C || with 5 Pedal [PL121.mid] Examples of intros in 3/4 and Bossa rhythm [PL122.mid] Key of C, 4/4 swing - G pedal I-VI-II-V in RH || C6/G | C#7/G | Dm7/G | G7b9 || [PL123.mid] Variation: in C || C6 | Eb7 | Dm7 |G7alt || w/G pedal Altered 7th chord briefly [PL124].mid] Bill Evans approach in C using a G Pedal [PL125.mid] C diminished scale and chord derivatives || C7/G | CMaj7/G || To establish a feeling of anticipation and tension in intros. Bluesy into in G, 4/4 with a D Pedal and RH ala Oscar P. medium feel -lots of blues riffs [PL126.mid] and [PL127.mid] Mood of blues intro versus Bill Evans approach What's important about intros. [PL128.mid] Beginner Intro 4/4 in C || C6/9 | A7b9 | Dm11 | G13 || [PL129.mid] Simple intro in a minor key (Cm) Relaxed simple intro in a Minor key (Cm) I -VI - II - V [PL130.mid] Same approach in a minor key (Cm) 4/4 minor key || Cm6 | Am7b5 | Dm7b7 | G7b13 || 3rd of Cm [PL131.mid] 3/4 minor key || Cm6 | Am7b7 | Dm7b7 | G7b13 || PL132.mid 3/4 major key || C6/9 | A7b9 | Dm7 | G13 || [PL133.mid ] 4/4 Bossa || C6/9 | A7b9 | Dm7 | G13 || [PL134.mid] Stride Style of L.H. Simple description || C6 A7 | Dm7 G7 || [PL135.mid] Pedalling during stride in F' [PL136.mid] R.H. Pedals on "5" adds tremolo effect 2 Handed Piano playing. 10ths in the L.H. || C6 C#dim (A7/C#)| Dm7 G7 || [PL137.mid] In the key of F see [PL138.mid] James P. Johnson/ Teddy Wilson/ Nat Cole Type intro.
-Bar 6 -Bar 12 -Bar 22 -Bar 30 -Bar 52 -Bar 60 -Bar 95 -Bar 132 -Bar 150 -Bar 163 -Bar 181
-Bar 199 -Bar 218 -Bar 222 -Bar 258
-Bar 285 -Bar 290 -Bar 292 -Bar 300
-Bar 344 -Bar 355 -Bar 360
-Bar 382
24
'Trumpet" effect and "Shake" in R.H. 1/2 Notes in L.H. 10ths in C [PL139.mid] ||C/E Eb7 | Dm7 G7 || In the key of F see [PL140.mid] Ballad Intro in C if first Chord is Dm7 [PL141.mid] 4/4 ||C6/9 F13 |Em7b5 A7b9+5 || Dm7 | [PL142.mid] Or as a 4 bar intro ||C6/9 | F13 |Em7b5 | A7b9+5 || Dm7| Setting up the I Chord ||C A7 |Dm9 G9| C/E Eb7 |Dm7 Db7+11|| C Tritone substitution G7 = Db7 G7 and Db7 share the same shell (3rd & 7th) MIDI intro exercises: [PL120.mid to [PL142.mid] as described above]
-Bar 395 -Bar 410
-Bar 436
-Bar 485 -Bar 495
Also the following TRIO Intro exercises: Trio Intros Examples [these trio intro MIDI exercises are not discussed] Trio Intro - Bb Med 4/4 I-VI-II-V [PL143.mid] Trio Intro - RH Solo LH Comp Bb I-VI-II-V [PL144.mid] Trio Intro - RH Solo LH Comp Eb I-VI-II-V [PL145.mid] Trio Intro - RH Bluesy Fast Eb I-VI-II-V [PL146.mid] w/pedal Trio Intro - F Bossa || I -bII7|| intro 4 bars [PL147.mid] Trio Intro - Cm Samba Intro || Cm |Dm7b5 G7 || 8 Bars [PL148.mid] Trio Intro - C jazz Waltz || C | A7 | Dm9 | G7 || 8 Bars [PL149.mid] or || C | Eb9 | Dm9 | Db9 || Trio Intro - Eb Ballad Intro ||EbMaj7 Bb11 |Eb E13#11 |Eb C7b9 | Fm11 Bb7 ||[PL150.mid] Trio Intro - Pop solo piano intro in 'C' (8 Bars) [PL151.mid] Trio Intro - Funky Em intro 4 bars (trio) [PL152.mid] Trio Intro - Bluesy Solo in A (12/8 feel) 4 bars intro [PL153.mid] Trio Intro - Pop Trio - 4 bars in 'D' [PL154.mid] Trio Intro - Shuffle Boogie (in G) 4 bars trio [PL155.mid]
Lesson Number 23 - Pop intros PL002

Solo intro - '2' chords, grace notes - see Intro [PL151.mid] F2, C2 chords ala Bruce Hornsby Establishing a mood with a Pop intro in C. Major and Minor intro Pop Intro [PL151.mid] Keep intros to 4 or 8 bars and in 'A' Ending on a V7 (or V7sus) chord - see intro [PL153.mid] -Bar 7 -Bar 14 -Bar 40 -Bar 50 -Bar 68 -Bar 80
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Using Blues Turnaround Trio intro in Bb. 4 bars LH. I-VI-II-V voicings - Intro [PL144.mid] 2 Hand voicings, emulating the big band sound RH Solo LH comp for Bb I-VI-II-V Intro [PL144.mid] Using parallel LH voicings - Bb Blues Scale Tritone Sub || Bb9 Db9 | C9 B9 || RH Solo Blues LH Voicings & Red Garland Style Block Associated MIDI exercises: [PL143.mid to PL155.mid]
Lesson Number 24 -Trio intros continued - PL003

Pop Trio Intros [PL151.MID] Trio intro - Funky Em7 Vamp. Hiphop ala Superstition Blues Em Funky riffs RH 2nd Inversion triads and RH triads used for comping Moving up mixo. scale in 2nd inversion triads. Shuffle boogie in G (Trio 3 bar intro) 'Shout' in RH w/Shots LH boogie pattern for intro +2 handed boogie in G Bossa in F trio intro || FMaj9 | Gb13 || || Fmaj7 | C11 || Discussion of 11th chords leaving out the 3rd on V7 11 Samba Intro: || Cm6/9 | Dm11b5 G7alt || Discussion of Altered dominants Discussion of Salsa Piano style Jazz Waltz trio intro: I-VI-II-V in C Tritone Sub during Jazz Waltz Intros in C ||CMaj9 Eb9 | Dm9 Db9 || RH solo w/LH voicings during Jazz Waltz Intro in C ||CMaj7 |A13 |Dm9 |G13 | CMaj7 |Eb9 |Dm9 |Db8 || Ballad Trio intro 4/4 || EbMaj9 Bb11 || discussion of Bb11 Chord Red Garland R.H. Octave w/5th in middle I-VI-II-V Ballad intro - RH Solo /LHJ voicings Bill Evans Approach to Ballads Intro using E7+11 Lydian b7 scale in Eb Bluesy intro in Eb How to let bass player know what to play during the intro (Walking bass intro)
-Bar 29 -Bar 87 -Bar 120 -Bar 145 -Bar 186 -Bar 190 -Bar 204 -Bar 219 -Bar 258 -Bar 278 -Bar 314
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Pedal on the 5 on "2 & 4" intro MIDI exercises: [described above PL120 - PL155]
-Bar 550
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Lesson Number 25 - The major scale -PL019

Major (or Ionian) Scale Intervals and degrees within a scale Construction of a major scale Basic building block of music Learn all 12 major scales and their degrees. -Bar 4 -Bar 40 -Bar 46 -Bar 65 -Bar 70
Lesson Number 26 - Modes built from the major scale -PL020

Mixolydian mode Dorian mode Ionian mode How chords are built Dorian mode (example of D Dorian scale) Example of an A Dorian mode Phrygian mode Lydian mode Mixolydian mode Aeolian mode Locrian mode and m7b5 chords -Bar 5 -Bar 19 -Bar 65 -Bar 72 -Bar 80 -Bar 110 -Bar 123 -Bar 150 -Bar 170 -Bar 180 -Bar 190
Associated MIDI Exercises: II-V-I with Modes derived from Major and Melodic minor scales [PL183.mid]
Lesson Number 27 - The Dorian mode - PL021

Moving through the different keys in Cycle of 5ths -Bar 10 Start improvising right away using the modes -Bar 21 Improvising over a walking bassline -Bar 35 Improvising with a Dorian mode (E.G. Cm7 - key of Bb) -Bar 50 Improvising on C Dorian (Cm7) using a stride LH -Bar 63 Get creative right away. Express yourself and have fun! -Bar 81 Associated MIDI Exercises: II-V-I with Modes derived from Major and Melodic minor scales [PL183.mid]
Lesson Number 28 - Mixolydian mode - PL022 28 Chapter 1: Introduction & Overview
Improvising with the Mixolydian mode C Mixolydian is the chord scale for a C7 chord Improvising through the Cycle of 5ths Another way to describe a C Mixolydian mode An example: C7 to F7
-Bar 13 -Bar 28 -Bar 44 -Bar 56
Associated MIDI exercises: II-V-I with Modes derived from Major and Melodic minor scales [PL183.mid]
Lesson Number 29 - The II -V- I progression - PL023

Explanation of the II -V- I progression Using Dorian for Dm7, Mixolydian for G7 and Ionian for Cmaj7 Improvising with the II -V- I progression in C Moving up to the key of F Playing it with different feels (Bossa, Ballad, Pop etc. ) Walking bass line in F Bossa in F Moving through the Cycle of 5ths -Bar 5 -Bar 17 -Bar 44 -Bar 59 -Bar 77 -Bar 107 -Bar 114 -Bar 121
Associated MIDI exercises: II-V-I with Modes derived from Major and Melodic minor scales [PL183.mid] IIm7-V7-Imaj7 progression - thru cycle - Bossa - 2 bars, then 1 bar, then 2 beats, then 1 beat. [PL302.mid] IIm7-V7-Imaj7 progression - thru cycle - Swing -2 bars, then 1 bar, then 2 beats, then 1 beat [PL303.mid] I-VI-II-V Bossa - ascending in minor 3rds -1bar, then 2beats [PL306.mid]
Lesson Number 30 - II-V-I progressions in a minor key - PL024

Relative minor II-V-I progression in A minor The IIm7b5 (Bm7b5) chord in A minor The V7 chord (E7) Learn all of the Natural minor (Aeolian) scales in all keys II-V-I progression and scales in A minor Mixolydian b6 (or Melodic minor ascending) scale II-V-I in D minor Improvising in D minor
-Bar 8 -Bar 17 -Bar 29 -Bar 38 -Bar 63 -Bar 78 -Bar 93 -Bar 129
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Moving through all the minor keys Associated MIDI exercises:
-Bar 142
II-V-I with Modes derived from Major and Melodic minor scales [PL183.mid] IIm7b5-V7-Im6 in minor keys, decending in whole tones. 1 bar, then 2 beats. [PL304.mid] 8 bar Harmonic exercise thru cycle. Tip: enable Scroll Ahead if reading from screen. [PL305.mid] I-VI-II-V Bossa - ascending in minor 3rds -1bar, then 2beats [PL306.mid]
Lesson Number 31 - The Phrygian scale - PL025

Definition -Bar 3 Numerical relationship of this scale -Bar 9 Spanish flavor -Bar 23 Example of an F Phrygian mode -Bar 43 Em7 in the key of C (E Phrygian) -Bar 60 Difference between E Dorian and E Phrygian (key of C) -Bar 64 Associated MIDI exercises: II-V-I with Modes derived from Major and Melodic minor scales [PL183.mid]
Lesson Number 32 - The Lydian mode - PL026

Definition of Lydian mode -Bar 2 C Lydian (Cmaj7) - the IVMaj7 in the key of G -Bar 13 Move through the Cycle of 5ths to practice -Bar 28 Ideas for practicing -Bar 56 When to use Lydian or Ionian -Bar 73 Modern use of Lydian -Bar 94 Cmaj13#11 -Bar 101 Associated MIDI exercises: II-V-I with Modes derived from Major and Melodic minor scales [PL183.mid]
Lesson Number 33 - The Diminished scale - PL027

Discussion of the Diminished C Diminished (8-note) scale
-Bar 15
30
Use of the Diminished scale Improvising with the Diminished scale in all keys Hands together slow Broken thirds Cdim = Ebdim = Gbdim = Adim Diminished scale possibilities Getting 'hooked' on Diminished scales
Lesson Number 34 - The Blues scale -PL028

Discussion of the Blues scale Example of Blues scale Using it with a blues progression 12 bar structure of the blues Description of the Blues scale Simple blues improvisation example Using the Blues scale over more sophisticated harmonies Using a C Blues scale over I-VI-II-V progressions
Lesson Number 35 - The Whole Tone scale - PL033

Definition Examples of composers who have used the WT scale When to use. Use sparingly and mainly for effect -Bar 3 -Bar 16 -Bar 21
Lesson Number 36 - Lydian b7 scale - PL034

For a C9#11 or C7b5 scale, use a C Lydian b7 scale Description and structure of a Lydian b7 scale Also use for C13(9) Practice by moving through the Cycle of 5ths
-Bar 8 -Bar 14 -Bar 20
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When to use -Bar 25 Associated MIDI exercises: II-V-I with Modes derived from Major and Melodic minor scales [PL183.mid]
Lesson Number 37 - The different Dominant 7th scales - PL035

G7 to Cmaj7 scale options Mixolydian scale and Jazz 7th scale The 7b9 scale (half-step - whole-step scale) The altered scale The G7alt scale For G9 or G7+ use the whole tone scale Mixolydian b6 scale C harmonic minor over G7 Ideas for practicing the different dominant 7th scales
-Bar 9 -Bar 28 -Bar 48 -Bar 57 -Bar 72 -Bar 76 -Bar 82 -Bar 90
Associated MIDI exercises: II-V-I with Modes derived from Major and Melodic minor scales [PL183.mid] Dom 7ths through the cycle of 5ths - 2bars,1bar, then 2beats, then 1beat [PL307.mid] II-V-I with Modes derived from Major and Melodic minor scales [PL183.mid]
Lesson Number 38 - The Pentatonic scale - PL036

The pentatonic scale defined Minor pentatonic Use of pentatonics over different chords Using the minor pentatonic Using the C Pentatonic scale over different chords C Pentatonic over Fmaj7 C Pentatonic over D7sus4 C Pentatonic over F#7 The Insen (or b3) pentatonic 1, 2, b3, 5, 6 Can be played over Cm6, F7, Am7b5, D7sus4b9 and B7alt chords II-V-I with Modes derived from Major and Melodic minor scales [PL183.mid] -Bar 4 -Bar 10 -Bar 16 -Bar 31 -Bar 47 -Bar 58 -Bar 68 -Bar 84 -Bar 96 -Bar 107
Associated MIDI Exercises: II-V-I with Modes derived from Major and Melodic minor scales [PL183.mid]
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Lesson Number 39 - 2-handed comping concepts in a Trio setting -PL037

This lesson references the leadsheet for Jays Blues PL208.MID
Purpose of comping - rhythmic and harmonic support First, learn the roots and shells Adding notes to make the chords more colorful Example chorus using the added notes Using single note accompaniment Varying the density of the chords Associated MIDI exercises: 'Jay's Blues' -Comp & Solos [PL119.mid] 'Jay's Blues' - Bass & Drums only [PL118.mid]
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'Boundary Bay' - TrioComping [PL105.mid] Lesson Number 40 - More advanced 2-handed voicings in a trio setting - PL038
Using 2-handed voicings -Bar 4
Typical 2-handed voicings Cm9 voicing Moving through all 12 keys Another voicing for a minor 7th A dominant 7th voicing Practice chromatically and through the Cycle Another voicing for a dominant 7th Voicing for a Dm7b5 Voicing for a G7alt Voicing for a Cm69 Playing the minor II-V-I in all 12 keys Associated MIDI Exercises: 'Boundary Bay' - Trio Comping [PL105.mid] 'Clean Sweep' - Comp [PL162.mid] 'Count Me In' - Solo Comp [PL171.mid]
'The Dream' - Trio Comp [PL178.mid]
Lesson Number 41 - Comping with drop 2 voicings - PL039

This lesson references the leadsheet for CandleLights PL203.MID
Basic techniques for Definition of drop 2 Voicings Examining the first 4 bars of 'Candlelights' -Bar 8 -Bar 10 -Bar 38 -Bar 62
With drop 2 voicings With a Bossa feel With a Jazz waltz feel Drop 2 on a 'rhythm changes' tune - 'Clean Sweep'
-Bar 70 -Bar 75 -Bar 91
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Comping at fast tempos
-Bar 119
Associated MIDI exercises: 'Candlelights' - Shells & Melody [PL156.mid] 'Candlelights' - Bass & Drums [PL157.mid] 'Clean Sweep' - Bass & Drums [PL161.mid]
'Clean Sweep' - Comp [PL162.mid]
Lesson Number 42 - Pentatonic Voicings -PL040

Pentatonic accompaniment method Using a G pentatonic scale Deriving a 2-handed chord voicing by dropping the 2 and 4 Works well over G69 Over Cmaj7 Over Em7, Em11 Over F Lydian Over Db alt Play in all 12 keys Insen (Japanese) pentatonic or Minor pentatonic or pentatonic b3 Works beautifully over Gm69, F#7alt, Em7b5, C7, BbLyd, A11b9 Example of a II-V-I progression in G Minor using pentatonic scales For Am7b5 use Cm pentatonic (C pentatonic b3) For D7 use Ebm pentatonic (Eb pentatonic b3) For Gm69 use Gm pentatonic (G pentatonic b3) Using voicings derived from those scales Example of a II-V-I progression in G Major For Am7 use C pentatonic -Bar 123 -Bar 130 -Bar 4 -Bar 8 -Bar 17 -Bar 29 -Bar 34 -Bar 40 -Bar 48 -Bar 55 -Bar 77 -Bar 90 -Bar 97 -Bar 113
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For D7 use Ab pentatonic For Gmaj7 use D pentatonic Use for East-Coast, modern, hard bop, McCoy Tyner, NY sound -Bar 150
Lesson Number 43 - Block chord comping in a trio setting PL041

This lesson references the leadsheet for Waltz Up, Doc? PL206.MID
Discussion of chords for first 4 bars ||Bbmaj7 | G7b9 | Cm7 | F7b9 || Played in drop 2 fashion Red Garland approach (RH octave with a 5th in the middle) Big orchestral sound Drop 2 is a 'cosier' approach Softer - chime effect Associated MIDI Exercises: Waltz Up Doc - Comp [PL166.mid]
Lesson Number 44 - Improvising in a trio setting- PL042

This lesson references the leadsheet for Boundary Bay - PL201.MID How to examine a lead sheet Doing a chord and harmonic structure analysis Many Iim7 -V7 progressions Importance of learning the melody and the basic feel LH accompaniment - figuring out the voicings Common voicings for Dm7, G7 Chord scales (modes) and voicings for the first 8 bars -Bar 8 -Bar 16 -Bar 18 -Bar 38 -Bar 43 -Bar 49 -Bar 60
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Example of simple improvisation and comping Using a music accompaniment program like 'Band-in-a-Box Associated MIDI exercises: 'Boundary Bay' - Trio Comping [PL105.mid] Also MIDI practice II-V- I (bass and drums only) [links to ..] [PL301] [PL302] [PL303] [PL304] [PL305]
-Bar 115 Bar 142
Tip: Print out the chord progressions first, or read from the screen with Scroll Ahead enabled.
Lesson Number 45 - Improvisation with chord tones and motifs PL043

This lesson references the leadsheet for Boundary Bay - PL201.MID Choosing notes from the chord scale Improvising on the upper chord tones Example using the upper extensions Reference tune is 'Boundary Bay' Motif Development Examples of Motif Development Working with 2 motifs - applied to 'Boundary Bay' Combining the 2 motifs Introducing a third motif Telling your story Associated MIDI exercises: 'Boundary Bay' - Trio Simple Solo [PL103.mid] 'Boundary Bay' - Trio Advanced Solo [PL169.mid] 'Jay's Blues' Comp & Solos [PL119.mid] -Bar 4 -Bar 19 -Bar 43 -Bar 50 -Bar 56 -Bar 68 -Bar 98 -Bar 118 -Bar 127 -Bar 137
Lesson Number 46 - Working through an Improvisation - PL044

This lesson references the leadsheet for Candlelights - PL203.MID Examining the chord structure Discussing all the RH improvisation concepts Chord scales (modes), block chords, drop 2, pentatonics, Alt -Bar 6 -Bar 8 -Bar 12
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dominant
Bar 1, Fm9 and natural minor scale (F Aeolian) or minor pentatonic Bar 2, Bbm9 and Bb Dorian mode (chord scale) Bar 3, Eb13 and Eb Mixolydian mode Bar 4, Abmaj7 and Ab Ionian mode Bar 5, Dbmaj7 and Lydian mode Bar 6, G7alt and G altered scale Bar 7, Cmaj7 and Ionian mode Reviewing the first 8 bars Improvising on the first 8 bars First 8 bars - reviewing the modes Chord analysis of the 2nd 8 bars (same as 1st 8 but up a 5th) Using the 7b9 scale for the Bb7b9 Reviewing the tone centers (shifting keys) for 'Candlelights' Working through an improvisation Using a Locrian #2 mode for Am9b5 Using a 7b9 scale for the D7b9 Bridge Using a Whole Tone scale for the D7+ II-V-I in E. Using F# Dorian, B7 Altered and E Ionian scales Using an altered scale for C7#5#9 (this chord 'connects' Emaj7 to Fm7) Last 12 bars Using a Lydian b7 scale for Gb9#11 Using a Phrygian scale for Cm7 Using a diminished scale on the Bdim Diminished patterns Ending with Bb Dorian, Eb 7b9 and Ab pentatonic scales Setting up for the Fm7 with a minor II-V-I progression Improvising on the 1st 8 bars with block chords and drop 2 In a Bill Evans comping style Using thirds Red Garland style
-Bar 24 -Bar 41 -Bar 46 -Bar 53 -Bar 56 -Bar 60 -Bar 65 -Bar 66 -Bar 78 -Bar 96 -Bar 110 -Bar 117 -Bar 128 -Bar 138 -Bar 162 -Bar 172 -Bar 178 -Bar 181 -Bar 187 -Bar 194 -Bar 199 -Bar 207 -Bar 210 -Bar 213 -Bar 215 -Bar 220 -Bar 232 -Bar 240 -Bar 255 -Bar 259 -Bar 264
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Bud Powell - lower voicings (roots, 3rds &shells). Soloing in the lower register
-Bar 271
Associated MIDI exercises: 'Candlelights' - Solo [PL160.mid] 'Candlelights' -Modes [PL158.mid] II-V-I with Modes derived from Major and Melodic minor scales [PL183.mid] 'Candlelights' - Bass & Drums [PL157.mid] 'Candlelights' - Shells & Melody [PL156.mid] 'Boundary Bay' -Trio Melody with Block Chords [PL108.mid] 'Jay's Blues' Comp & Solos [PL119.mid]
Lesson Number 47 - Left-Hand Comping in a trio setting PL045

This lesson references the leadsheet for Count Me In - PL210.MID Left hand accompanying the right hand Reference tune is 'Count Me In' -Bar 6 -Bar 11
Simple approach - 4 chords to a bar More sophisticated Bud Powell approach - 10ths & 7ths in LH Mid-range voicings Using a half-step interval in the middle of the voicing Altering the dominant Make sure the shell is there The b9 is usually only added to dominant 7th chords Comping rhythms at a relaxed tempo Keeping the left hand quiet Associated MIDI exercises: 'Count Me In' - Solo Comp [PL171.mid]
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'Count Me In' - Bass & Drums [PL170.mid] 'Boundary Bay'- Trio Comping [PL105.mid] 'Waltz Up Doc' - Comp [PL166.mid] 'Clean Sweep' - Comp [PL162.mid]
Lesson Number 48 - Examining the LH techniques of wellknown pianists - PL046

This lesson references the leadsheet for Count Me In - PL210.MID Red Garland style 10ths and 7ths in the LH Charlston rhythm in LH Bill Evans style Playing the LH rhythmically with the RH Horace Silver - soloing in the lower register A chorus demonstrating the lower LH comping and soloing style Red Garland approach Bill Evans approach Associated MIDI exercises: 'Count Me In' - Solo Comp [PL171.mid] 'Count Me In' - Bass & Drums [PL170.mid] 'Boundary Bay'- Trio Comping [PL105.mid] 'Waltz Up Doc' - Comp [PL166.mid] 'Clean Sweep' - Comp [PL162.mid] -Bar 11 -Bar 15 -Bar 25 -Bar 44 -Bar 52 -Bar 82 -Bar 101 -Bar 108 -Bar 114
Lesson Number 49 - Endings - Part 1 -How to end 4/4 swing tunes - PL047
This lesson references the leadsheet for Boundary Bay - PL201.MID Most standard Jazz tunes end using a tag A typical tag chord progression is | III | VI | II | V| Reference tune is 'Boundary Bay' Last 'A' section (last 8 bars) Adding a chromatically descending progression -Bar 5 -Bar 9 -Bar 10 -Bar 21 -Bar 28
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C7, B7, Bb7, A7 setting up the D7 Basie ending
-Bar 38
Using a fill into the final chord Playing an ending on Candlelights The classic II-V, III-VI progression Ending for Candlelights Jamming on the II-V, III-VI Adding the button A simple ending for 'Count Me In'
A short ending for 'Clean Sweep'
-Bar 153
The 'Basie ending'
-Bar 173
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Lesson Number 50 - Endings -- part 2 - PL048

This lesson references the leadsheets for Boundary Bay - PL201.MID, Bossa Fantasy, So Nice
Red Garland Ending Gm9maj7, Gbm9maj7, Fm9maj7, Em9maj7, Ebm9, Dm9, Db9 , C69 Endings for Bossas, for example, 'Bossa Fantasy'
-Bar 6 -Bar 9 -Bar 26
Last 4 bars of Bossa Fantasy [PL 205.MID last 4 bars] Communicating with the band for the final chord Deceptive Cadence ending Ending a fast Samba with a vamp, for example, So Nice
-Bar 55 -Bar 75 -Bar 85 -Bar 98
Last 4 bars - different possibilities Doing a ritard at the end Ballad endings, for example, 'Gardenia' [PL 207.MID last 4 bars]
-Bar 114 -Bar 125 -Bar 144
Lesson Number 51 - Turnarounds to a I chord - PL050

Definition of a turnaround Example of a turnaround going to C II-V on the 8th bar leading back to the I chord I-VI-II-V turnaround Tritone sub Db7 for G7 Using a dominant 7th as the VI chord Using a IIIm7, V7, IIm7, bII7 (TT sub for V7) turnaround Older style turnaround - C/E, Ebdim, Dm7, G7 Another turnaround - Bb7, A7, Ab7, G7 The Tad Dameron style turnaround - Cmaj7, Ebmaj7, -Bar 3 -Bar 9 -Bar 23 -Bar 32 -Bar 47 -Bar 55 -Bar 65 -Bar 84 -Bar 96 -Bar 106
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Abmaj7, Db9 The same progression using dominant 7ths - C7, Eb7, Ab7, Db9 Turnarounds going to a I minor chord. Cm6, Am7b5, Dm7b5, G7alt Cm6, Eb7,Ab7,Db7 Other turnarounds going to a I minor chord Cm6, Bb7, Ab7, G7 Cm6, Eb7, Dm7b5, G7
-Bar 125 -Bar 132
-Bar 156
Lesson Number 52 - Turnarounds to a II chord - PL051

Turnarounds to a II chord for example 'Boundary Bay'
Playing the V7 of the II chord (E.g. A7 going to Dm7) |Am7 D7 |Abm7 Db7 | C | A7 || Dm7 | C69 | Em7b5 A7b5 || Dm7 |C69 B7 | Em7b5 A7b5 || Dm7 |C69 F9 | Em9 Eb9 || Dm7 |C69 F9 | Em7b5 A7 || Dm7 |C13 B13 | Bb13 A13 || Dm7
Lesson Number 53 - Advanced Harmony - PL052

This lesson references the leadsheet for The Dream - PL202.MID Root and shells - 1st four bars Adding tones to the shell (5th, 9th 11th and 13th) Deriving chords from the modes Chord clusters from the Dorian mode The dominant 7th chord Altering the dominant chord - the altered dominant scale -Bar 6 -Bar 14 -Bar 26 -Bar 39 -Bar 61 -Bar 96
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The altered dominant scale Deriving chord voicings and clusters from the altered dominant scale Associated MIDI exercises: 'The Dream' - Trio Comp [PL178.mid] 'The Dream' - Trio Advanced [PL177.mid] 'Clean Sweep' - Comp [PL162.mid]
-Bar 114 -Bar 120
Lesson Number 54 - Advanced Harmony 2 - Diminished concepts - PL053

Deriving diminished harmony from the diminished scale The Gbdim scale -Bar 6 (whole-tone, semitone) Deriving chords and clusters fron the 8 notes Noticing triads contained in the scale Creating some interesting sounds Gbdim = Ebdim = Cdim = Adim Using the Gbdim scale for F7b9 (also Ab7b9, B7b9 & D7b9) For a Dom 7th b9 chord, play a Dim scale a half step above Using the Half-step, Whole-step scale A II-V-I in Bb. Cm7, F7b9, Bbmaj7 Diminished chords used as passing chords Examining possible voicings Cdim to C6 Interesting harmonic patterns derived from the Dim scale A Cdim scale moving up in chords -Bar 4 -Bar 6 -Bar 13 -Bar 20 -Bar 26 -Bar 45 -Bar 61 -Bar 87 -Bar 110 -Bar 130 -Bar 148 -Bar 158 -Bar 191 -Bar 229
Lesson Number 55 - Whole tone harmony - PL054

The whole tone scale (like the diminished scale) is symmetrical Only 2 whole tone scales Examining the C whole tone scale C whole tone scale contains the shells of 6 Dom7th chords Using derived triads -Bar 3 -Bar 6 -Bar 7 -Bar 27 -Bar 63
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Lesson Number 56 - Parallel Harmony Concepts and Melodic Minor Scale Modes - PL055
Harmonizing the C major scale with parallel voicings of Fm11 Same thing using a C9+#11 voicing Example in bars 6 & 7 of 'Waltz up Doc?' [PL 206.MID] [PL167.mid] Melodic minor (or Jazz minor) scale Modes which can be derived from the Melodic minor scale Phrygian #6 scale - built on 2nd degree of Melodic minor Use for D7sus4b9 When to use a D7sus4b9 The chord scale for the D7sus4b9 (Phrygian #6 scale) The Lydian #5 - built from the 3rd degree of the Melodic minor scale Using an Eb Lydian #5 for an Ebmaj7#5 chord Lydian b7 scale - built from the 4th degree of the Melodic minor scale Using an F Lydian b7 scale for an F9#11 chord The Mixolydian b6 scale - built from the 5th degree of the Melodic minor scale Using a Mixolydian b6 scale for a G7b13 or G7+ chord The Locrian #2 scale built from the 6th degree of the Melodic minor scale Using a Locrian #2 scale for a Am9b5 chord The Altered scale - built from the 7th degree of the Melodic minor scale Using a B altered scale for a B7alt or B7#5#9 chord Ideas for practicing the scales and chords -Bar 8 -Bar 16 -Bar 27 -Bar 42 -Bar 55 -Bar 62 -Bar 66 -Bar 71 -Bar 85 -Bar 88 -Bar 93 -Bar 96 -Bar 100 -Bar 104 -Bar 106 -Bar 115 -Bar 120 -Bar 125 -Bar 129 -Bar 134
Lesson Number 57 - Soloing - Creating melodic improvisations PL056

This lesson references the leadsheet for Waltz Up, Doc? PL206.MID Figuring out the chord scales (modes) Creating a continuous flow of notes Motif and rhythmic development - (e.g. 4 over 3) -Bar 11 -Bar 46 -Bar 65
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Outling the chords Improvising on 'The Dream'
-Bar 99 -Bar 110
Outlining and connecting the chord tones and upper extensions Reviewing alternate chord scale choices Playing continuous 8ths, 8th triplets and 16ths Developing motifs (musical ideas) Example 1st 8 bars of The Dream
Another example of motif use and development Creating interesting rhythmic figures
-Bar 225 -Bar 247
Working on LH/RH rhythmic independence Transcribing and listening to the great instrumentalists and
-Bar 284 -Bar 306
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vocalists Associated MIDI exercises: 'Candlelights' - Modes [PL158.mid] 'Candlelights' - Solo [PL160.mid] 'The Dream' - Solo [PL175.mid] 'The Dream' - Trio Advanced [PL177.mid] 'Boundary Bay' - Trio Advanced Solo [PL169.mid] 'Jay's Blues' - Comp & Solos [PL119.mid] 'Bossa Fantasy' - Solo [PL186.mid] 'So Nice' - TrioSolo [PL189.mid] 'Clean Sweep' - Solo [PL164.mid]
Lesson Number 58 - Modal playing and Pentatonics - PL057

This lesson references the leadsheet for Waltz Up, Doc? PL206.MID For example - playing over Dm7 for 8 or 16 bars LH 5ths and 4ths ala McCoy Using F pentatonic in the RH Inside/Outside Playing Another example Inside/Outside Playing Inside to more outside using 'Waltz Up Doc?' [PL 206.MID chords ] Creating tension and release with outside and inside playing Using C pentatonic for Dm7 - ('home' pentatonic) Moving 'outside' to Gb pentatonic Picking random pentatonics and moving 'home' Driving the neighbors crazy with 'screaming pentatonics' Associated MIDI exercises: 'Candlelights' - Modes [PL158.mid] 'Candlelights' - Solo [PL160.mid] 'The Dream' - Solo [PL175.mid] 'The Dream' - Trio Advanced [PL177.mid] 'Boundary Bay' - Trio Advanced Solo [PL169.mid] 'Jay's Blues' - Comp & Solos [PL119.mid] 'Bossa Fantasy' - Solo [PL186.mid] 'So Nice' - TrioSolo [PL189.mid] 'Clean Sweep' - Solo [PL164.mid] -Bar 8 -Bar 11 -Bar 18 -Bar 37 -Bar 48 -Bar 64 -Bar 88 -Bar 112 -Bar 128 -Bar 142 -Bar 186
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Lesson Number 59 - Harmonizing a melody in the Right-hand PL059

This lesson references the leadsheet for The Dream PL202.MID Playing melody and chords in RH Using a diminished chord (or V7 chord) as a passing chord When in doubt - use a diminished chord Looking for opportunities to use passing chords Using a chromatic approach (Eb9 to D9 on bar 6) Harmonizing an F major scale Harmonizing an F (natural) minor Harmonizing an F blues scale F Associated MIDI exercises: 'The Dream' - RH Chords [PL174.mid] -Bar 18 -Bar 31 -Bar 51 -Bar 78 -Bar 88 -Bar 105 -Bar 130 -Bar 144
Lesson Number 60 - Building your technique - PL060

Warming up - hand and finger stretching exercises Posture with no tension Exercise in 3rds in C 3rds in C minor C Dorian, C whole-tone in 3rds F dim scale in thirds Legato and stacato playing Playing the exercises in different rhythms Exercise by Lizst: C6, Cm6, CDim, Ab7, Db6 etc. Do NOT practice this exercise for a long period (hand injury such as tendonitis could result) Spend most of your practice time on music - not exercises Piano fingerings An organ exercise to develop legato Exercise for 6ths (practice for short periods only) -Bar 13 -Bar 19 -Bar 38 -Bar 84 -Bar 96 -Bar 119 -Bar 126 -Bar 130 -Bar 154 -Bar 186 -Bar 190 -Bar 204 -Bar 220 -Bar 262
Lesson Number 61 - Speed development - PL061

Playing be-bop heads in double octaves How to develop speed Finding the fingering that best suits your hand
-Bar 22 -Bar 33
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Singing what you play
-Bar 40
Lesson Number 63 - Developing Repertoire - PL063

How to develop a repertoire Beginning with a couple of common tunes in various styles A good example of a basic repertoire: A few swing tunes in 4/4 A Jazz waltz 2 Bossas A faster Bossa or Samba 2 or 3 Ballads Some classic Pop tunes Learn then in their basic (standard) keys Determining the correct harmonies Learn the classics of Duke Ellington, Cole Porter, George Gershwin, Jimmy Van Heusen, Antonio Carlos Jobim, Jerome Kern, Irving Berlin -Bar 24 -Bar 26 -Bar 138
-Bar 7 -Bar 15
Lesson Number 64 - The Backing Trax -PL064

In this program there are some additional practice MIDI files generated by Bandin-a-Box which will take you through all the different keys. They have bass and drums accompaniment only. You should print out the chord sheets first and then practice working through them in different ways. One suggestion is to simply play the roots and shells through each exercise. Another suggestion would be to play left-hand voicings - perhaps with the modes in the right-hand. Or try comping through the exercises or even soloing through them. Feel free to vary the tempos. Of course, being MIDI files, you can record your own solos record and analyze your efforts. If reading from the screen, make sure 'Scroll Ahead' is enabled. The Backing Trax files (Bass & Drums only) are: PL301.mid - IIm7-V7 progression - thru the cycle - Swing - 2 bars, then 1 bar, then 2 beats PL302.mid - IIm7-V7-Imaj7 progression - thru cycle - Bossa - 2 bars, then 1 bar, then 2 beats, then 1 beat.
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PL303.mid - IIm7-V7-Imaj7 progression - thru cycle - Swing -2 bars, then 1 bar, then 2 beats, then 1 beat PL304.mid - IIm7b5-V7-Im6 in minor keys, decending in whole tones. 1 bar, then 2 beats. PL305.mid - 8 bar Harmonic exercise thru cycle. Tip: enable Scroll Ahead if reading from screen. PL306.mid - I-VI-II-V Bossa - ascending in minor 3rds -1bar, then 2beats PL307.mid - Dom 7ths through the cycle of 5ths - 2bars,1bar, then 2beats, then 1beat PL308.mid - I-VI-II-V- III-VI-II-V progression, ascending in minor 3rds, 1bar, then 2beats PL309.mid - Bebop -Trane changes (advanced) ascending in min3rds, 1bar, then 2beats PL310.mid - Trane reharmonization of 4 bar II-V-I progression - Swing PL311.mid - Trane reharmonization of 4 bar II-V-I progression. Bossa Tip: You can make your own practice files with Band-in-a-Box, then if you wish, press the MID button to make it into a MIDI file.
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Final Topic
This is the end of the instruction but hopefully not the end of your search for pianistic perfection. I hope you've found some of the techniques useful - in fact you might want to re-visit some of them. You could try reviewing the MIDI exercises with me - but at a faster tempo of course. For more advanced playing, I recommend another PG Music program - 'The Modern Jazz Pianist' which contains 60 modern original compositions and performances by Renee Rosnes, Ron Johnston, Brad Turner and myself. Have fun. Miles Black
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Chapter 2 : Installation
Before you run the Program
Make sure that the WAVE AUDIO and MIDI drivers for your computer's sound system are already installed into the Windows Operating System. (In other words, does your computer already make sounds?) If not, you may need to install the support software for your sound card (i.e. Creative Labs, Yamaha, Turtle Beach, etc.) and/or MIDI card (MPU401,MQX, SC-7, etc.) into the "Windows Control Panel | Multimedia | Drivers" section before using this program. (See Appendix C for additional instructions.)
Installing to Windows
This program runs directly from the CD-ROM without the need for any additional installation. You can (optionally) make a "shortcut" on your desktop (Win 95/98 only) by following these steps: 1) Explore the CD-ROM (i.e. by clicking on the "My Computer" ICON and double-clicking on the CD-ROM ICON, or by running the file explorer/file manager applet.) 2) Find and click/hold on the "PMCLASS.EXE" program ICON and drag it to the "Windows Desktop" (i.e. main screen) using the mouse. 3) Now you can run the Jazz Piano MasterClass program by inserting the CDROM into your computer's CD-ROM drive and "double- clicking" or "opening" the program shortcut that was created in the previous two steps.
Running the Program

1) Insert the Jazz Piano MasterClass for Windows CD-ROM into your CD-ROM or DVD drive. Choose File | Run from the Program Manager screen (or START | RUN for Win 95/98 users.) 2) Type D:\pmclass.exe (in the space provided by the "Run" dialog box) (if your CD-ROM drive is 'E', then type E:\ pmclass.exe instead.) OR As with all Windows programs, you can simply double-click with the Mouse Button on the program ICON, or press the ENTER key (after moving the highlighted bar to the ICON ). The Jazz Piano MasterClass program will then load and run.
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Selecting Your Sound or MIDI Driver

THE FIRST TIME THAT YOU RUN THIS SOFTWARE, the program will attempt to automatically detect and configure your computer's Sound and MIDI setup. The program will use your system's default Wave Output Device (i.e. from the Windows Control Panel | Multimedia |Audio Playback Output Device Settings) for outputting Digital Audio, and then attempt to use the "best" MIDI Output device from your system's list of installed MIDI Output Devices (i.e. Windows Multimedia MIDI Settings.) Since there are normally a number of MIDI Output Devices installed in a typical Windows Multimedia System, a dialog box (shown below) displaying the predetermined MIDI output device is presented to you in order to confirm that this is the best MIDI Output Device present in your computer system. If the program successfully suggests the best possible (i.e. highest quality sound) MIDI Output Device for your system, or if you are unsure of this setting, choose YES to continue, and skip ahead to the next chapter.
Automatic detection of optimal MIDI output settings
If you choose NO, or if you wish to change the automatic MIDI Output Device setting, simply choose the program's "File | Options | MIDI Options" menu item, and click on the MIDI DRIVERS button, shown here:
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You will then be presented with a dialog like the one below:
Select MIDI Input and Output Driver dialog.
The program will play the MIDI music using the driver you specify here. In this example, we have selected the Creative MIDI Instrument Mapper (shown in the right-hand column), which is a common MIDI device driver setting for the Creative Labs Sound Blaster AWE32/64 line of sound cards. The Synth Output Latency Delay in MS setting is used in the special case when you have a "Software Synthesizer" installed in your system which generates a MIDI delay, or latency. If you have such a device installed, and you wish to use this device for MIDI Output, you should refer to the documentation that came with your "Software Synthesizer" to obtain the correct Latency setting. (e.g., A Roland VSC-55/88 usually uses a latency setting of 420ms on a typical Pentium system.) OPTIONALLY SELECT AN INPUT DRIVER. If you want to play along with the program using a computer-MIDI controller setup (i.e. Synthesizer Keyboard, MIDI Guitar, etc. connected to your computer), you can utilize the MIDI THRU function of the program by selecting a MIDI driver for INPUT. Otherwise, you can leave the INPUT DRIVER set to <NONE> as the program does not require an INPUT DRIVER in order to function. In our example (leftcolumn shown in figure above) we have selected the SB16 MIDI In [330] driver, since we have a MIDI-controller Keyboard connected to the MIDI-IN port of the Soundblaster sound card.
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Once you have selected the driver preferences, the program's Main Screen will appear and you will be ready to use the Jazz Piano MasterClass program. The quickest way to get started is to read the following tutorial which runs through the major features of the program. If you just can't wait a second longer, press the PLAY ALL button now to begin lesson/song playback and to ensure that your driver selection is working properly.
Main Toolbar
As you listen, take a few moments to go through the tutorial and the rest of this guide.
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Exploring the Jazz Piano MasterClass Features
This tutorial assumes that you've already installed the program and your output drivers are installed into the Windows Control Panel (see the Installation Instructions in the previous chapter and Appendix B for detailed instructions.)
This is the main screen for the Jazz Piano MasterClass. There are several areas that you will notice (from top to bottom ): The Title Bar at the top of the screen shows the title, bar number, and the total running time of the piece. (in 800x600 or higher screen/display resolution.)
The Main Toolbar contains the MODE BUTTONS, the SONG LISTS, the SECTION/PART LISTS, and the many FEATURE BUTTONS such as Audio Mix, SOLO, Key Transpose, and Print Buttons.
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The Audio Overview Window (shown below) is a digital waveform representation of a song's audio data. This window allows you to quickly move to anywhere in a piece using by mouse clicking anywhere in the waveform area. This area also allows you to set specific LOOP POINTS by clicking above and below the desired section. The top loop point marker sets the loop BEGIN point, and the bottom marker sets the loop END point. (In this example the middle section would be the looped region.)
The Piano Keyboard displays the notes that are being played on the piano keyboard as the song is being played. The red note-indicators suggest the bass or left-hand notes, while the blue note-indicators show the treble or right-hand notes.
Note: When the screen resolution is 1024 x 768 (or higher) the option to display a "big" piano is available. This option can be set through the General Options Panel.
Tool Bar Features And Feature Buttons:

View Notation Use this button to view the notation screen. This will show full transcriptions (synchronized to the music) of the currently loaded/playing song. To view the MIDI notation instead of the Transcription Notation, press the MIDI Notation Button (shown below) while in the Notation Mode. View MIDI Notation Allows you to view the MIDI tracks as MIDI notation. The MIDI notation is synchronized to Audio Playback and also highlights notes being played in Red, for easier sight-reading and overall readability. Book Button - View Text/Pictures
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Use this button to view close the Notation Screen and open the Text/Content Screen. You can enter the Text/Content mode and view pictures, text, biographies, (and more) while the music is playing. Song Categories List This listbox allows you to select songs from different Songlists (see below) based on the category selected here. To use the songlist which contains the entire list of songs available on the CD-ROM, choose the ALL SONGS category list, as shown above. Songlist Select a piece that you would like to hear by MOUSE CLICKING once to open the list of songs available in the currently selected Songlist, and again over the title of the piece. Playback Starts Automatically. Media Playback Mode This feature allows you to choose from a list of playback modes available for the currently selected song. (The playback modes list may vary from song to song.) Choose the MIDI mode if you wish to hear a MIDI representation of the song. Choose the Audio mode if you wish to hear only Digital Audio tracks in a song. Choose the Au/MIDI mode if you wish to hear BOTH the Digital Audio and the MIDI representation of a song. Choose the Au/SMIDI mode if you wish to hear the Digital Audio portion of a song, but also view the MIDI representation of the song (i.e. on the "virtual piano" keyboard or in MIDI notation. Section Description Use this feature to select and "jump" to any section (i.e. verse, chorus, ending, etc) of a song. The text in this listbox also updates automatically as a song is playing, showing you exactly which section of the song is playing. Part Selection This feature allows you to select which "part" to select for muting, soloing or MIDI notation purposes. For example, to see the MIDI notation of the "Sax" part, select the part from this list and select MIDI notation to see this part displayed.
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The Tempo Box This feature allows you to quickly change the tempo (or speed) at which the piece is played back. Note: Changing the tempo will affect the pitch of the digital audio playback and if the playback mode is Au/MIDI, or Au/SMIDI an adjustment is made to the pitch of the MIDI playback to remain in tune with the Digital Audio. The Half Speed Button This feature allows you to quickly change the tempo (or speed) at which the piece is played back to exactly 1/2 of the original speed. Note: Using the 1/2 Speed Button will affect the pitch of the digital audio playback (plays one octave below), but has no effect on the pitch of the MIDI playback (i.e. plays in the original octave.) The Key Transpose Box Allows you to quickly change the Key at which the piece is played back. Note: Changing the Key will affect the tempo of the digital audio playback and if the playback mode is Au/MIDI, or Au/SMIDI an adjustment is made to the tempo of the MIDI playback to remain in synch with the Digital Audio. Mute Button This button allows you to quickly mute or unmute the part currently selected by the Part Selection list box. Press once to mute the part, and press again to unmute. SOLO Button This button allows you to quickly "Solo" the part (e.g. mute all other tracks) currently selected by the Part Selection list box. MIDI Notation Switches the Notation display between Bitmap transcriptions and MIDI Notation. General Options
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Launches a control panel which allows you to set various program settings such as Notation Scroll-Ahead mode, Semitone and Cents (tuning) adjustments, Random Playback when Play ALL is selected, etc. Font Button This button allows you to choose the font, and adjust its size and style for the text/contents screens. Print Button The print button allows you to print full page SHEET MUSIC or individual practice screens of the currently selected song to your Windows Compatible Inkjet or Laser Printer. Menu Button This button offers easy access to the MENU items (i.e. File; Play) which offer access to the various functions and features of the program. This is especially helpful when running in 640x480 screen resolution mode. Help Button This button launches the opening chapter of the program's Help Topics, which contains full descriptions of all the features and functions available in the program. Loop Button and Section/Bars Selector The Loop Button and Section/Bars selector work together to allow you to quickly select a section (using the section selector --verse, chorus1, etc.), loop points (using the overview window), or a number of Bars (i.e. 1,4,8,12,24, etc.) Select the section you wish to loop and press the Loop Button (at left) to start the Loop Feature.
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The PLAY Buttons

Play Button Play a single piece by using the play button or selecting from the song list The PLAY button will play the piece that is currently selected (highlighted) in the LIST Window). You can also use the mouse to select a piece; a piece will load and play automatically as soon as it is selected from the SONGLIST drop-down box. Stop Button Stop the music by pressing the stop button. When playback is resumed the song will start from the point at which it was stopped.
Multiple Play Buttons

The following buttons allow you to play one or more pieces that are displayed in the LIST of Pieces: Favorites Button PLAYING YOUR FAVORITE PIECES You can select your favorite pieces in the lists by clicking the MOUSE button on the checkbox beside the name of the piece. You should then see an asterix beside the piece name indicating that it is a favorite piece of yours. Clicking the MOUSE button again to clear the checkbox will de-select it. You can save your list of favorite pieces (from one to all of the pieces) to disk by choosing the "Save Favorites..." option from the File Menu. When you press the PLAY FAVORITES button, the pieces that have been selected as your favorites will be played one after another. All Songs Button This will play all of the pieces in the current list of pieces one after another, or in a random order if the Random Playback option is selected in the General Options Tab.
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Previous/Next Piece buttons. These buttons move to the previous or next piece when you are playing more than one piece. Previous/Next Piece History buttons. These buttons move to the previous or next piece in a history list that the program maintains automatically.
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Check out the Main Program Screen

The left-hand pane of the Content/Text screen provides easy navigation throughout the program.
Navigation Buttons
The BACK and FORWARD buttons let you navigate to previously viewed pages. The Main Menu button displays the main screen of the program, visible on startup. Clicking on Welcome launches the welcome screen. The Overview button displays the program overview, containing information and tips on studying with the Jazz Piano MasterClass. Quick Start provides the basics of operating the program. The Lessons button displays the lesson topics that you'll be covering in the Jazz Piano MasterClass. The MIDI Exercise button links to the exercises, where you'll be doing most of your practicing, after completing a lesson. Selecting the Backing Trax button displays the list of the Backing Trax, songs that are Bass and Drums only. You can use the Backing Trax songs to practice various techniques. The Lead Sheets button links to a set of 22 leadsheets, two for each example song used in the program. One set of leadsheets contains notes for the melody of the song, while the other set contains only chords. The Help button will display the Program Help.
Lesson Details
Selecting the Lessons button will display the following screen.
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Click on the
speaker icon to launch/hear the lesson.
notes icon to play the lesson described in the text to the right of Click on the the icon. This will also automatically launch the Notation mode so that you can see as well as hear a given example.
Selecting the MIDI Exercises button will display the following screen.
Note that in addition to the Notes and Speaker icons described above, there is an additional icon.
The Exercise Coach button launches an audio commentary to guide you in your use of the MIDI Exercise for practicing elements of the lesson.
First, let's play the songs one at a time.

Select the ALL Category List to ensure that you are displaying the list of all the titles in the program. You will then see the list of all the pieces displayed in the Songlist listbox (shown next)
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Select a piece that you would like to hear by CLICKING over the title of the piece. In this case, we have selected "Lesson 9-Block Chords - PL016". Playback Starts Automatically. As the piece is playing, you can do a lot of things: Press the notation button to display the music/lesson notes.
When you press the NOTATION button (far top-left of screen), the main introduction screen will be replaced by the MUSIC NOTATION/LESSON NOTES screen. This screen will either show full transcriptions of the leadsheets contained in the program, or display comprehensive lesson notes for each lesson. A small moving box around each bar indicates the current song/lesson position. You can mouseclick on any bar to have playback begin from that bar automatically. Try it!
Next, Let's Hear The Different Playback Modes

The program has several playback mode from which to choose. Let's hear how the different playback modes sound by selecting (mouse clicking) from the MEDIA PLAYBACK MODE selection box (shown here).
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! ! ! !
Choose the MIDI mode to hear a MIDI-only representation/accompaniment of the song. Choose the Audio mode to hear only Digital Audio tracks in the song. Choose the Au/MIDI mode to hear BOTH the Digital Audio and the MIDI representation of the song. Choose the Au/SMIDI mode to hear the Digital Audio portion of a song, while also viewing the MIDI representation of the song (i.e. on the "virtual piano" keyboard or in MIDI notation.) This is often the DEFAULT mode for many of the songs in the program.
Let's choose MIDI to see what other things can be done with the MIDI representation of the song. While in the MIDI mode, you will notice that the keys on the "virtual piano" light up to show you the notes being performed. Now, let's see each note notated in "MIDI notation" by pressing the MIDI Notation button (shown here.)
When you press the button shown above, the TRANSCRIPTION NOTATION is replaced with MIDI NOTATION, as shown here:
As you can see, this notation mode provides you with an excellent view of exactly which notes are being played (noteheads are highlighted in red.) You can step through each note or chord one-at-a-time by pressing the NUMPAD period (.) and zero (0) keys on your computer keyboard, or by mouse-clicking on the ARROW
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buttons shown at the top of the MIDI Notation window. You can view each part in the MIDI Notation Window by selecting one from the PART SELECTION box (shown below.)
NEXT, LET'S HEAR THE Au/MIDI PLAYBACK MODE

Let's hear how the different playback modes sound by selecting (mouse clicking) the Au/MIDI setting from the MEDIA PLAYBACK MODE selection box (shown here) and pressing PLAY.
You should be able to hear both the MIDI and the Audio parts at the same time. Now, let's choose an appropriate sound for the accompaniment (MIDI) part. Press the General Options button to launch the General Options Panel. Choose the MIDI tab. Now, try changing all the MIDI tracks to "Tenor Sax" by selecting the PART (shown at top-left) and then selecting the appropriate PATCH for each of the parts, so that each PART is using the Tenor Sax patch. Click OK to continue. Now when you press the PLAY button, you will hear the Audio parts combined with or accompanied by the MIDI parts.
Choose the Au/SMIDI playback mode and press the PLAY button to continue normal playback when you are ready to proceed. Pressing the SPACEBAR will also STOP or START the Song. THE MINUS KEY '-' backs up by 2-seconds. THE ENTER KEY Starts the song from the beginning.
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SLOW DOWN OR SPEED UP THE PIECE (TEMPO CHANGE) 1) Use the [ and ] (square bracket keys) to slow down or speed up the piece by 5 beats at a time. 2) Use the Tempo Box up/down arrows to change the tempo or speed at which the piece is played back.
3) Use the F5 function key (or press the 1/2 speed button) to toggle between Slow Motion (half speed) and normal tempo. If you have been changing tempos, this feature is useful to return you to the normal/original tempo.
TRANSPOSE THE PIECE up or down a semitone at a time by using the F7 or F6 keys or by using the up/down arrows on the Key box.
MOVE TO A SECTION OF THE PIECE

Use the Mouse to move to a new section of the piece ! The Wave Overview Window allows you to quickly move to anywhere in the piece by mouse-clicking anywhere in this area. The music is displayed here from left to right. Also in this view, an auto-scrolling vertical bar highlights the currently playing area.
LOOPING A REGION OF MUSIC

You might also notice the tiny Loop Markers (little triangles) positioned above and below the wave overview window. These triangles are used to set the beginning (top-marker) and ending (bottom-marker) loop points, in order to have the program endlessly loop an region of music that you wish to practice. You can set these loop markers by mouse-clicking above the Wave Overview Window to set the start marker, and below to set the end marker. Then, all you have to do is press the LOOP button (shown below) to hear the section you have marked loop continuously until you press the loop button again.
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Print Out a Hardcopy of The Sheet Music For Further Study!

By now, you have seen some of the program's powerful Digital Audio (WAV) and MIDI playback features. But we still have a few more things to do. Follow these instructions to print out a beautiful hardcopy of the sheet music right on your own inkjet or laser printer. First, select the song you wish to print out by loading it in to the program using the songlist. Make sure the program is in Notation mode before you press the print button, otherwise you may end up printing the TEXT/CONTENT screen instead of the notation.
Then, press the PRINT button to use the print feature. You will then be asked the following question:
Click on the YES button to print a high resolution full-page printout, or the NO button to print a 'draft-mode' screen-version printout. The following dialog (shown below) will allow you to print selected pages or all (default) of the song, with definable print margins (default =.25 inches).
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Press the OK - PRINT button to begin printing out the music. (If you wish to set up or select a different printer, click on the SETUP PRINTER button instead.) Another kind of Notation Printout is the "Print MIDI Notation" option. If you need to print out individual parts instead of the full score, open the MIDI Notation Window (shown below), select the part you want to print out, and press the MIDI Notation's internal PRINT BUTTON (shown here.)
Playing All the Pieces Contained on the CD-ROM

Let's cue up more than one piece at a time.
Select the ALL (songs) Category List to ensure that you are displaying the list of all the pieces in the program.
Then, press the play ALL button. This will play through the pieces one by one, with a few seconds pause between each. The pieces are played in random order. (If you prefer sequential order, try setting Random to No/Off in the General Settings Panel.) Use the Jazz Piano MasterClass as Background Music while you work in other programs. Note that the Jazz Piano MasterClass will continue to play even while you work in other programs. So for example, you can start the Jazz Piano MasterClass program playing ALL songs and then switch over to your Word Processor. Try changing the program's Window size and you will see that the notes continue to be displayed while you work in other programs. If you MINIMIZE the program window or RESIZE it so that only the "Virtual Keyboard" is visible, you'll see that the notes are still displayed even while another program is active.
Play Your Favorite Pieces.

Step 1-Making up your List of Favorites: You can make up your list of favorite pieces very easily with the Jazz Piano MasterClass program. To mark a song as a 'favorite', simply mouse-click on the checkbox next to the song title. This will place an asterix (*) beside the song's title to indicate that it is a favorite of yours. To de-select the piece as a favorite, clear the favorites checkbox, which removes the asterix *. You can then save your favorites selection to disk by choosing the
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option SAVE AS DEFAULT FAVORITES so that the next time that you run the Jazz Piano MasterClass, it will remember your Favorites. button works like the PLAY ALL button, Step 2-Playing your Favorites except that it will only play pieces that are in the currently showing list which are marked with an asterix (*) as one of your favorites.
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Chapter 4: Using the Program

Selecting and Playing Pieces Selecting Pieces
You first use the CATEGORY list to select a LIST of pieces to appear in the Lesson/Example List Window. Then, you will see a list of songs displayed in the List Window. To select songs in the List Window: Use the mouse to click on the title of the Lesson/Example that you want to play.
Playing The Pieces

These buttons allow you to play one or more pieces that are displayed in the SONGLIST:
PLAY A SINGLE PIECE BY PRESSING THE PLAY BUTTON The PLAY button will play the piece that is currently selected (highlighted) in the LIST Window). Pressing the SPACEBAR will also STOP or START a song. THE MINUS KEY '-' Backs the playback position up by 2 seconds. THE ENTER KEY Starts the song from the beginning. STOP THE MUSIC BY PRESSING THE STOP BUTTON Pressing the SPACEBAR will also STOP or START a song.
PLAY YOUR FAVORITE PIECES Playing your Favorites button works like the PLAY ALL button, except that it will only play pieces that are in the currently showing list that are marked with an asterix (*) as one of your favorites.
PLAYING ALL OF THE PIECES IN THE LIST This will play all of the pieces in the current list of pieces one after another or randomly, depending on the setting of the Random Playback Box in the General Settings panel.
PREVIOUS/NEXT PIECE BUTTONS
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These buttons move to the previous or next piece in a given Songlist. Playback starts automatically.
Favorites Files
This program allows you to maintain files of your favorite pieces. Normally you would just want one list of favorite pieces, but if several people are using the program you might want to have different favorites files. For example, you may have mastered Lessons 1-14. You could deselect these lessons and save your own favorites file to help you recall the lessons you still have to master. To mark a song as a 'favorite', simply mouse-click on the checkbox next to the song title. This will place an asterix (*) beside the song's title to indicate that it is a favorite of yours. To de-select the piece as a favorite, clear the favorites checkbox, which removes the asterix *. You can then save your favorites selection to disk by choosing the menu option FILE | SAVE FAVORITES FILE... and entering a unique name so that the next time that you run the Jazz Piano MasterClass you can reload this FAVORITES FILE by selecting FILE | OPEN FAVORITES FILE... and browse to the previously saved file. The purpose of the Favorites Files is to allow you to play ONLY your favorite pieces by pressing the PLAY FAV button; this is also a good way to make up a custom list of Lessons/Examples you are working on or learning. Note: All the Lessons in this program have been marked as Favorites by default.
Playback Media Mode (MIDI,AUDIO,AUDIO w/MIDI)

To change the PLAYBACK MEDIA MODE select the preferred MODE from the MEDIA MODE list box (shown below.) This operation can be performed both while the song is stopped or while it is playing. ! ! ! Choose the MIDI mode to hear a MIDI representation of the song. Choose the Audio mode to hear only the Digital Audio tracks in the song. Choose the Au/MIDI mode to hear BOTH the Digital Audio and the MIDI representation of the song simultaneously. Choose the Au/SMIDI mode to hear the Digital Audio portion of a song, while also viewing the MIDI representation of the song (i.e. on the "virtual piano" keyboard or in MIDI notation.) This is often the DEFAULT mode for many of the songs in the program.
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Tempo Changes
Tempo changes can be performed both as the piece is playing or while it is stopped. The easiest way to change the tempo is to use the [ and ] square bracket keys to decrease/increase by 5 beats per minute, or use the mouse to move the tempo adjustment arrows up (increases) or down (decreases) on the main screen toolbar. There is also a feature using the F5 key which toggles between half speed and normal speed, just like slowing down those old 45's. If you want to analyze a passage, hit the F5 key to slow it down by half, then press the SPACEBAR to PAUSE the music or the minus key (-) to rewind the music by 2 seconds.
Transposition
The F7 and F6 keys will transpose a tune by a semitone up or down. Or, use the mouse to move the key adjustment arrows up (increases) or down (decreases) on the main screen toolbar. Note: Transposing the song in this way will also affect the tempo of the song playback. Transposing to higher keys increases the tempo of the song, and transposing lower decreases the tempo. The transcription notation will not be transposed. You can, however, transpose the MIDI Notation parts by using the MIDI Notation | OPTIONS Button and entering a transpose value in the space provided.
Looping
The Jazz Piano MasterClass program offers very flexible looping capabilities, allowing you to practice or study specific sections easily. The loop capabilities are enabled by selecting a region to loop and pressing the LOOP button. To deactivate the looping feature, simply click on the LOOP button a second time. Loop Button Loop Section Selector
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The Loop Button and Section Selector work together to allow you to quickly select a section of the currently playing Lesson/Example and loop it continuously. For example, you can choose the currently playing screen, a specific section as defined by the Section Description Listbox (i.e. verse 1, chorus, ending, etc.), Loop Points (using the overview window), or a number of Bars (i.e. 1,2,3,4,8,12,24, etc.) Section Description This box shows the currently playing section, and also allows you to select and "jump" to any section (i.e. verse, chorus, ending, etc) of a Lesson or Example. The text in this listbox also updates automatically as a Lesson/Example section changes. Loop Points
The tiny Loop Markers (triangles) positioned above and below the wave overview window can be used to set the beginning (top-marker) and ending (bottom-marker) loop points to have the program endlessly loop an region of the selection that you wish to practice. You can set these loop markers by mouseclicking above the wave overview window to set the start marker, and below to set the end marker.
Changing MIDI PLAYBACK Instruments (Patches)

If you have a General MIDI compatible instrument, you can use the Patch names to change patch by name. Use the MIDI OPTIONS button (or click on any of the OPTIONS buttons (AUDIO,GENERAL, etc.) and click on the MIDI OPTIONS tab) to enter the MIDI SETTINGS PANEL.
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Once you have chosen this option, you can then click on the part that you want to change (for example the Bass Part). Then, change the patch. This is a great way to hear how different the same song sounds on different instruments. Using the AUDIO/MIDI playback mode, you can mix Digital Audio and MIDI tracks in any way you want. For example, you can decrease or the Volume of a Digital Audio part (in the Audio Options Tab) and substitute the corresponding MIDI part by increasing the Volume of the part in the MIDI Options Tab.)
A NOTE ABOUT PATCHESA "Patch" is the instrument selection for your MIDI synthesizer. Normally you will want to use a Piano patch for the piano, Bass for the bass etc. But you can select any Patch (e.g. Guitar, Electric Piano, Music Box, Harp, Tenor Saxophone etc.) for any part/track.
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Chapter 5: Option Panels Settings

General Options Panel General Options
This panel allows you to control the program's general settings. The General Options Settings are saved and stored for subsequent program sessions. These settings can be changed as often as required, and at any time.
NOTATION SCROLLS AHEAD - DEFAULT=OFF

This feature, when enabled, instructs the program to "preview" or "read ahead" the next bars and display the next bars of notation as the music is playing. This is a useful feature for reading and singing along with the music as it allows the reader to "know what's coming" as the music is playing.
SEMI(tone) ADJUST - DEFAULT=0 (Native Key)

Use this feature to change the pitch of the audio in increments of half-tones to allow for playback in different key signatures. Note: This feature will affect the tempo of the music; a positive number will increase the tempo, and a negative number will decrease the tempo.
CENTS ADJUST - DEFAULT=0 (A=440) 78 Chapter 5: Option Panels Settings
Use this feature to change the pitch of the audio in very small increments (cents) to allow for playback in slightly different tuning. Note: This feature will affect the tempo of the music; a positive number will increase the tempo, and a negative number will decrease the tempo.
ALWAYS SWITCH TO MIDI AT HALF SPEED DEFAULT=ON

This feature, when enabled, will automatically set playback to be heard through your computer's MIDI setup. This allows for 1/2 speed playback without affecting the original pitch of the music. This is very useful for learning pieces or sight-reading the music.
EXTEND DISPLAY OVER WINDOWS TASKBAR DEFAULT=ON

Enable this setting if you wish to use the program using the maximum screen size available. This feature will allow the program cover the entire computer screen including the Windows Taskbar. The taskbar can still be brought forward and made visible by resizing the program window or by using the CTRL-ESC hotkeys.
PIANO SHOWS ALL TRACKS EXCEPT DRUMS DEFAULT=ON

This setting instructs the program to display all the notes contained in the MIDI tracks on the on-screen piano keyboard at once (notes show up on the keys as blue or red dots.) Drums are excluded since this type of MIDI data does not translate to piano keyboard notes.
NOTATION BITMAP SET - DEFAULT=Normal

Chooses which transcription notation set is displayed in the program. There is only one set in this program.
Note: This setting does not affect the pitch of the music playback; only the key signature of the transcription notation set.
SOLO STRENGTH
This setting affects the SOLO button feature of the program. When set to 100, the SOLO feature will mute all other tracks and allow playback of only one track or part at a time. When set to another number (i.e. 80) the SOLO feature, when enabled, will allow for playback of all tracks/parts at a significantly reduced volume level. This feature is useful for focussing on a single part for practice, etc. while still being able to hear the rest of the parts playing in the background.
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RANDOM PLAYBACK (PLAY ALL)- DEFAULT=OFF

This feature is used in conjunction with the PLAY ALL or PLAY FAVORITES feature. When enabled, it will allow for jukebox playback of "all songs" or the "favorites" in a random fashion, instead of sequentially.
SHOW BIG PIANO - DEFAULT=ON

This feature will display a "BIG" piano keyboard at screen resolutions of 1024x768 and higher.
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MIDI Setting Panel

MIDI Options
This Panel allows you to change MIDI parameters for a single part (instrument ) or all the instruments.
PART SELECTION
Click on the desired instrument (part) that you want to change. Once you click on it you will notice that the Part Settings (below) will change to reflect the current settings for the part that you have chosen.
PART SETTINGS Chapter 5: Option Panels Settings 81
MIDI CHANNEL
The MIDI channel is the channel used for output of the program's MIDI data. Your synthesizer, sound card or digital piano must be set up to receive on the channel that the program is outputting on - otherwise the output will be silent!. Changing this setting instantly changes the Channel, so you can quickly try all 16 channels to see which channel your synth is responding to.
PATCH - Bank MSB - Bank LSB - DEFAULT=0

A Patch is the instrument selection for your synthesizer. Normally you will want to use a Piano patch for the piano, Bass for the bass etc. But you can select any Patch (e.g. Guitar, Electric Piano, Music Box, Harp, Tenor Saxophone etc.). It is probably easier to change the Patch from the Patch pull down menu rather than changing the Bank MSB and/or Bank LSB, since this procedure will also provide you with an descriptive name for a given patch.
TRANSPOSE - DEFAULT =0
If you want to transpose the instrument up or down by semitones, set by this transpose setting. Note that this only transposes the particular instrument, not all of the instruments. You might use this to change the octave of an instrument by setting to +12 or -12 semitones.
VELOCITY BOOST - DEFAULT=0

Normally you would leave the Velocity boost at =0 . Velocity refers to how hard each note was pressed, which is different from VOLUME which refers to the overall volume of the sound. Since different synths respond differently to velocity information, you can try setting this velocity boost if you find the piano too quiet even after setting the Volume to maximum for example. Try to avoid changing the velocity boost from 0, since it will affect the dynamics of the performance.
VOLUME - DEFAULT=100
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Volume affects the loudness of a given part. If you want to change the overall loudness of all the parts, use the ALL VOL knob instead.
REVERB - DEFAULT=40
Reverb is a nice sounding effect which "warms up" the sound. Typical setting is=40 which is about 11 o'clock on the reverb knob.
CHORUS - DEFAULT=0
Chorus is a nice sounding effect which make the sound "more lush". Typical setting is=40 which is about 11 o'clock on the reverb knob.
PANNING - DEFAULT=MIDDLE
Panning refers to placement of the output to right or left speakers
MUTE - DEFAULT=NO
If you don't want to hear a specific part then click the MUTE button for that part. For example this would be useful if you want to turn a specific MIDI part off so that you could play or sing along yourself, or turn another part off for a quieter sound.
ALL VOLUME - DEFAULT=127

Changing the Volume here affects the overall volume of the sound.
MIDI THRU ENABLED - DEFAULT=ON

MIDI thru is only required if you want to play along with the program from a MIDI controller without sounds of its own. Setting MIDI Thru to ON will send the output of the MIDI controller thru the computer and into the sound module.
NEVER SEND PATCH CHANGES - DEFAULT=NO

Normally you will want the program to be able to send patch changes. But if you are having trouble with unexpected patch changes somewhere in your system, you can disable patch changes to ensure that the program is not sending patch changes.
AUTO HAND-SPLITTING - DEFAULT=YES

This setting is used to differentiate the left and right piano hands. This checkbox, when active, shows the highest parts in blue on the piano keyboard, and the lowest parts are displayed in red.
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Audio Settings Panel

Audio Options
This panel allows you to change AUDIO parameters for each part (instrument) or track. It also offers controls for setting up your computer's audio system for best performance and playback synchronization.
DMA SETTINGS BUTTON

This button launches a DMA settings dialog which contains settings for DMA buffers and Offset. These parameters are normally set automatically when the program is first installed and run, or by pressing the ANALYZE SOUND CARD button.
ANALYZE SOUND CARD BUTTON

This tests your computer's soundcard and sound system for audio and MIDI timing accuracy and makes any necessary adjustments to ensure that the program plays back in 'sync' with the Notation, MIDI, and Digital Audio.
WINDOWS MIXER BUTTON

This button will launch your Windows Soundcard Mixer so that changes can be made to overall output level, MIDI output level, and Audio Output Level. Use this mixer program to balance your soundcard's MIDI output with its Digital Audio output.
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SYNTH LATENCY OFFSET

This setting is used to configure proper synchronization of your computer's MIDI output with the program. If your computer uses a "Software Synth" for MIDI playback (i.e. The Roland Virtual Sound Canvas), a setting of around 420 (milliseconds) can be used to accommodate any MIDI-latency inherent in such devices. Refer to the documentation that came with your "software synth" for specific latency figures, if applicable.
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Chapter 6: Notation Modes

TRANSCRIPTION NOTATION
The transcription notation screen will show full transcriptions (synchronized to the music) or lesson notes for the currently playing song/lesson.
Transcription Notation Screen
This screen differs from a regular MIDI Notation screen in that it contains music information not normally available. A small moving box around each bar (shown here at Bar 1) indicates the current song position. The vertical scrollbar on the right-hand side of the notation allows you to scroll through to any page or move the song to a different section instantly. You can also mouse-click on any bar to have playback begin from that bar automatically.
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General Options Settings for Transcription Notation

The "Notation Scrolls Ahead" feature, when enabled, instructs the program to "preview" or "read-ahead" the next few bars and display these bars as the music is playing. This is a useful feature for reading and singing along with the music as it offers the reader a more natural reading experience and allows one to "know what's coming" as the music is playing.
Print Transcription Notation Button

To print the transcription notation, press the PRINT button (shown below) on the main screen toolbar (or press the Ctrl-P hotkey.)
Launches the following dialog:
Print high quality or draft-mode dialog.
To print high-resolution, full-page transcription versions of the currently loaded song, press YES. To print draft-quality (low-resolution) screen printouts of the transcription notation, press NO. Note: The program must be in Notation Mode in order to print the notation. Otherwise, the program will print the TEXT/CONTENT pages if it is currently displaying them.
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The following dialog will offer to print all, or a range of pages of the currently loaded song.
Print Options dialog with page layout options.
Start and End Page: These ranges enable you to print out a specific page or range of pages. The default range is ALL PAGES. Left Margin: This setting is used to indicate how close to the left edge of the page the transcription notation will print. Default is .25 inches. Right Margin: This setting is used to indicate how close to the right edge of the page the transcription notation will print. Default is .25 inches. Top Margin: This setting is used to indicate how close to the top of the page the transcription notation will print. Default is .25 inches. Bottom Margin: This setting is used to indicate how close to the bottom of the page the transcription notation will print. Default is .25 inches. Use the Setup Printer button to launch the Windows Printer Control Dialog, which will allow you to select and/or setup an alternative printer driver, paper tray, etc.
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MIDI Notation Window

The MIDI Notation Window displays the notes of a MIDI track on a staff and also offers high-quality printout of the music to your printer.
MIDI Notation Window displaying the PIANO part.
The primary purpose of the MIDI Standard Notation mode is to provide a convenient way of displaying and printing a single track as highly readable music on a staff within the program and as hardcopy practice-sheet music. Some advanced notation features include: - Scroll-Ahead (for sight reading purposes.) - Bars Per Line From This Screen On setting (for formatting the display.) - Detect fine resolution notation (allows the notation to detect phrases or songs that require a higher lines per beat resolution than is selected for the overall song.) There are some options in a dialog box which can be accessed by pressing the button. See the Notation Window Options section for more information on the notation window settings. The Resolution setting determines how the program rounds the note times and durations when translating a track into standard MIDI notation. For example, a resolution of 4 will cause the program to round each note and duration to the nearest 16th note when displaying the music (in 4/4). A resolution of 3 will cause the program to round each note to the nearest 8th note triplet (in 4/4). A resolution of 2 will cause the program to round each note to the nearest 8th note (in 4/4).
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Hint: If you're displaying Jazz swing or shuffle music that has a triplet feel to the eighth notes, make sure to set the resolution to =3 (triplets). This will display the 8th notes and other aspects of Jazz swing music correctly. If you need to print out individual parts, open the MIDI Notation window, select the part you want to print out, and press the MIDI Notation's internal PRINT BUTTON, shown here:
MIDI Notation Print Button
Like the MIDI Notation Window itself, any measures with time signatures other than 1/4, 2/4, 3/4, and 4/4 will be printed as blank. The printout will contain one time signature at the beginning of the printout, but any time signature changes throughout the song will not be printed. The Clean checkbox puts the MIDI notation into Clean Mode. Clean Mode will 'clean up' the notation in certain situations where notes are played very close together and are within a certain interval of each other. For example, when there are a lot of grace notes leading up or down to the next note. Clean Mode also has a routine for detecting 'glitch notes' which are notes that are short in duration and have a low velocity.
Notation Window Options

The Bars Per Line - Song setting determines the horizontal resolution of the screen. For example, with 2 Bars Per Line, the width of the screen is equal to 2 Bars in length. You can increase this setting to 16 Bars Per Line, although the screen may look unusual at this extreme since the size of the note heads remains the same regardless of this setting. You can also use this setting to make the resolution equal to between 1 and 4 beats rather than complete bars. This is mainly for editing purposes. If you use beats with this setting, the program will ignore any Bars Per Line (From This Screen On) markers in order to display the partial bars. During playback the program will not display less than 1 bar per line even if this setting is using beats rather than bars. The Bars Per Line - From This Beat On setting lets you change the horizontal resolution of the screen from this beat on. This will cause the program to insert a special Bars Per Line marker (Controller Event) into the sequence. This is useful if you have some sections of the song that you would like to be displayed with a
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different number of Bars Per Line than the overall Song setting. The notation window will then display the bars you selected from the current screen on. For example, if the Bars Per Line - Song setting is set to 2, and you press page down to advance to bar 3, you could then set the From This Screen on setting to 4 and the program will display 4 Bars Per Line from the current screen on. The current screen would now be starting at measure 3 and ending at measure 6. If you then page down to the next screen you could then, for example, set the From This Screen On setting back to 2, which would cause the program to display 2 Bars Per Line from measure 7 onward, since the current screen would start at measure 7. The Chord Vertical Position setting adjusts the vertical position in which the chord symbols are displayed. This setting can range from 1 to 10. The Transpose setting lets you adjust the Notation window to display notes either higher or lower than the actual pitches. NOTE: This setting is also useful for displaying music for non-concert instruments such as trumpet or saxophone. Trumpet players (and other Bb instruments) should set transpose to +2, Alto Saxophone (and other Eb instruments) should set the transpose to -3. The music is then displayed in the correct key for the instrument, but still plays in the concert key to the MIDI playback system. The Key Signature will be shown if the Show Key Signature option is enabled. If the Highlight Played Notes checkbox is checked, notes will be highlighted in red as they are played. The Minimize Rests checkbox, when checked, will cause the program to display the music with minimal rests. Use this setting if notes are displayed as shorter than they should be. The Clefs Split At setting determines the split point for placing notes on the Bass or Treble clef. The default setting is 'C 5' which is middle C. For example, you can use a higher split point, such as 'C 6' if you want some notes up to a G above middle C to be displayed on the bass clef with ledger lines instead of on the treble clef. If the split point is above middle C, and a note in the music is high enough that any of the ledger lines above the bass clef would overwrite the treble clef, the note will be placed on the treble clef. The Tick Offset lets you display the music ahead or behind the beat. If the music style dictates that the music is played slightly ahead of the beat, you can specify a setting from 1 to 120 to have the music displayed forward in time. A setting from 1 to -120 will cause the music to be displayed ahead of the beat (but not before the
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beginning of the song). Generally you won't need to use this setting since the notes are rounded when being displayed in standard notation. Hint: The notation of Jazz swing or any "laid back" music will often be improved by a Tick Offset setting of about -5. (minus 5) This is because Jazz music is typically played a little behind the beat.
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Chapter 7: Pull Down Menu Items PROGRAM MENUS

FILE MENU
Options - launches the GENERAL SETTINGS panel, where you can change various program settings and parameters. (See Chapter 5 for additional details.) Analyze Sound Card - tests your computer's sound card and sound system for Wave Audio and MIDI timing accuracy and makes any necessary adjustments to ensure that the program plays back in proper 'sync' with the notation, MIDI, and Wave Audio. New Favorites File - starts a new "favorites" file, based on the settings made on the main toolbar's "favorites" checkbox. All items selected as "favorites" will appear with an asterix(*) in the songlist box. You can save multiple Favorites Files with their own unique name (e.g., Chrisfav.FAV) using the Save Favorites menu item, and reload them at any time with the Open Favorites File command. Open Favorites File - allows you to open any Favorites File (*.FAV) you have previously created and saved with the Save Favorites File command. Save Favorites File - instructs the program to save the songs currently marked as "Favorites" for use in subsequent program sessions. Favorite songs are selected by opening/loading a song and clicking on the Favorites Checkbox beside the song title on the main screen's toolbar. All items selected as "favorites" will appear with an asterix(*) in the song list-boxes.
Chapter 7: Pull Down Menu Items
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Save as Default Favorites - saves the currently active or marked list of "Favorites" as the Default Favorites list. This list will be automatically loaded each time the program begins. Other "Favorites Files" can be loaded using the Open Favorites File command. Hide Tool Bar - This setting switches the program from the standard screen into a FULLSCREEN mode, temporarily hiding the Toolbar, Piano Keyboard, and Feature Buttons. This mode allows for a simple, full-screen view of the Notation, Text, or Video (if applicable.) To re-enable the NORMAL program view, revisit this menu item - and select SHOW TOOL BAR from the menu. Toggle Notation/Content Window - (F2) toggles between the notation and the book/content mode (see below for additional details.) Notation Window - Use this menu item to view the notation screen. This will show full transcriptions (synchronized to the music) of the currently loaded/playing song. To view the MIDI notation instead of the Transcription Notation, press the MIDI Notation Button while in the Notation Mode. Content Window - Use this item to close the Notation Screen and open the Text/Content Screen. You can enter the Text/Content mode and view pictures, text, biographies, technique tips (and more) while the music is playing. Help - This item launches the opening chapter of the program's Help Topics, which contain the full descriptions of the various features and functions available in the program. Language - opens the Language Settings Dialog, which allows you to select the language you wish the program to operate in from the list of supported languages. About - launches the program's About Box, which lists the program's Version Number, Credits, and Company Contact Names, Numbers, and Addresses. System Menu - pops up the application "system menu", which has menu items such as minimize, restore, maximize, and exit. HTTP:// - launches your Internet Browser (if applicable) and automatically directs you to our Web Site, where you will find program patches, upgrades, promotions, and additional product info. Exit - exits or quits the program (or press ALT-F4.)
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PLAY MENU
Play Favorites - plays the songs marked as "Favorites". These are indicated with an asterix(*) beside the song title displayed in the songlist box. The songs are played either sequentially or randomly, depending on the status of the Random Playback Checkbox located on the GENERAL SETTINGS panel. Play All - plays all the songs from the currently open songlist. The songs are played either sequentially or randomly, depending on the GENERAL SETTINGS panel | Random Playback Checkbox. Play Song - plays the currently selected/loaded song. Stop - stops playback of the currently playing song. Backup - backs up the song 2 seconds ('-' key.) Advance - advances the song 2 seconds ('+' key.) Transpose Down - Use this feature (or use F6) to change the pitch of the song down in increments of half-tones to allow for playback in different keys. Note: This feature will affect (decrease) the tempo of the audio music. This feature has no affect on Video Playback. Transpose Up - Use this feature (or use F7) to change the pitch of the song up in increments of half-tones to allow for playback in different keys. Note: This feature will affect (increase) the tempo of the audio music. This feature has no affect on Video Playback (if applicable).
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Alternate/Normal Tempo (F5) - toggles between an alternate (i.e. half speed) and normal (i.e. native) tempo. Advance One Chord -(Numpad .) advances the song ONE CHORD at a time. Backup One Chord - (Numpad 0) backs the song up ONE CHORD at a time. Decrease Tempo by 5 - ( [ ) decreases the playback tempo by 5. Increase Tempo by 5 - ( ] ) increases the playback tempo by 5. Send GM Mode-On Message - sends a General MIDI-Mode On message to your computer's MIDI sound setup. This command is sometimes required to reset certain sound modules and soundcards to the GM-Mode. Patches listed in the MIDI SETTINGS Panel assume your MIDI setup is set to GM Mode. Send XG Mode On Message - sends an XG MIDI-Mode On message to your computer's MIDI sound setup. This command is sometimes required to 'reset' certain Yamaha sound modules and soundcards to the XG-Mode. Play Previous/Next Song - These menu items move to the previous or next piece when you are playing a SET of songs (i.e. when playing the "Favorites" or when Playing the "ALL" Jukebox modes.) Hot Keys are Shift + F8 and Shift+Ctrl+F8. Toggle Loop On/Off (Numpad 1) | Choose Loop Type - These features allow you to quickly loop one of the following: 1) a section (using the section selector - HEAD, PIANO SOLO, etc.) 2) loop points (using the overview window) 3) a number of Bars (i.e. 1,4,8,12,24, etc.). Toggle Audio/MIDI - (F4) toggles between "MIDI Mode" and "Audio (Video)SMIDI" mode. Toggle Playback Mode - (Shift-F4) toggles between all available playback modes. Mute Track - (Ctrl + M) allows you to quickly mute or unmute the part currently selected in the Part Selection list box. Solo/UnSolo Track - (Ctrl+S) allows you to quickly "Solo" a part (i.e. mute all other tracks) currently selected in the Part Selection listbox. Choose List - pops up the song list combo box. Choose Song - pops up the song combo box.
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Backup 1 Bar - (Ctrl -) backs the song up ONE BAR at a time. Advance 1 Bar - (Ctrl +) advances the song ONE BAR at a time. Backup 1 Section - (Alt -) backs the song up ONE SECTION (from the current section) at a time. Advance 1 Section - (Alt +) advances the song ONE SECTION (from the current section) at a time. Play Song # - (Ctrl + F5) displays a combo box which allows you to choose a particular song. Play Next Song History (Shift+F9)- Plays the next song in a history list automatically maintained by the program. Play Prev Song History (Shift+Ctrl+F9) Plays the previous song in a history list automatically maintained by the program.
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Appendix A: Keystroke Shortcuts

Most of the Jazz Piano MasterClass commands can be accessed by the mouse and/or pull down menus. Here is a list of Keyboard shortcuts that are also useful. PLAYING /STOPPING SONGS MOVING TO A SECTION OF A SONG Move back 2 seconds Move forward 2 seconds Chord Advance Chord Back Move Back 1 bar Advance 1 bar Backup 1 Section Advance 1 Section CHANGING TEMPO Change by 5 beats per min. Toggle Half Speed/Normal TRANSPOSE PIECE USEFUL HOTKEYS Toggle Loop On/Off Toggle Audio/MIDI Toggle Playback Mode Mute/Unmute Solo/UnSolo Track Toggle Video Mode Toggle Notation/Content Window Notation Window Alt+F2 Content Window Help Play Song # Play Next Song Play Previous Song Play Next Song History Play Prev Song History Print SPACEBAR
Minus key (-) Plus key (+) Numpad "." Numpad "0" Ctrl Ctrl + Alt Alt +
Bracket [ and ] keys "H" key or F5 F6/F7
Numpad 1 F4 Shift+F4 Ctrl+M Ctrl+S F8 F2 Ctrl+F2 F1 Ctrl+F5 Shift+F8 Shift+Ctrl+F8 Shift+F9 Shift+Ctrl+F9 Ctrl+P
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Appendix A: Keystroke Shortcuts
Appendix B: Troubleshooting & Drivers

Section 1: Troubleshooting
The following topics cover some of the most common technical problems that can occur when running this (or any) program and some helpful solutions. Lockups/Crashes/Incompatibilities, etc. Most problems will occur when Windows is under "stress" of some kind. This means that Windows spends most of its time on memory management or hard disk file operations. If you are having reoccurring problems, ensure that : Available RAM is at least 8,000K. This program requires a machine with at least 8MB of available memory to run. Check the amount of memory that's available before running the program by looking at the Program Manager | Help | About Program Manager Dialog Box (Windows 3.1) or in the Control Panel | System | Performance Box (Windows 95/98). If you have a 16MB machine, there should be at least 8,000 K free before you run the program. If the Program Manager (Win 3.1) shows a number smaller than 8000K, then your computer's memory is setup incorrectly in the config.sys file and you may need to adjust it (see below.) Increase DOS Memory to at least 500K for Windows 3.1. Important .dll files that are used by Windows and music programs must be locked in memory and reside in the low memory that is mostly in the memory below 640K. To improve Windows performance, increase the amount of DOS memory by removing TSR programs (like DoubleSpace) that eat up a lot of memory. You can check how much memory is available in DOS by running the "MEM"' program from the DOS command line. If you have low DOS memory, attempts to run Windows programs will be greeted by Windows telling you "Insufficient memory to run this application". This message can occur even if you have 50MB of free memory above 1MB if you have run out of low memory. There are freeware utilities (e.g., Below1mb.exe) that can monitor this low memory condition. Memory and Hard driveErrors and/or sluggish system performance:
Memory
1) Run Windows (Win 3.1) in Enhanced Mode, with Virtual Memory Enabled. We recommend using a "Permanent Swapfile" of at least 20MB. Windows 3.1 users can enable this setting by running the 386 Enhanced section of the Control Panel Settings. In the 386 Enhanced Mode hard drivesettings, ensure that the ENABLE 32-BIT DISK/FILE ACCESS checkbox is enabled (Windows 95 handles these settings automatically.)
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2) Use on an "uncompressed" hard drive. Make sure you have at least 50MB of available hard drive space at all times. 3) Disable any screen savers, wallpaper, or other programs before running the program. 4) Reduce the number of displayed "group icons" if using Windows 3.1. Each ICON that is displayed on your system uses a small amount of main memory (about 1K each). Reducing the number of ICONS would increase your system memory. 5) Reduce the number of Colors displayed by your Windows System (i.e. 256 colors instead of 16-bit or 24-bit color.) 6) Try disabling any 3rd party memory management utilities and programs (i.e. QEMM, RAMDOUBLER, XEROX COLOR MATCH, etc.)
Hard Drive
Scanning and Defragmenting your Hard Drive(s) There are many commercial utility programs available to repair/maintain your computer's hard drive (i.e. Norton Utilities, PC Tools, etc.) If you own one of these programs, follow the instructions provided with your software to ensure a 'healthy' hard drive(i.e. defragmented, clean surface, etc) If you don't have one of the programs mentioned above, there are very good utilities included with Windows (and/or Dos 6.0 and above) that you can use regularly to ensure reliable hard driveoperation. SCANDISK is a small utility program that tests your hard drive(s) for errors, and 'locks out' any problem areas it encounters so that programs do not try to write to them. Windows 3.1 users should run the SCANDISK program from a DOS Prompt; simply type scandisk.exe from your c:\ or c:\dos prompt. Windows 95/98 users can run the SCANDISK program from the START | PROGRAMS | ACCESSORIES | SYSTEM TOOLS menu. Follow the on-screen instructions provided. DEFRAG is a small utility program that tests your hard drive(s) for data fragmentation (i.e. non-contiguous blocks of data), and rearranges the data on your hard drives so that programs (and program data) are stored in an efficient manner. Windows 3.1 users should run the DEFRAG program from a DOS Prompt; simply type defrag.exe from your c:\ or c:\dos prompt. Windows 95/98 users should run the DEFRAG program from the START | PROGRAMS | ACCESSORIES | SYSTEM TOOLS menu. When you run the DEFRAG program, you should see a dialog like the following:
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Run the Defrag Program from the SYSTEM TOOLS Menu
" If you click on the ADVANCED button, you can avoid the separate step of running SCANDISK by turning the CHECK DRIVE FOR ERRORS checkbox 'on' (shown on next page.) You should also ensure that the defrag program will perform a FULL DEFRAGMENTATION (as shown here).
Ensure Drive error checking and Full defragmentation options are set.
Stacker / Double Space In our experience, many problems in Windows are traced back to the use of DoubleSpace/Drivespace or Stacker (hard disk compression programs). Whether or not they are the cause is the subject of great debate. In any event, if you are having unexplained problems, and are using Stacker or Drivespace/DoubleSpace, then try running Windows from an uncompressed drive.
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WAVE Sound Audio is Choppy

If you are experiencing choppy playback, check the following: 1.) If you are running the program directly from the CD-ROM and are experiencing choppy playback, your CD-ROM may not be fast enough to read the Digital Wave data contained in the program. Try increasing the Windows CD-ROM supplemental cache settings in the Settings | Control Panel | System | Performance | CD-ROM panel (shown here.)
2.) Close all other open applications and accessories. Minimize the use of other program features while song playback is being performed. 3.) Try running the program from an alternate drive (i.e. another CD-ROM) or try installing and running the program from your computer's hardrive. 4.) Some older hard drives perform an unforgiving thermal recalibration every 20 or 30 seconds, which can cause a glitch when playing audio. Generally this isn't a problem with newer drives.
Audio is Distorted
If you are experiencing distorted playback, check the following: 1.) Volume levels may be set too high. Check the volume levels found in the Sound card WIN-MIXER, and your Speaker/Amplifier Setup. Set all levels to a LOW or MEDIUM setting. 2.) Your computer's sound card must support 16-bit audio, or it will not work with the program optimally for audio playback. Some 8-bit cards will simulate playback
102
of 16-bit files, so you may get the card to work with the program, but this isn't recommended since the sound quality will still be 8-bit, and will sound distorted.
No Sound
1.) Ensure that all audio connections between your computer and speaker setup are installed correctly, and that all mixer and sound volume knobs are turned up. 2.) If the program claims that a wave device isn't present, and your sound card and driver are installed (see next section), then there may be an IRQ or DMA channel conflict that needs to be resolved. You may have to change the IRQ or DMA channel settings on your card/driver. Sometimes an IRQ or DMA channel conflict can cause a message that says, 'Can not open device. Device is currently in use', or a similar message, to appear in the program when you play wave audio, and when no other program is using the wave device. Resolving the conflict will make the error message go away when you try to playback the audio. Can't Open Wave Driver If you attempt to play a wave file (i.e. Audio Song), but the program can't open the wave driver, and the driver is installed, this is usually due to another program is already using that wave device. If you aren't running any other programs that use the wave device, then this may be due to an IRQ, DMA, or Port conflict with another device. You may have to change one of these settings on your sound card in order to resolve the conflict.
MIDI SOUND
MIDI Input Driver Not Working If MIDI output is not working, then you must resolve that problem first, otherwise, you won't be able to tell if you fixed the INPUT problem. If Output is Working but Input is not working: If output is working then your port address setting is definitely correct. The cause of no input in this situation is an IRQ problem. The IRQ handles input from a MIDI device to your MIDI interface. You need to ensure that the IRQ setting on the card matches the IRQ setting in the Control Panel | Drivers program by pressing the SETUP button to examine the IRQ setting. You need to remove the card from the computer to see what IRQ is setup.
103
If MIDI input "sort of works" - but has a considerable delay in it - this indicates that the IRQ you have set in the Control Panel doesn't match the IRQ on the card. In this case, change the IRQ in the Control Panel to match your IRQ setting on the card. MPU401 defaults to port=330 and IRQ=2/9. Other common IRQ settings are 7 and 5. IRQ2 is referred to as IRQ 2/9. This is normal. Your synth is not connected to your MIDI Interface properly. Your Driver is not installed properly into Windows Control Panel. The Driver is installed but the IRQ number (from the SETUP button) is incorrect. You don't have the MIDI In Driver selected properly inside of the program. Output Driver Not Working For output to be heard, the following must be working properly. PMCLASS.EXE must be hooked up to the correct output driver in the FILE | OPTIONS | MIDI DRIVERS setup. The Driver must be installed before hand into the Windows Control Panel/Multimedia Drivers Program. The program will display the list of drivers that are installed into the Windows | Control Panel. The list is displayed in the FILE | OPTIONS| MIDI DRIVERS Dialog. If you don't see your driver displayed, it may mean: The driver has NOT been installed into your Windows System. Run the Settings |Control Panel | Multimedia Drivers program. There you should see a list of the drivers installed. If your driver is not on that list, then you may need to install it using the disks that came with your soundcard.7 If you have an MPU401 MIDI interface, then you'll want to use the MPU401 driver This is a MIDI driver made by Microsoft. It comes with Windows 3.1 (or higher.) If you have an MPU401 MIDI interface, or a Roland or Yamaha card, then you should install this driver. Note: The Sound Blaster 16 is also partly MPU-401 compatible. If you have a Sound Blaster 16, make sure that you don't have both the SB16 MIDI Out and the Roland MPU401 installed, as they will conflict with each other.
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Other causes of NO OUTPUT Make sure the channels are set correctly with drums set to the drum channel. Older FM-type soundcards use drum channel=16, whereas newer soundcards and all General MIDI sound sources use drum channel=10. Output doesn't sound right Make sure your channels are set correctly with drums set to the drum channel (i.e. 10). Send a GENERAL MIDI MODE-ON. Or, if your module is Yamaha XGcompatible, send a XG-MODE ON command (available in the File Menu.) MIDI Notation doesn't look right Check to see if you have these files installed in your windows\system directory: PGMUS. TTF is a file required to show notation in the notation window. It should be located in the C:\Windows\System folder. If not, it can be found on your program CD-ROM. (You may have to rename the file from PGMUS0.TTF to PGMUS.TTF.)
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Section 2: Setting up Wave/MIDI Drivers

The Jazz Piano MasterClass program uses Windows' Wave Audio drivers for proper playback of the program material. Normally, these drivers are installed and configured properly for use with the program without any additional configuration. If you hear any sounds from your computer when it starts up or is shut down, this usually indicates that your soundcard is working correctly (for audio playback.) In the unlikely event that you do experience a problem with your computer's sound system, by far the easiest way to configure your computer's Wave Audio (and MIDI) setup for use with this program is to use the original installation disks or CD-ROM that came with your computer's sound system hardware and run the installation software found on the first disk or CD-ROM. Many newer soundcards also come with their own diagnostic program which tests the configuration of the sound card in your computer (i.e. IRQ, PORT ADDRESSES, and DMA channels.) If the diagnostic program encounters an error, it will usually try to automatically make adjustments to the configuration so that the sound card can function correctly. If your soundcard is still not functioning after running any built-in diagnostic utilities and/or re-installing the sound card's DRIVER or UTILITY software, try the following suggestions (not recommended for novices). You may also need to consult your Computer/Soundcard/Windows documentation and/or contact your Computer manufacturer or dealer.
Checking Drivers
In Windows 95/98, the operating status of your computer system's drivers (i.e. Sound Blaster Soundcard, etc.) can be accessed by selecting the Control Panel | System (icon), and clicking on the Device Manager tab (see below.)
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Check the operation of your Sound Card by viewing the Device Manager Properties.
If the soundcard drivers are not all installed and/or functioning correctly according to the Windows Device Manager (shown above), you will notice a small yellow exclamation mark (!) next to the driver description (highlighted above.) If this is the case (or if you see nothing at all listed under the "Sound, video, and game controllers" section), you could try removing the troubled items and reinstalling the drivers using your original Soundcard Disks or CD-ROM.
107
Alternatively, you can try to adjust one or more of these settings manually by double-clicking on the troubled driver's icon (marked with an exclamation or an X through it), choosing the "Resources" tab, clearing the "Use automatic settings" checkbox, and clicking the "Change Settings" button (see below.)
Manually changing the Resources of a driver in Windows 95/98
If you are still having problems with adjusting these settings manually, it may become necessary to remove the offending driver all together and try re-installing the driver from scratch. For additional details, see the next section on installing a new driver.
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Installing a New Driver In Windows 95/98

The following section is intended only as a guide to supplement and enhance the documentation provided by Windows and/or your soundcard/MIDI interface manufacturer. In the case of any discrepancy between this documentation and the sources noted above, refer to the documentation provided by your hardware manufacturer for explicit instructions. Note also that many of the newer soundcards (post-Dec. '95) are 'Plug-and-Play' compatible (e.g., Sound Blaster 16/AWE32 PnP), which means that if they are installed in newer computers (post-Dec. '95) with Windows '95/98 they should install the appropriate drivers and configure themselves automatically. If you suspect that your system is 'Plug-and-Play' compatible, check to see if the drivers required for use with Jazz Piano MasterClass are not already installed on your computer. **Make sure you have your original Windows 95/98 disks or CD-ROM, and any Soundcard/MIDI interface hardware manufacturer's disks (if applicable) before proceeding. The first thing to determine is whether you are installing a driver for a soundcard using the soundcard's built-in synthesizer, or whether it is a driver for an external MIDI interface. If you plan on using the soundcard's built-in synth, you will be using a: 1) Soundcard synth driver that comes with Windows 95/98 (see example 1) - or 2) Soundcard Driver that you have on disk (supplied with your soundcard) - (see example 3.) If you plan on using an external MIDI interface, you will be using a: 1) MIDI driver that comes with Windows 95/98 (MPU-401 MIDI, Sound Blaster 16/AWE32 Wave and MIDI, etc.) - see example 2. - or 2) MIDI Driver that you have on disk (supplied with your soundcard) - (see example 3.) Note(a): Drivers that are supplied on disk are files that end in ".DRV." They are accompanied by small text files called OEMSETUP.INF that describe the names of the drivers. If you have lost the floppy disk, you should search your hard drive for files called OEMSETUP.INF, because your driver might have been copied to the hard drive.
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Note(b): If you are unsure if the drivers provided by your hardware manufacturer are compatible with Windows 95/98: check the driver in question's file creation date for a date later than 21/8/95, contact your hardware manufacturer or use the drivers included with your Windows package. For further instructions, see the examples below: Example 1: Installing Windows 95/98 Soundcard Drivers. Example 2: Installing the Windows 95/98 MPU-401 Compatible driver. Example 3: Installing third-party or unlisted drivers in Windows 95/98.
Example 1:
Installing Windows 95/98 Soundcard Drivers.

This procedure is usually performed after the soundcard has been installed in the computer. It can be done manually before installing a new soundcard, the advantage being that Windows 95/98 will select an IRQ and port address that are free of conflicts so that you can set your card to those settings before installing it. The drivers can either be installed manually or automatically within the Add New Hardware Wizard in Windows 95/98. If the soundcard has not yet been installed, the 'manual' procedure must be followed. 1) From the Start menu, select 'Settings' and open Control Panel. 2) In Control Panel select 'Add New Hardware'. 3) Select 'Next' to proceed. (At this point you may proceed manually or automatically. If your card is already installed you can use the automatic driver installation.) 1) To install your drivers automatically say 'Yes' to the Search option. This is the procedure which Microsoft recommends. 2) Read the prompts that appear; proceed by choosing 'Next'. 3) Windows will search for your soundcard, select the proper drivers and find conflict-free settings for the installation. This can take several minutes.
110
4) Windows will tell you when it has finished detecting your hardware and will prompt you to 'finish' the installation. If the drivers are not found on the hard drive it will ask you for a drivers disk. 5) Choose 'Finish' to complete the installation. If you have not yet installed your soundcard or don't want to wait for the search you can install your drivers manually. 1) Click on 'No' to the Search option, then click on 'Next'. 2) From the list that Windows displays scroll down and select 'Sound, video and game controllers', then choose 'Next'. 3) Select the manufacturer of your card and the driver you wish to install. Click on 'Next' to continue. 4) Windows will advise you of the settings it has selected for your card. Choose 'Next'. 5) Windows will prompt you to finish the installation. Choose 'Finish'. When installing your card be sure to set it to the same settings selected by Windows 95/98. This may require changing jumpers or dip switches on the card itself or selecting settings with a setup program supplied by the card manufacturer. Example 2:
Installing the Windows 95/98 MPU-401 Compatible Driver.

1) From the Start menu, choose Settings and open Control Panel. 2) In Control Panel, choose 'Add New Hardware'. 3) Press the 'Next' button to proceed. 4) If you want Windows 95/98 to install your driver automatically, select 'Yes' in the Search options, choose 'Next', and follow the on screen instructions. If you want to install the driver manually say 'No' to the Search option and choose 'Next'. 5) Scroll down the list of hardware options and choose Sound, video and game controllers. Click 'Next' to continue. Error! No table of figures entries found. 6) From the list of manufacturers choose 'Microsoft'. Under 'Models' choose 'MPU-401 compatible'. Then, click on 'Next' to continue. At this point Windows
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may ask you for your original Windows Disks or CD-ROM. Insert the appropriate disk or CD-ROM to continue. 7) Windows will then display conflict-free settings for the MPU-401. Make a note of these and press the 'Next' button to continue. 8) Windows will prompt you to finish the installation. Then press the 'Finish' button. Make sure that the interface card is set to the same settings as those selected by Windows. If it is not possible to align your card to these settings, you may have to manually adjust your Windows settings in the Device Manager window. See your Windows documentation for details. Example 3:
Installing third-party or unlisted drivers in Windows 95/98.

Note: Drivers that are supplied on disk are files that end in ".DRV." They are accompanied by small text files called OEMSETUP.INF that describe the names of the drivers. If you have lost the floppy disk, you should search your hard drive for files called OEMSETUP.INF, since your driver may have been previously copied to the hard drive. If the driver you are installing replaces or updates a driver (newer) that is already on the system, the old driver must be removed before installing the new one. To accomplish this, start at step 1 (below). If you are not replacing or updating an existing driver proceed to step 7. 1) From the Start menu, choose 'Settings' and open Control Panel. 2) In Control Panel, choose 'Multimedia'. 3) Click on the tab labeled Advanced, then double click on MIDI Devices and Instruments. 4) Find the listing for the driver you are removing, click on it to select it, then go to the lower right corner of the window and click on Properties. 5) Click on Remove. Don't worry about the dire warnings, say Yes. 6) Exit back to Control Panel, then select Shut Down and Restart the computer from the Start button.
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7) From the Start menu, choose 'Settings' and open Control Panel. 8) In Control Panel double click on the 'Add New Hardware' icon. 9) Press the 'Next' button to proceed. 10) If you want Windows to install your driver automatically say 'Yes' to the Search option, choose 'Next', and follow the on screen help. If you want to install the driver manually say 'No' to the Search, and choose 'Next' to continue. 11) Scroll down the list of hardware options and choose 'Sound, video and game controllers'. Choose 'Next' when you are ready to continue. 12) Ignore the list of manufacturers and choose 'Have Disk'. 13) Insert the disk with the new driver in the disk drive and click on OK. 14) Windows will then list the drivers on the disk. Make your selection (the correct driver should have the word MIDI in it), then click on OK to continue. 15) In the next window that appears, click on 'Finish'. Windows will start to copy the drivers and then open a 'driver setup' window. Enter the appropriate Port and IRQ settings for your card, then choose 'OK'. (If you do not know the settings for your card, you can still install the driver, but you will need to re-configure these settings in the System | Device Manager before your card will function. See your Windows documentation on the System | Device Manager for details. 16) Click on 'Yes' in the 'System Setting Change' dialog to restart your computer.
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Appendix C: PG Music Inc. Contact Info
Jazz Piano MasterClass Info

The Jazz Piano MasterClass program is copyrighted and is the property of PG Music Inc. All rights reserved. Canada Mailing Address PG Music Inc. 29 Cadillac Avenue Victoria, BC Canada, V8Z 1T3
Email : info@pgmusic.com phone (250) 475-6272 (250) 475-2874 fax (250) 475-2937 Technical Support Email : support@pgmusic.com phone (250)-475-2708 Visit our WEBSITE at www.pgmusic.com
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Appendix C: PG Music Inc. Contact Info
Index
1
1/2 Speed Button, 60, 69
A
Analyze Soundcard, 84
B
Backing Trax, 5 Bars Per Line, 90, 91
C
Chord Vertical Position, 91 Clean Mode, 90 Clefs Split At, 91 Controller, 55
D
DMA, 103
E
Exit, 94
F
Favorites File, 93 File Menu, 93
G
General MIDI, 103, 105 GM-Mode On. See General MIDI
H
Hard Drive, 100 Highlight Played Notes, 91
Index
115
HTTP //, 94
I
Input Driver, 55 Installation, 53 Interface Card, 112 Introduction, 5 IRQ, 103, 104, 110
K
Key Signature, 91, 95
L
Language, 94 Looping, 69
M
Margin, 88 MIDI, 54, 96 MIDI Drivers, 54 MIDI Exercises, 5 MIDI Notation, 89, 94 MIDI Output Devices, 54 Minimize Rests, 91 MPU-401, 112 Mute, 96
N
Non-Concert Instruments, 91 Notation, 94 Notation Window Settings, 89
O
OEMSETUP.INF File, 112 Overview, 6
P
Parts, 90
116
Index
PGMUS.TTF File, 105 Pieces, Selecting, 73 Play, 95 Play Menu, 95 Playback, 86 Playing All Pieces, 56, 71 Favorite Pieces, 62, 71, 73 Play Buttons, 62, 73 Playback Modes, 66 Print, 87
R
Requirements, 8 Resolution, 89, 90
S
Setup Printer, 88 Shortcut, 53 Software Synthesizer, 55 Solo, 96 Swapfile, 99
T
Tempo, 96 Text/Content, 94 Tick Offset, 91 Transcription notation, 86 Transcription Notation, 94 Transpose, 91, 95 Troubleshooting, 99 Tutorial, 57
U
Using The Program, 73
V
Volume Levels, 102
Index
117
W
Wave Driver, 103 Wave Output Device, 54 Wave/MIDI Driver Setup, 106 Windows Control Panel, 57
118
Index

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Jazz Piano MasterClass

with Miles Black

CD-ROM Interactive Jazz/Pop Piano Lessons

PG Music Inc. License Agreement

PG Music Inc. License Agreement

Master Class: JAZZ PIANO

CHAPTER 4: USING THE PROGRAM

Selecting Pieces Playing The Pieces

CHAPTER 5: OPTION PANELS SETTINGS

CHAPTER 6: NOTATION MODES

Chapter 1: Introduction & Overview Welcome to Jazz Piano MasterClass

Chapter 1: Introduction & Overview

Program Overview Jazz Piano MasterClass - Overview

Chapter 1: Introduction & Overview

Chapter 1: Introduction & Overview

Chapter 1: Introduction & Overview

Program Lesson Details Lesson Number 1 - Program Introduction -PL058

Chapter 1: Introduction & Overview

Lesson Number 2 - Tune discussion -PL049

Latin Jazz Waltz Ballad Blues Rhythm changes Be-bop Pop

Lesson Number 3 - Roots & Shells PL010

-Bar 71 -Bar 80 -Bar 98 -Bar 107

Chapter 1: Introduction & Overview

-Bar 48 -Bar 56 -Bar 84 -Bar 109

Chapter 1: Introduction & Overview

-Bar 125 -Bar 142 -Bar 153 -Bar 188

-Bar 207 -Bar 209 -Bar 234

Lesson Number 5 - Walking Bass Lines -PL012

Chapter 1: Introduction & Overview

-Bar 97 -Bar 110 -Bar 143 -Bar 150

Lesson Number 6 - Adding Shells with Walking Bass Lines PL013

Walking over a Blues 'Jay's Blues'

Chapter 1: Introduction & Overview

Lesson Number 7 - Chord Voicings - PL014

Chapter 1: Introduction & Overview

-Bar 68 -Bar 78 -Bar 96

Lesson Number 8 - Stride Piano PL015

Chapter 1: Introduction & Overview

Associated MIDI Exercise: 'Boundary Bay' Solo Stride [PL107.mid]

Lesson Number 9 - Block Chords PL016

-Bar 12 -Bar 30 -Bar 37 -Bar 96

Lesson Number 10 - Block Chords- Continued PL017

Chapter 1: Introduction & Overview

Lesson Number 11 - Drop '2' block chords PL018

Lesson Number 12 - Intro Transition -PL005

Lesson Number 13 - Pop piano styles -PL004

Chapter 1: Introduction & Overview

Chapter 1: Introduction & Overview

Lesson Number 14 - Role of Piano in the Pop Music genre PL006

-Bar 14 -Bar 19 -Bar 42 -Bar 56 -Bar 72 -Bar 86

Chapter 1: Introduction & Overview

Lesson Number 15 - Pop piano in accompaniment or duo setting PL007

Chapter 1: Introduction & Overview

Lesson Number 16 - Pop piano - Soloing in a Trio situation PL008

-Bar 16 -Bar 45 -Bar 62 -Bar 69 -Bar 73 -Bar 77

-Bar 94 -Bar 107 -Bar 114 -Bar 137

Lesson Number 18 - Basic blues PL029

Lesson Number 19 - Blues turnarounds PL030

Chapter 1: Introduction & Overview

-Bar 108 -Bar 120

Lesson Number 20 - Minor blues PL031

Lesson Number 21 - Advanced Minor Blues Ideas -PL032

Chapter 1: Introduction & Overview