Easy Play Method

I'm back to teaching piano lessons this new semester. I like many methods of teaching. One approach I've been using is from Carol Tornquist. More specifically, her easy play method is about:

1. Notation - eventually reading 4 octaves (including sharps, flats and ledger lines)
2. Theory - necessary for a full understanding of making music (emphasis on intervals, chords, keys, and harmony)
3. Melody - beginning on 3 black keys (L.H. and R.H.), then moving to C position (5 fingers) and other key groups.
4. Rhythm - beginning with a simple meter (2/4, 3/4, 4/4) and an introduction of a compound meter 6/8.
5. Chords - introduced I, V7, eventually using major, minor, diminished, augmented chords (block and broken)
6. Keys - use of all major and minor key signatures, the order of sharps and flats.
7. Accompaniment - Use harmonic intervals, then 3 note chords.
8. Creativity - writing melodies, "questions"/"answers", harmonies for melodies.
9. Transposition - encouraged to help students think in "keys"
10. Technique - ear training exercises.

By Level 1 and 2, my students know some music definitions. Here's just a few:

1. D.C. al Fine - To go back to the beginning and play until Fine.
2. Forte - Loud
3. Transpose - To play in a different key
4. Mezzo Piano - Medium Soft

Many boys and girls have learned some Italian words to describe TEMPO. For example:

1. Fast - Allegro
2. Medium Tempo - Moderato
3. Andante - Slow

Level 1 Fundamentals

Introducing Patriotic songs for Level 1 students helps them to hear the interval distance. For example in the Key of F when they play America the Beautiful, students hear the first melodic interval, which is a 6th, from Middle C up to A.

So, kids have learned that an Interval is a DISTANCE between one note and another and that there are two kinds on Intervals: Learn Intervals

• Melodic: 2nd (C to D), 3rd (C to E), 4th (C to F), and 5th (C to G)
• Harmonic 2nd (C and D together), 3rd (C and E together), 4th (C and F together), and (C and G together).
• An interval of a 7th is either: line to line (G to F) or space to space (F to E).

When students learn about half steps and whole steps, they start listening to tones. Many enjoy playing the Chromatic Scale at this time.

• Half Steps - A Half Step is the shortest melodic interval there is on the keyboard. In other words, it's the distance from one key to the next... black or white... up or down. For example G to F#, E to F. C to C#, and E to Eb.
• Whole Steps - A Whole step is a distance from one key to another, with just one key between them. For example G down to F, E to F#, C to D, and E down to D.

All ages on different levels like to practice scales, especially the C Major Scale. Every Major Scale has 8 notes grouped into a "pattern" of half steps and whole steps. Sliding your thumb under your 3rd finger on "F", play the C Major Scale from C to C (ascending). Then try it going down (descending) crossing your 3 rd finger over your thumb on E. One of the most well-known Christmas carols begins with the Major Scale descending, and that is "Joy to the World" by George F. Handel.

Many junior high students are writing their own songs using broken chords. In the Key of C, you  play 3 major chords:

C Major (I) = C-E-G
F Major (IV) = F-A-C
G Major (V) = G-B-D

Children and adults enjoy listening to seventh chords, hearing how they are alike or different. Many play 3 Dominant Seventh Chords in Level 1. History of Seventh Chords

G7 (C Major) - BFG
D7 (G Major) - F#CD
C7 (F Major) - EBbC

When a chord changes from one to another, it's called a Chord Progression. To help with more improv skills, one must learn left-hand patterns and chord inversions.

Remember that the I chord is also known as the Tonic. C root position = CEG
Also, the IV chord is called the Subdominant. (FAC)
And that the V chord is also known as the DOMINANT. (GBD)

Subdominant Chord Inversions

Root = FAC
1st = ACF
2nd = CFA
Root = FAC

Dominant Chord Inversions

Root = GBD
1st = BDG
2nd = DGB
Root = GBD

The Dominant Seventh chord is formed by adding the "7th" above the "root." (GBDF)
Since the Dominant Seventh chord has 4 notes in it, you may leave out 1 note and still have a triad:
BFG.

Hope this helps. Keep practicing... I know I will!

Blessings!

-- LadyD

 "The beautiful thing about learning is that no one can take it away from you." B.B.King

Study Intervals and Correctly Identify Them

At http://www.foriero.com you'll find a free download and a video to watch regarding music intervals. I used to be a monitor in the zone at the Hear and Play website. There were many moderators at that time and it was a huge community of musicians. I would read some of the online lessons by Jermaine Griggs
ans I took some pretty good notes from these. So, here goes a study on intervals. Thanks for reading and I hope this sincerely answers some of your questions on the subject.

Let’s study intervals and how to correctly identify them. Many times musical intervals are commonly mispronounced and misidentified.

For example, C# to F is not a major third, even though it creates the same sound as a major third. Yes, two notes played harmonically (together) can create the same sound as an interval you’re used to hearing, but depending on how you name them, they can be totally different intervals. C# to F is a fourth (generically) and a diminished fourth (specifically).

Second Intervals

Db / Eb

D is 1

E is 2

Gb / Ab

G is 1

A is 2

Gb / A#

G is 1

G is 2

B / C#

B is 1

C is 2

Third Intervals

C / E

C is 1

D is 2

E is 3

Db / F

D is 1

E is 2

F is 3

C# / E#

C is 1

D is 2

E is 3

E / G#

E is 1

F is 2

G is 3

Db / F#

D is 1

E is 2

 F  is 3

O.k., so now you are becoming a pro at determining generic intervals.

For example, F to A is a third apart and G to C is a fourth apart. Db to F# is a third interval.

So now you have learned the fundamentals determining the name of an interval. Here’s a chart that might help in understanding intervals.

Number of letters counted  |  Generic interval name

1                                                                                           unison

2                                                                                         second

3                                                                                         third

4                                                                                        fourth

5                                                                                         fifth

6                                                                                         sixth

7                                                                                          seventh

8                                                                                         octave (eighth)

Now with generic intervals, we’re not concerned with sharps, flats or key signatures. We’re just talking about the alphabet. With the generic name, we cannot fully build chord structures because it’s too broad.

For example, all of these intervals are thirds:

C to E

Cb to Eb

C# to E#

C to Eb

Cb to E

C to E#

So, you just can’t say third if you want someone to play a particular set of notes. While third is a way to determine what to name an interval, more specifically is needed to really know what to play exactly.

Specific intervals are names like “major thirds,” “major seconds,” “perfect fifths,” and others. The ‘titles’ you see in front of the intervals are what we call qualifying terms. They change generic intervals into specific ones, which tell you exactly which notes to play (unlike the long list of thirds).

Now counting specific intervals is a little different than counting generic intervals. Recall that generic interval counting simply involves the number of letters or notes it takes to create the interval. From C to E, we’d count C as 1, D as 2, and E as 3, which means that this is a third interval.

With specific intervals, we will be counting differently. Specific intervals tell us exactly what’s going on. They don’t undo the  “generic” techniques we learned --- they simply add to it.

It is impossible to have a generic second and then get a major third from the same interval. So, it is important that whatever you determine during “generic” naming holds true when you are using qualifying terms to create specific intervals.

There are different qualifying terms:

Perfect

Major

Minor

Diminished

Augmented

How do we know which one of these terms is suppose to go with our interval? It’s simple. We count half steps. If you’re new to music theory, a half step is also known as a semitone. It is pretty much the smallest interval. From key to key is a half step. C - C# is a half step. E to F is a half step. Notice I’m not skipping any notes. If you skip a note, you aren’t moving in half steps. You’d actually be moving in whole steps. In this case, we count half steps only.

Here’s a poem that will help you remember half steps vs. whole steps:

Half steps are from key to key

With no keys in between,

Whole steps always skip a key

With one key in between.

Now the counting does not start on the first note like it did with generic counting. We are counting the actual steps. So, how many half steps are in between C and E?

C to Db is 1, Db to D is 2,  D to Eb is 3 and Eb to E is 4. The answer: There are 5 half steps between F and Bb.

The chart below shows the interval names and the number of half steps associated with each type of interval.

Interval Name |  No. of half steps

Unison                 0

Minor second  1

Major second  2

Minor third       3

Major third       4

Perfect fourth  5

(Tritone)          (6)

perfect fifth      7

minor sixth        8

major sixth        9

minor seventh  10

major seventh  11

octave (eighth) 12

Notice from the chart above:

The terms “major” and “minor” are reserved for second, third, sixth and seventh intervals.

The term “perfect” is reserved for unison, fourth, fifth, and octave intervals, though you really don’t hear it a lot with unison and octave. So, fourths and fifths, for sure get the “perfect” term. You won’t ever hear perfect second or perfect third because the perfect term only goes with unison, fourth, fifth and octave, as I noted above.

Later, you’ll learn about augmented and diminished terms. They have purposes as well. So, here’s the tricky part. You now know that at interval with 4 half steps separating the notes is called a major third. An example of this would be C to E. This is the same interval that helps to create the major chord.

Let’s look at an interval like C to Eb. What would this be called? Just count up the half steps:

C to Db is 1

Db to D is 2

D to Eb is 3

3 half steps = minor third

Keep in mind that your answer must also pass the “generic interval” test. Is C to Eb a third?

C is 1

D is 2

E is 3

Yes, it passes. What about C to D#?

C to Db is 1

Db to D is 2

D to D# is 3

It has three half steps and these 3 half steps mean a third for sure but would this pass the generic test?

C is 1

D is 2

According to what we know about naming intervals, this should be a second. Any  C to any D is a second. This is where you’ll need to use the qualifying terms: Augmented and Diminished.

Augmented means to make bigger.

Diminished means to make smaller.

In this case, we have a second that is three half steps apart. Since we can’t call it a third, we will have to call it an augmented second… in other words, a “second made bigger.”

So basically, when an interval is a half step larger, it is said to be augmented. When an interval is a half step smaller, it is said to be diminished.

What is a major third up from D?

Step 1: Determine generic interval:

D is 1

E is 2

F is 3

So far, I know that a third up from D is going to be some kind of F. From our chart above, we know that major third intervals always have a 4 half steps in between the lower and upper note.

So start as D:

D to D# is 1

D# to E is 2

E to F is 3

F to _ is 4

This is the big question. Do we say F# or Gb? Well, since we’ve already done step 1 and we know we’re looking for some kind of F, it would make absolutely no sense to choose Gb. Therefore, the answer is F#. From D to F# is a major third interval.

1.     A perfect fifth up from B

(B up to F# is a perfect fifth)

Generic:

B is 1

C is 2

D is 3

E is 4

F is 5

Specific:

B to C is 1

C to C# is 2

C# to D is 3

D to D# is 4

D# to E is 5

E to F is 6

F to f# is 7

2.    A perfect fifth down from C

(C down to F is a perfect fifth)

Generic

C is 1

B is 2

A is 3

G is 4

F is 5

Note: Counting down generically is the same thing. Just count alphabet backwards.

3.    A minor third up from Eb

(Eb up to Gb is a minor third)

Generic

E is 1

F is 2

G is 3

Specific

Eb to E is 1

E to F is 2

F to Gb is 3

4.   A major sixth up from A

(A up to F# is a major sixth)

Generic

A is 1

B is 2

C is 3

D is 4

E is 5

F is 6

Specific

A to  A# is 1

A# to B is 2

B to C is 3

C to C# is 4

C# to D is 5

D to D# is 6

D# to E is 7

E to F is 8

F to F# is 9

5.    A major third down from G

(G down to Eb is a major third)

Generic:

G is 1

F is 2

E is 3

Specific:

G to F# is 1

F# to F is 2

F to E is 3

E to Eb is 4

6.    A perfect fourth up from F

(F up to Bb is perfect fourth)

Generic

F is 1

G is 2

A is 3

B is 4

Specific:

F to Gb is 1

Gb to G is 2

G to Ab is 3

Ab to A is 4

A to Bb is 5

7.    A major second down from C

(C down to Bb is a major second)

Generic:

C is 1

B is 2

Specific:

C to B is 1

 B to Bb is 2

8.    A minor seventh up from A

(A up to G is a minor seventh)

Generic:

A is 1

B is 2

C is 3

D is 4

E is 5

F is 6

G is7

Specific:

A to A# is 1

A# to B is 2

B to C is 3

C to C# is 4

C# to D is 5

D to D# is 6

D# to E is 7

E to F is 8

F to F# is 9

F# to G is 10

9.    A major sixth down from D

(D down to F is a major sixth)

Generic:

D is 1

C is 2

B is 3

A is 4

G is 5

F is 6

Specific:

D to C# is 1

C# to C is 2

 C to B is 3

B to A# is 4

A# to A is 5

A to G# is 6

G# to G is 7

G to F# is 8

F# to F is 9

10. A minor third down from F

(F down to D is a minor third)

Generic:

F is 1

E is 2

D is 3

Specific:

F to E is 1

E to Eb is 2

Eb to D is 3

Now you have a good understanding of intervals and will never quote a major or minor chord wrong again.

You may be interested in, Jazz Intensive Training Center

 Best,

"The beautiful thing about learning is that no one can take it away from you." B.B.King

From A Distance: Bette Midler

Image via Wikipedia I have always liked the song, From A Distance.

"Bette Midler (born December 1, 1945) is an American singer, actress, and comedian, also known by her informal stage name, The Divine Miss M. She has starred in highly acclaimed films, such as The Rose, Ruthless People, Beaches, and For The Boys. During her more than forty-year career, Midler has been nominated for two Academy Awards, and won four Grammy Awards, four Golden Globes, three Emmy Awards, and a special Tony Award. She has sold over 30 million albums worldwide."

^{http://en.wikipedia.org}

From A Distance - Bette Midler (Piano)

An interval in music is the distance in pitch between two notes. The interval is counted from the lower note to the higher one, with the lower counted as 1. Intervals can be named generally by merely counting upwards (by going forwards using the letters of the musical alphabet) from one note to the other, inclusively. For example, from C to E is a third (C to C is 1, or more commonly and elegantly, a unison, C to D is a second and finally, c to E is a third.)
Intervals are named by the number of the upper note (2nds, 3rds, etc. ) but there are two exceptions to this. The interval between notes that are identical is called UNISON (also called a PRIME INTERVAL); the interval of an 8th is called an OCTAVE.

Melodic and Harmonic Intervals

Intervals are called Melodic Intervals when they are sounded separately and Harmonic Intervals when they are sounded together. When studying chords we talk about harmonic intervals. When melodies are played, we study melodic intervals.

Mary Had a Little Lamb = E-D-C-D-E-E-E is a melodic interval.
C Major Chord = C + E + G played together is a harmonic interval.
3rd and 5th intervals make up the major chord. A lowered 3rd interval (minor interval) and 5th interval make up the minor chord.

Perfect and Major Intervals 

The interval between the keynote of a major scale and the unison, 4th, 5th, or octave of that scale is called a Perfect Interval.
For example, the difference from C to G (in a C major scale) is called a Perfect 5th. The difference from C to F is called a Perfect 4th. The 8th note of the scale is referred to as the Perfect Octave. The difference between the same note is called the Perfect Unison.
The interval between the keynote of a major scale and the 2nd, 3rd, 6th or 7th of that scale is called a Major Interval.
For example, the difference from c to c (in a C major scale) is called a Major 2nd. The difference from C to E is called a Major 3rd. The difference from C to A is called a Major 6th and the difference from C to B is called a Major 7th.

Minor Types

When the interval between two notes of a major interval (2nd, 3rd, 6th or 7th) is decreased by a half step, they become Minor Intervals.
For example, a major 3rd becomes a minor third when decreased by a half step. In a C major scale, the major third interval is from C to E. Changing the major third to a minor third would simply mean lowering the E to E flat. A minor 2nd would be D flat instead of D. A minor 6th would be A flat instead of A. The minor 7th interval would include B flat instead of B.
Only Major intervals may be made into minor intervals. Perfect intervals may not (for example, a minor perfect does not exist).

Augmented and Diminished Types

The word augmented means "made larger." When a perfect or major interval is made larger by a half step, it becomes an Augmented Interval. For example, a perfect 5th can become an augmented 5th by raising the 5th one half step.
In a C major scale, the perfect 5th is the interval from C to G. By simply raising G to G#, the interval has been expanded, which makes it an Augmented 5th.

The word diminished means "made smaller." When a perfect or minor interval is made smaller by a half step, it becomes a Diminished Interval. For example, a perfect 4th can become a diminished 4th by lowering the 4th a half step.
In the C Major scale, G is the perfect 5th. By simply lowering G to Gb, it has been made the diminished 5th.

Chromatic Types 

When the keynote and the upper note of an interval are not from the same major scale, it is called a Chromatic Interval. Minor, diminished and augmented intervals are always chromatic intervals in major keys.

Summary:
What is an interval? 

Unison (Prime Interval) and Octave
Melodic/Harmonic Int
Perfect Unison, 4th, 5th and Perfect Octave
Major 2nd, 3rd, 6th and 7th
Minor Int
Augmented and Diminished Int
Chromatic Int
Now we have laid some groundwork for you to understand chords.

Chord Chart

G G G C A x2                    

            G         C            D      Em             C          D           G  
From a distance the world looks blue and green and the snow-capped mountains white.  
           G        C     D        Em               C     D         G   
From a distance the ocean meets the stream and the eagle takes to flight.  
        C         D        Em             C       G           D     D7   
From a distance there is harmony and it echoes through the land.  
         C          G             C         G             C        D      G   
It's the voice of hope it's the voice of peace it's the voice of every man.  

  
From a distance we all have enough and no one is in need.                        
And there are no guns no bombs and no disease no hungry mouths to feed.               
From a distance we are instruments marching in a common band.                                    
Playing songs of hope playing songs of peace - they're the songs of every man.  


         C      D           G      Em           C        D              G   
God is watching us. God is watching us. God is watching us     from a distance.  


             
From a distance you look like my friend even though we are at war.  
From a distance I just cannot comprehend what all this fighting is for.  
From a distance there is harmony and it echoes through the land.   
And it's the hope of hopes it's the love of loves it's the heart of every man.  
It's the hope of hopes it's the love of loves - This is the song of every man.  


And God is watching us God is watching us God is watching us from a distance.  
      
Oh God is watching us God is watching. God is watching us from a distance. 

++++++++

FROM A DISTANCE was written in 1987. 

Here's what I'm playing.

        G2            C2/G           D/G         G2
From a distance the world looks blue and green,
         C           D         G     ( D/G,C2/G)
and the snow-capped mountains white.
        G2           C2   C/E   D/F#  G
From a distance the ocean meets the stream,
 G/B        C     D    G D/G
and the eagle takes to flight.

REFRAIN 1
        Cmaj7       D        Em
From a distance, there is harmony,
        C        G/B   G/D   D
and it echoes through the land.
           C       G/B             C       G/B
It's the voice of hope, it's the voice of peace,
          C        D     G,    C 
it's the voice of every man.

       G          C      D    G
From a distance we all have enough,
     C     D      G      C
and no one is in need.
                                                                                          
G          C           D     Em                   
And there are no guns, no bombs, and no disease,
C          D          G
no hungry mouths to feed.

REFRAIN 2
        C        D         Em
From a distance we are instruments
         C    G        D
marching in a common band.
         C        G               C      G
Playing songs of hope, playing songs of peace.
             C       D     G
They're the songs of every man.

          C      D          G       Em
God is watching us. God is watching us.
        C               D    G
God is watching us from a distance.


      G         C        D          G
From a distance you look like my friend,
       C      D        G        C
even though we are at war.
        G       C             D     Em
From a distance I just cannot comprehend
C               D           G,    C(pause)
  what all this fighting is for.

        G        D       Em
From a distance there is harmony,
       C         G          D
and it echoes through the land.
             C         G               
And it's the hope of hopes, 
          C        G
it's the love of loves,
          C          D  Em
it's the heart of every man.
         C        G              C        G
It's the hope of hopes, it's the love of loves.
            C       D      G
This is the song of every man.
           G/C  C6  D          D7/G G   D/F# Em
And God is watching us, God is watching us,
 Em7      Am7       C/D    D           G G/B
God is watching us      from a distance.
           G/C  C6   D          D7/G   G D/F# Em Em7
Oh, God is watching us, God is watching.
       Am7        C/D       G2
God is watching us from a distance.

                   
Chord Breakdown

G2 = GD/ABD

C2/G = GE/CDF#

D/G = GF#/AD

C = CG/EGD

D = DA/F#AD

G = GD/GBG

C/E = EC/GD

D/F# = F#D/AD

Cmaj7 = CG/EGB

Em = EB/EGB

G/B = B/GBD

G/C = C/DGB

C6 = C/CEA

D7/G = G/CDA

Am7 = AG/BD

G2 = GD/ABDG 

Become A Better Church Pianist Now!
Learn How To Play Hymns Using Color Chords
& Exciting Runs & Fillers

www.PianoArrangement.com






"The beautiful thing about learning is that no one can take it away from you." B.B.King

Teenage Mutant Ninja Turtles

Teenage Mutant Ninja Turtle

"The Teenage Mutant Ninja Turtles (or simply Ninja Turtles) are a fictional team of four teenage anthropomorphic turtles, who were trained by their anthropomorphic rat sensei in the art of ninjutsu and named after four Renaissance artists. From their home in the storm sewers of New York City, they battle petty criminals, evil megalomaniacs, and alien invaders, all while remaining isolated from society at large. The characters initially appeared in comic books before being licensed for toys, cartoons, video games, films, and other merchandise. During the peak of its popularity in the late 1980s through early 1990s, the franchise gained considerable worldwide success and fame."

Whenever I stay with a song, like Teenage Mutant Ninja Turtles, that has straight rhythm... then
I like to practice with Back Pocket Band Software

So, Ben Landis has lots of sheet music (for free) of video, game music and cartoon shows. If you're interested in this style, visit http://www.benlandis.com

Teenage Mutant Ninja Turtles: Bass Line

4/4 Time 100bpm

1.  2 measures of C to C (Broken Octave)
2.  2 measures of Eb to Eb
3.  1 measure F to F
4.  Ab to Ab, then Bb to Bb
5.  2 measures C to C
6. 1 measure Ab to Ab
7. 1 measure Bb to Bb
8. 2 measures C to C
9. 1 measure Ab to Ab
10. 1 measure Bb to Bb
11. 2 measures C to C
12. 1 measure Ab to Ab
13. 1 measure Bb to Bb
14. 1 measure Ab to Ab
15. 1 measure Bb to Bb
16. 2 measures C to C
17. 2 measures Eb to Eb
18. 1 measure F to F
19. 1 measure Ab to Ab, then Bb to Bb.
20. 1 measure C to C played together, then G to G played together
21. 1 measure C to C played together 3 times.

Right Hand Notes

Absolute C

Db Eb Gb Ab Bb C D E F G A B C

Db Eb Gb Ab Bb C D E F G A B C

1. Play EG together, then EA. Do it several times to get the feel.

Absolute C

Db Eb Gb Ab Bb C D E F G A B C

Db Eb Gb Ab Bb C D E F G A B C

2. Then play these notes, GBb and change to GC. Practice several times.

Absolute C

Db Eb Gb Ab Bb C D E F G A B C

Db Eb Gb Ab Bb C D E F G A B C

3. Now you play CEb together, then change to CF. Play these intervals back and forth, end on C.

Did you know that Errol Garner, the jazz pianist, was left-handed? So, I got to thinking about left-hand parts on the piano and how much time I have invested in piano practice to improve and strengthen my bass lines in music.

I've always been comfortable playing a melodic line with my right hand but when it comes to playing Alberti bass or Waltz bass, I seemed to need the extra practice, playing left hand notes separately until they were polished and then adding both hands together to hear a more balanced sound.
To achieve this, let's take a look at music and see how a composer will write harmony parts in many different ways.

1. Block chords look like all of the notes are stacked together, like a snow- man, and you play them together at once. You will find many blocked chords for your left hand in rock and roll and hymns, too.

2. Broken chords are when the left-hand plays the notes of a chord but one at a time. You can approach this by playing oom-pah rhythm or some say, boom-chick, like a repeated pattern of a single note followed by a chord. You will hear this in Ragtime in Scott Joplin music.

3. Arpeggiated chords make up notes of a chord that are played one at a time, like an arpeggio. They are found in Classical piano music and Pop music.

4. Alberti bass is when the notes of each chord is played starting with the bottom note, on to the top note, middle note and then up to the top note again.

5. Waltz bass is where the first note of the chord is on the down beat, the first beat of the measure and followed by the other notes on beats 2 and 3. It is played with a strong beat in a 3/4 time signature. This ballad style allows your right hand the freedom to pull out the melody line and just let it flow.

This is the basic introduction to left-hand movement. More advanced rhythmic patterns would include off-beats, swing and slow jazz waltz, to name a few. Plus, there is Latin rhythm to learn, such as Bossa Nova, Mambo Tango, Cha Cha, Rhumba and Samba.
No matter what level you are on, with many of the left-hand parts listed above, you can incorporate them into your music for rhythm practice.

If you have time, be sure and stop by Back Pocket Band Software for PC and Mac

"The beautiful thing about learning is that no one can take it away from you." B.B.King