New in 2019 INTERMEDIATE BOOK with 8 Hours of FREE VIDEOS
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This book builds on the skills of the BEGINNER Book. Also a perfect fit for the INTERMEDIATE player.
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Intermediate Week 1
5ths and Shells (Pages 7 - 8)
5ths with SHELLS get comfortable seeing the 5th within the shell. Get melody down first and count it dotted half note to quarter note. Then do LEFT HAND by itself being able to see the SHELLS. Solid application of SHELL alone is important before adding the 5th in.
3RDS MEMORIZTION (pages 11 -12)
3rds Memorization. This is one of the most important part of a chord. It defines whether it is a minor or major tonality. It is critical to memorize these in all 12 keys. Watch the steps carefully here and be patient. Once you memorize these 12 you will have for life!
b3rds Memorization (Pages 15 - 16)
b3rds work on memorizing this. You will find just by knowing the 3rds it will help solidify this b3rd tonal quality. The b3rd will prove to be a very valuable tone. Each chord you see you must define what kind of 3rd is in this chord type. The b3rd will work on Minor, min7, min7b5, min6 and diminished7. So it is important to be sure you play the CORRECT 3rd on every chord you play. By choosing the right 3rd or b3rd you will now be functioning with full harmony. You have the shell in the left hand to the 5th and now the 3rd in the right hand so in essence you are playing the 4 CHORD TONES spread between two hands giving you a professional sound. This is our foundation for all our advanced playing to come.
Base Patterns Octave Maj7 (Pages 20 - 21)
Base Patterns OCTAVE RANGE for the Maj7 chords. It is very important to work through this beginning BASE PATTERN introduction. Work on connecting the bars smoothly and looking to be set up on beats 4 with your pinky in place for the up and coming chord. This is important in order to have the time remain consistent and even.
Key Note Release Single Notes and Textures (Page 27)
KEY NOTE RELEASE with single notes and textures. Follow the LEVELS of APPLICATION very carefully here to present a solid understanding of this important skill. Be able to identify the KEY NOTES for all 7 PATTERNS. Explore the TEXTURES only if all goes well with the LEVELS 1,2,3
Table Rock Levels Up to 3rd (page 29)
Table Rock here I play my original blues composition that will give you a chance to see the various levels up to applying the 3rds. Also we will look at the BLUES SCALE. Keep tempo slow and be sure to start at the beginning levels to achieve the control you need to move to harder levels.
Table Rock Sample (page 29)
Table Rock Blues is my original and here I show you a very quick sampling of how we apply my skills to this blues piece from my book.
Table Rock dan Plays Tune (Page 29)
Table Rock Hope you enjoy my version of my original blues piece. I will be playing a lot of ideas here. Enjoy!
Intermediate Week 2
Patterns from Shells 2516 (Pages 37 -38)
Patterns from SHELLS is a very important skill set that will carry with you all the time in your playing. You MUST have full control of the SHELL and the 5ths before taking this on. The exercise will cover application on the common 2516 progression. Go slow and see the 5th clearly inside the shell frame.
3rds applied on compression (Page 41)
3rds applied on compression. Here we become familiar with how we spread chordal harmony between two hands. You play shell to 5th in left hand and the right hand focuses on the melody note and below the melody you play the 3rd OF THE CHORD. The 3rd will work on the following chords. Major, maj7, dominant7, maj6 and augmented7. It is important to fully know your 3rds in all keys before attempting to apply them in music.
Base Patterns 10ths Maj7 (Pages 44 - 45)
Base Patterns here we learn the 10th RANGE. ALL KEYS Maj7. Take your time being able to set up for the up and coming chords to keep measures connecting smoothly. Once you can move through the 3 progression workpieces move onto playing the 3rd alone in the right hand as a means to learn this important tone.
3 Note Patterns Texture Release (Page 47)
Uses VIDEO Pan3b The DIATONIC 3 note patterns we now focus on the TEXTURE Release. This skill will have you musically creating improvisational ideas. LEVEL 1 should be your main focus to start when staying within one key you can best see the various new KEY NOTE targets. This sets up the new chord to be played. Once comfortable with LEVEL 1 you can then move onto LEVEL 2 and start linking them all together.
Curley’s Blues up to 3rds (Page 49)
Curleys Blues played here with a variety of levels up to applying the 3rd on COMPRESSION. Be sure to all through one level at a time and be confident before moving on to the next level. Also I recommend breaking the piece down into small parts.
After You’ve Gone Dan Plays Tune (Page 35)
After Youve Gone Hope you enjoy my rendition of this great tune. Be sure to be listening to others play this same piece of music.
After You’ve Gone with Dan Delaney Jazz Trio (Page 35)
After Youve Gone . Here is a video of a concert I performed in California with my CA Trio. This is a very old tune. I suggest you try to hear as many renditions as possible of this old standard and enjoy the different spins on it from various artists.
After You’ve Gone Dan Delaney Jazz Trio (Page 35)
After You’ve Gone with the Dan Delaney Jazz Trio. Luther Hughes on bass and Sinclair Lott on drums. The piano is a Yamaha C7 and the audio was captured using the EARTHWORKS Professional Microphone System PM40T.
Intermediate Week 3
Understanding Slash Chords (Page 54)
Here we look closely at the SLASH CHORDS and how they function. This piece of music is a sampling of what you may see out there and you need to understand just how important it is to have the BASS note indicated after the / placed in the LEFT HAND.
b3rd Applied on Compression (Page 57)
b3rd apply now on the compression. Here you get a chance to apply the b3rd in all keys against Min7 shown in exercise. It is most important to understand what chord types b3rd works on. Minor, Minor7, Minor6, Diminished7, Min7b5. More importantly apply the correct 3rd or b3rd in tunes using the ON COMPRESSION (with the SHELL) skill.
Minor7 Base Patterns Alternate with Maj7 (Pages 60 - 61)
Base Patterns for Min7. Get comfortable with the min7 and then move onto the alternating workpiece where you can work both the maj7 and min7. be sure to vary the octave range and 10th range options. Also work in the 3rd alone to gain control of this important note.
Diatonic Patterns RH free form 2 chord groupings (Page 64)
Diatonic Patterns RH FREE FORM against 2 chord groupings. It is through this organized approach that will help you gain the confidence to be able to improvise freely over the 2 chord groups. Repeat the 2 chords over and over as you create musical ideas in your right hand. The possibilities are endless.
Blues For Calliope up to 3rds (Page 67)
Blues For Calliope here we play my original blues using a variety of levels up to applying the 3rds on COMPRESSION. Walk through one level at a time and also break the piece down into small parts to help you achieve a smooth transition between bars in the piece.
Intermediate Week 4
3rds on Compression 2516 (Pages 71 - 72)
3rds applied on COMPRESSION on the 2516 exercise pages. ON COMPRESSION means to be played with the SHELL in the LEFT HAND. Best too to be using the SHELL to the 5th on beat 3. Keep tempo slow and be looking ahead to be processing the up and coming 3rds of the chords coming up.
10th Stride Major7 (Pages 75 - 76)
10th Stride Maj7 applied to ALL KEYS using 1 note any chord tone in the right hand. Move onto the exercise once comfortable and play through each with left hand focus against the written melodies. Observe how the STRIDE will be played on beats 1 and 3.
Dom7 Base Patterns and 2516 (Pages 79 - 81)
Base Patterns for Dom7 Isolated and then on 2516. Work through seeing the base patterns connecting smoothly between bars. Try to set up the chord ahead of time and be in position for the 1st beat of up and coming bar. Once comfortable with Don7 isolated move quickly onto the 2516 progression so you can work the Maj7 and min7 as well.
DIXIE Tune (pages 52-53)
DIXIE the traditional classic tune will present CHORDS and melody for you to play. Observe the mixture of chord types. Remember always start by playing just the ROOT of the chords in the LH to help pull the tune together before exploring shells and more advanced applications.
Diatonic Sample 4 Chord Loops (Page 83)
Here we look at some improvisation from my diatonic studies showing you how to loop 4 chord progressions. This skill is covered in detail in my Book and can move into very high levels of application.
Diatonic Patterns 4 Chord free for and textures (Page 83)
Diatonic Patterns applied against 4 chord systems that you should repeat over and over to create a great workplace for creative playing. Start with single note FREE FORM then work into 2 NOTE TEXTURES.
West Street Blues Up to 3rds on Compression (Page 85)
West Street Blues here we work through levels up to applying the 3rd on compression.
West Street Blues Dan Plays Tune (Page 85)
West Street Blues here I play my original composition using a variety of skills between my two hands.
Indiana Dan Delaney Jazz Trio (Page 85)
Indiana Dan Delaney Jazz Trio plays this tune in a live concert hosted by KEYBOARD CONCEPTS in California. Luther Hughes bass and Sinclair Lott drums. The piano is a Yamaha C7 and the audio was captured with the EARTHWORKS PROFESSIONAL MICROPHONE System . PM40T
Intermediate Week 5
Min7b5 and Dim7 Be Ready (Pages 89 - 90)
Here we look closely at the Min7b5 and the dim7 chords and have you work through the 4 bar chord progression where I wrote a melody to fit in all keys. Take your time here and double check all of your SHELL shapes and most of all look at the b5 and how it plays out on the min7b5 and the dim7. Follow the steps on the video to best function on this exercise.
10th Stride Min7 (Pages 92 - 93)
10th Stride Formation on the Min7 chords ALL KEYS. Improvise 1 note per chord using any of the chord tones, Once comfortable move onto the 3 little pieces I wrote and lock up the stride against the melody. Keep tempo slow and you may want to break down the work into 2 bars at a time.
Min7b5 Base Patterns Minor Progression (Pages 95 - 96)
Base Patterns for the Min7b5 and applied to the minor progression. Work through isolating the chords first then get onto the 2516 where you can experience the mystical sound of the the minor tonalities.
2 Note Diatonic Patterns on Piece 1 (Page 98)
2 Note Diatonic Patterns applied to Piece1. Remember when applying a 2 note pattern the 3 note pattern we are familiar with will just play the 1st and 2nd note. In a 2 note pattern situation we will be in most cases be followed by another 2 note pattern like you will see here in this piece of music. Therefor you are having 4 beats in the measure. Once you get the piece somewhat proficient you can also try FREE FORM improvising over the patterns in LEFT HAND.
Lazy Lizard Blues Levels Up to 3rds on Compression (Page 100)
Lazy Lizard Blues. Work through the various levels very carefully not moving ahead until you are proficient. Keep tempo slow and I suggest to work on fragmenting the piece. Play one or two measures at a time.
Intermediate Week 6
More Chord Types 3rd on Compression (Page 110)
More Chord types 3rd on compression. Here we look at a variety of chord types and notation that will be explained as to how to view them in 3rd on compression level of playing. Be sure to fully understand the chord tones of each of the chords
Inner Tonal Movement Intro Whole to Quarter Note (Pages 104 - 105)
Inner Tonal Movement introduction here will help explain how the movement of the 3 and 5th will impact motion in your music. Take time to process the few examples and try on some pieces of music of your own where melodies are not active.
10th Stride Dom7 and Tune Samples (Pages 113 - 115)
10th Stride Formation applied to the Dom7 chords now. Get comfortable with all keys and in your right hand try to solo using any chord tone, one per chord. Enjoy the chance to work on applying the Stride to 6 sample tunes I put together that will each offer their own set of challenges. Notice how I marked X to see where the 2nd part of the stride will be placed.
Base Patterns Dim7 and Maj6 Application (Pages 117 - 118)
Dim7 and Maj6 BASE PATTERNS applied in a musical progression. Modify the formula for the 4 base patterns and adjust to the dim7 and maj6. Be sure to control each of these through these exercises.
2 Note Patterns (Page 120)
2 note patterns. Here we explore how to create the 2 note pattern using the Root and other chord tones. Pay extra attention to the SHELL to the 5th in situations where you want to keep time and explore too as well the single note building of the 2 note pattern.
Diatonic Merge Skills (Pages 122 - 123)
DIATONICS merge with variety of SKILLS. Here we look at how the basic DIATONIC PATTERNS we have come to know can merge with SHELLS STRIDE and PATTERNS. Get comfortable seeing each of these and then move onto the workpiece where you can see for yourself just how the various skills can lock up against the melody. Then move onto the IMPROVISATION part where you can solo using chord tones over the progression of the work tune.
1000 Steps Blues (Page 125)
1000 Step Blues work through the various levels of application feeling very comfortable with each before moving on.
1000 Steps Blues Dan Plays Tune (Page 125)
1000 Steps Blues here I play my original composition. I will be playing lots of skills between my two hands all of which we learn in my teaching.
Indian Summer with Shells and Melody (Page 131)
Indian Summer here we apply ourself with the SHELL in the LEFT HAND and the melody in the RIGHT. Work through slowly and observe the various LEFT HAND placements at times. Be sure to be setting up the chords having your hand travel into position ready for the next chord. Practice one section at a time to get comfortable.
Indian Summer with Shell to 5th and Melody (Page 131)
Indian Summer here we focus on the LEFT HAND playing SHELL to the 5th and the RIGHT HAND play the melody. Notice how the SHELL to 5th sit very relaxed with the 5th on beat 3. In these situations you will have the 5th on beat 3. On chords with 2 chords a bar be sure to just play the shells.
Indian Summer with Base Patterns Applied (Page 131)
Indian Summer we will now focus on the BASE PATTERNS applied against the melody. Be sure to be comfortable with root 5 octave before moving onto others.
Indian Summer with 3rds on Compression (Page 131)
Indian Summer here is a nice tune that goes way back in time. Written in 1919 and performed by many through the decades. Here we focus on our 3rds on the compression. Keep tempo relaxed and left hand smooth and even with shell to 5th.
After You've Gone
After You’ve Gone with Shell and Melody (Page 135)
After You Gone with focus on the SHELL in LEFT HAND and the melody in the right hand. Keep tempo slow and relaxed and be concentrating on the left hand traveling into position to be ready for each chord coming.
After You’ve Gone with Shell to 5th Applied (Page 135)
After You Gone now with focus on the Shell to 5th in left hand while the right hand plays melody. Notice how the 5th is on beat 3 and on the bars with 2 chords only play shells. Also can observe playing the Shell to 5th on beats. Choose which method works best for you,
After You’ve Gone with Base Patterns (Page 135)
After You Gone now applying the base patterns. Move through with first pattern understanding correct placement against the melody then move to the others.
After You’ve Gone 3rd on Compression (Page 135)
1000 Steps Blues here I play my original composition. I will be playing lots of skills between my two hands all of which we learn in my teaching.
My Wild Irish Rose
My Wild Irish Rose Pattern Example (Pages 139 - 141)
Here is a quick sample of the PATTERNS we will learn in my book applied to one of the 6 tunes called My Wild Irish Rose.
My Wild Irish Rose with Shell and Melody Applied (Pages 139 - 141)
My Wild Irish Rose here we focus on the SHELL in LEFT HAND and melody alone in right hand. Be aware of the 3 beats in a measure here and work on having LEFT HAND move to position quickly.
My Wild Irish Rose with Shell to 5th Applied (Pages 139 - 141)
My Wild Irish Rose now applying the shell to 5th in left hand against the melody. Watch very careful here as the tune has 3 beats to a bar for placement of the 5th.
My Wild Irish Rose with Base Patterns (Pages 139 - 141)
My Wild Irish Rose now applying the base patterns in the LEFT HAND. Watch closely how they lock in against the melody. Notice too that there is 3 notes in a bar which aligns the patterns nicely.
My Wild Irish Rose 3rd on Compression (Pages 139 - 141)
My Wild Irish Rose using the 3rds on compression. Be sure underlying levels are comfortable before placing in the 3rd. This will add a nice harmonic foundation as we have the chords spread out between the two hands.
Back Home in Indiana
Back Home In Indiana Shell and Melody (Page 144)
Indiana played here with SHELL in left hand and melody in right hand. Focus on the LEFT HAND traveling into position quickly and smoothly.
Back Home In Indiana Shell to 5th applied (Page 144)
Indiana now focusing on the SHELL to the 5th. Observe how the 5th is on beat 3 and provides a very relaxed left hand under the melody.
Back Home In Indiana with Base Patterns (Page 144)
Indiana now we focus on the BASE PATTERNS in left hand. Keep the tune relaxed when using patterns as they are more appropriate on ballad type applications.
Back Home In Indiana 3rd on Compression (Page 144)
Indiana using the 3rds on compression. Be sure the underlying levels are comfortable before adding the 3rd in. This sets up a nice application as it spreads the chords between two hands.
Happy Birthday Shells and Melody (Page 147)
Happy Birthday applying the SHELLS in the left hand. Work on feeling comfortable seeing the tune with 3 beats a measure then 4 beats. Eventually when you add the 5th in the left hand as a tonal move it will be important to see the differences in the time signatures as for where to place the 5th. So develop this base level in preparation of more to come.
Happy Birthday Shell to 5th (Page 147)
Happy Birthday using SHELL to the 5th in the left hand. Be very careful as to how to use the 5th in the various time signatures here. Be sure to have the shell alone first comfortable before adding in the 5th as a tonal move. The 5th will add a nice sense of time in your music. ENJOY!
Happy Birthday Using Patterns (Page 147)
Happy Birthday using our BASE PATTERNS. Apply to 3/4 and 4/4 time signatures. Be careful to adjust accordingly. Watch video closely to see the options and placement.
Happy Birthday 3rds on Compression (Page 147)
Happy Birthday with the 3rds applied. Get familiar with the to time signatures I talk about in the video. Have the left hand be using the shell to the 5th. The 3rds of the chords on COMPRESSION with the shell.
Shenandoah Pattern Sampling (Pages 150 - 151)
Shenandoah pattern sampling to see how the skills taught in my Intermediate Book can be applied. These skills will be able to move into your own pieces of music.
Shenandoah Shells and Melody (Pages 150 - 151)
Shenandoah here we take our focus on applying the SHELLS in left hand. It is very important especially on this piece of music to break it down, a few bars at a time, and master the MELODY in RIGHT HAND.
Shenandoah Shells to 5th (Pages 150 - 151)
Shenandoah applying the SHELL to 5th in left hand. It is very important to break down this piece of music and MASTER the melody alone in Right Hand. Take a few bars at a time and get comfortable then add the left hand.
Shenandoah Base Patterns (Pages 150 - 151)
Shenandoah here we apply the BASE PATTERNS. Be sure to be very confident with the melody first in the RIGHT HAND before applying the left hand. Break it down in sections to help enable the pattern to lock up against the melody. Be careful paying attention to the SLASH CHORDS and make notes as to what I played on the video.
Shenandoah 3rd on Compression (Pages 150 - 151)
Shenandoah 3rds applied on compression. Be sure to be able to play with the underlying levels first before applying the 3rd in the Right Hand. Break this piece of music down being sure you have full control of the melody.
Shells Master (Page 157)
SHELLS here we learn all 3 positions to help us quickly see many of our chords to be used on the piano. These are played in the LEFT HAND and the outer edges of the chord convey a great style that will open up our chord playing with this powerful foundation left hand base to build chords from. Work through all keys in left hand. It is also important to know the CHORD TONES of each and every chord as well as the various ways to notate the chord type in your music.
Reading Add the 5th (Page 158)
READING adding the 5th is a very powerful skill to develop in the LEFT HAND. Watch carefully as to how we can find the 5ths of EVERY KEY quickly with the formula to see them. Also when used in conjunction with the SHELL is one of the most powerful skills you will encounter. It functions as a time keeper in your left hand and this added 5th note sits with much power helping drive the Shells through your music.
Counting Whole, Half, Dotted Half, Quarter (Pages 159 - 161)
COUNTING Introduction This is a prime opportunity to look inside of our COUNTING understanding the values of basic notes. WHOLE , HALF, Dotted HALF and QUARTER Notes. It is my theory that it better to introduce COUNTING element in your playing after one has a somewhat basic understanding of how to read notes and our SHELL chord formations. This way you can focus more on the counting element and not be worrying so much on reading and chords. We focus on using our HELD options as a way to not only be learning to count effectively but as a means to refine your BASIC chord HELD OPTIONS. You will see we go through ALL KEYS and apply ourselves to better prepare us for more advanced playing.
Counting with Broken Options (Page 162)
Counting using the BROKEN OPTIONS will provide a wonderful vehicle for you to see just how when evenly placing the left hand in you can see the value of knowing how to count for accurate placement of LEFT HAND notes. For now focus on beats 1 and 3 as a steady foundation for the broken options to be applied. Feel free to use HELD OPTIONS in the event you just cant process the BROKEN ones quick enough. The held options may be used nicely in those active melody bars of music and on the ones that are not as active you can use the BROKEN formation in the LH. Here we count using basic rhythms of WHOLE , HALF, DOTTED Half and QUARTER NOTES. Important foundational knowledge.
The REST Introduction (Page 163)
The REST here we are looking at the BASIC RESTS for WHOLE REST, HALF REST and QUARTER RESTS. This is important for you to fully understand and I like to incorporate a LH skill along with learning the functions of the REST. Explore the HELD and BROKEN Left Hand skills while counting carefully here. Be sure to try to find measures of music to count through and see just how it is done. Thee are other rhythms we will cover but this foundational level material is of the utmost importance.
The TIE (Page 164)
The TIE. Here we look closely at the function of the TIE which connect two notes on the same line. Adjust your LEFT HAND OPTIONS to present a challenge while counting the melody in the exercise.
Tie and Rest Worktune (Page 165)
Tie and Rest WORKTUNE here will help you see the value when applying the LEFT HAND OPTIONS. Set a challenge in your level for your left hand while you carefully read. Be sure to apply reading to your tunes. It will be necessary to be able to drive your left hand in effectively to keep time.
Eighth Note and Rest (Page 166)
The Eighth Note and Rest. Become familiar with effectively counting eighth notes in 4/4 time. This is a very important fundamental and you must be able to see clearly how to divide the quarter note into half. Adjust your LEFT HAND OPTIONS to present enough of a challenge when counting the exercise.
White Key Classic Fingerings 1 Octave Hands Separate (Page 168)
Scales WHITE KEYS here we focus on both hands separate 1 octave. Become familiar with the Traditional Fingering applied to these scales. Pay attention to the notes in the scales and most importantly the fingering for both hands. This will provide a foundation level that will serve as an important tool for your future scale studies.
Black Key Scale Traditional Fingering 1 Octave Separate (Page 169)
Black Key Scales focusing on the correct fingering for the 5 Scales. Pay attention to the PIVOT point for your thumbs. Work these through both hands separate one octave with firm accurate control. Be sure to be continually practicing the white key scales as well.
Scales Breakdown 1 Octave Separate 3 4 5 6 7 (Page 170)
BREAKDOWN of ALL SCALES one octave hands separate. Here we view the 3 4 5 6 and 7 note breakdown application. It is through this process you will become more comfortable with the scale. Pay attention to the last note as I refer to as the target. Notice the DEGREE and the FINGERING for each scale. Start with the RIGHT HAND and work the left hand as well. This may be a little process and suspect you could be at this level for a while but will greatly benefit you.
Scales ALL KEYS Traditional Fingering 2 Octaves (Pages 171 - 172)
Scales ALL KEYS using the traditional fingering. Focus on 2 octaves and the pivot points as to how to extend beyond the single octave. Firm accurate control seeing each note clearly.