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Inner Circle Samples
As an Inner Circle member, every month you will have a set of lessons to work on. At the end of the month you will record your playing, either video or audio, and send the recording to Dan. The video does more than just demonstrate your play, you can use the video to show areas where you have questions and need a solution from Dan.

Dan watches your video, analyzes you progress and creates a lesson set for you that is based on your level advancement and needs. Included in the lesson set is a 15 minute video just for you, answering your questions, and addressing any special points that become evident in Dan's review of your videos. The following week you will receive an email from Dan linking you to your new lessons containing videos, musicsheets, and instructions.

Below are samples of a month's lessons, one set for an advanced Inner Circle member, and one for a beginner. Each example starts with 6 recordings, either audio or video, that the student has sent to Dan. These recordings are from the previous month's lesson materials, and Dan analyzes them to decide where to take the student next. You can look at them and play them, just as the students will do. Keep in mind that these lessons come from the middle of a lesson topic, and you may have difficulties just jumping in by yourself playing them without having started from the beginning. After all, very few can take Math 103 without having first covered Math 101.


Beginner's Lesson Sample
Dan's email of lessons after reviewing student's videos

Lessons from Dan: REN1g, pan6, Danvid224, T90c, B2wk5b, B2wk6c, cp1a, cp1c
Assigned: 2/3/2016 3:43:36 PM
Next DUE DATE March 7th.
-----------Jennifer - February 6th Lesson-----------


Next DUE DATE MARCH 7th. Pay extra attention to using the 3rds and flat 3rds now on the compression. This is a very important skill so be careful. Feel free to send me another tune of your choice and play it with the tune breakdown I talk about. Lots of material on this lesson so be sure to fully understand the new direction we take on some of it. Watch my INTRO comments highlighting all the little fixes you need to address and try to work them in. If you have questions let me know. Keep up the good work Jennifer, you are sounding great!
-----------REN1g - 2 note melodic "short reads"-----------

video http://youtu.be/oshrKOhTqHc


pagehttp://www.pianoinstruction.com/grid/documents/2/REN1g.pdf


page http://www.pianoinstruction.com/grid/documents/2/REN1grev.pdf

2 note melodic reading built in "short reads" will help your overall reading. 2 releasing to a single note be sure to keep eyes looking ahead and watch top note of reading to define the melodic contour.
-----------pan6 - Maj7 Base Patterns-----------

video http://youtu.be/fldzLKzrMwI


page http://www.pianoinstruction.com/grid/documents/2/PAN6.pdf


page http://www.pianoinstruction.com/grid/documents/2/pan6rev.pdf

Major7th PATTERNS observe the BASE PATTERNS here and be sure to effectively control them in ALL KEYS. RH soloing against this adjust to set a challenge. Remember the primary focus here is the PATTERNS. Master one set first before moving to the next one.
-----------Danvid224 - Sweet Lorraine Dan Delaney Jazz Trio-----------

video http://youtu.be/iL4UaawZA9k


Sweet Lorraine Here is a copy of a recording taken from a live JAZZ CONCERT featuring my trio playing this old time classic. Roger Shew-bass and Sinclair Lott-drums. 9ft Yamaha Concert Grand provided by Keyboard Concepts of Orange County. Audio captured by EARTHWORKS professional Microphone System
-----------T90c - Tune SAMPLER with 3rds on compression-----------

video https://youtu.be/WekUykSAtUE


page http://www.pianoinstruction.com/grid/documents/2/T90c.pdf

Here is a TUNE SAMPLER of 4 popular tunes that we will demonstrate how to apply the 3rd of each chord in the RIGHT HAND on the COMPRESSION (with the shell) This breakdown of tunes is a good way to see this skill delivered in many situations. I encourage you to take tunes of your own and try this for 4-8 bars and develop this important foundation level. All the advanced harmony and other skills learned will stem from this structured level of application .
-----------B2wk5b - Understanding SLASH CHORDS-----------

video https://youtu.be/DA5RKZY5UPs


page http://www.pianoinstruction.com/grid/documents/2/B2wk5b.pdf

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.
-----------B2wk6c - Diatonic Patterns 4 Chord set ups with free form and textures-----------

video https://youtu.be/cBg58troM8M


page http://www.pianoinstruction.com/grid/documents/2/B2wk6c.pdf

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.
-----------cp1a - 3rds applied on COMPRESSION-----------

video https://youtu.be/x2E88us3jdw


page http://www.pianoinstruction.com/grid/documents/2/B2wk5b.pdf

http://www.pianoinstruction.com/grid/documents/2/cp1a.pdf
-----------cp1c - b3rd applied on COMPRESSION-----------

video https://youtu.be/WvM6-Rxagnc


page http://www.pianoinstruction.com/grid/documents/2/cp1c.pdf

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.
Advanced Lesson Sample
Dan's email of lessons after reviewing student's videos

Lessons from Dan: imp9h, SCA7, td141e, t33kk, td56a, danvid33b, Jim February 1st
Assigned: 2/3/2016 4:30:35 AM
Next DUE DATE February 15th.
-----------Jim February 1st - February 1st Lesson-----------

video https://youtu.be/sh7Q3o0VafY

Next DUE DATE February 15th. Be sure to keep transcribing daily and listening. Be sure to always be dividing your transcribing time into the 3 parts equally. Transcribe, play back focusing on articulation of your attack and play specific licks all keys and apply to various chord types. This new lesson hosts a lot of very important additions so be careful as you apply yourself here and watch the videos to pick up things that could get by you the first time around. Good luck Jim. Enjoy the lesson and keep up the good work!
-----------imp9h - GIANT STEPS 9-1 and MELODIC TEXTURES-----------

video http://youtu.be/9OTuTDQuDQ8


page http://www.pianoinstruction.com/grid/documents/2/imp9h.pdf

9-1 and MELODIC TEXTURES applied to GIANT STEPS. This exercise will shed light on a very powerful display of color added to your improvised line. It is through seeing these 2 note melodic textures that you develop a strong sense of being able to see the key center for each and every chord. Be sure to be always viewing NARROW and WIDE selections in your 2 note TEXTURE choices. Also observe the 251 progressions throughout GIANT STEPS which brings us back home to a very important exercise. The 251 progression ALL KEYS should be practiced not only with this technique but with all techniques.
-----------SCA7 - 3 against 1 12 and 45 FINGERING on MAJOR SCALES-----------

video http://youtu.be/8iG16QcNkPo


page http://www.pianoinstruction.com/grid/documents/2/SCA7.pdf

3 against 1 with the 12 and 45 FINGERINGS applied to MAJOR SCALES. This very effective skill will hold enormous benefits within your playing. Be sure you switch the 3-1 around putting the 3 in LH too. When playing the 12 fingering we will go both direction up and back to end of the piano. YOU MUST be able to see 4 notes to effectively be able to turn with both hands going into the piano. When playing the 45 fingering go to the end of the piano and whichever hand runs out first you stop. Keep tempo very slow and manageable as you make this part of your everyday practice ritual. Remember this is a very unique skill not often seen. I was fortunate to have studied this extensively from one of the last students of the great Lennie Tristano who uses this technique in his teachings. So hold great value knowing you are one of very few that will know this scale technique.
-----------td141e - 4ths and uppers ROOT and 3rd on 2516 Line Development-----------

video https://youtu.be/acFvxwW_eBY


page http://www.pianoinstruction.com/grid/documents/2/td141e.pdf

4th and uppers using the ROOT and 3rd as positions. Create improvised lines through the 2516 progression. 4 beats per bar and try to grab a harmony when you see them in your musical path. This organized approach will have you fully understand the 4th voicings and upper structure triads and be able to see them in actual playing. I have found it best to focus on CHORD TONE positioning at first as a way to break down this skill and musically apply yourself.
-----------t33kk - My Romance with chord release -----------

video https://youtu.be/1IREe032EQw


page http://www.pianoinstruction.com/grid/documents/2/T33.pdf

My Romance using the chord release. Start by viewing the linear single note line to set control with then attach textures or chords to this line source. The possibilities are endless. Keep ideas simple and then work deeper as you feel in control of this skill. Try to have your ears guide your line around placing emphasis in the top note improvisational tone. By adding chordal support within any improvisational line one can find comfort in a settled place. I have always said that the chords provide a warmth of tones that can sit amidst a solo adding a contrast to the straight linear lines and harmony. This skill is essentially improvising over the tune adding harmonic support.
-----------td56a - Maj7 Voicings focus on VOICE LEADING-----------

video https://youtu.be/MjegHRy16r0


page http://www.pianoinstruction.com/grid/documents/2/td56a.pdf

Maj7 voicings all groups now we place emphasis on voice leading the top note as we build chord lines in our left hand. When playing these kind of voicings especially where many are ROOTLESS you somewhat rely on either yourself playing the root somewhere or have a bass player. The purpose to have so many groups and positions is that they will fit very well together providing tight close chords or wider spread out ones. This chord skill was a creation of the great Lennie Tristano out of New York and I was privileged to have studied these in depth in my earlier years of training. Not many people in the world know of this valuable chord playing technique. It truly portrays the many options one can find on Maj7 Chords voicings for the LEFT HAND.
-----------danvid33b - My Romance Dan Delaney Trio performed in California-----------

video https://youtu.be/eZPOtQygEBE


My Romance performed in California with Roger Shew on bass and Sinclair Lott drums. Piano is a 9 ft Yamaha Concert Grand. Audio was captured using the EARTHWORKS professional Microphone System. I personally captured all the video as well and did all the editing. This Jazz Trio is the trio I use when performing in California. The musical connection is extra special. My suggestion is to try to listen to as many ARTISTS as you can play this tune and enjoy their musical interpretation of this popular Jazz standard - My Romance.