Piano Wizard

[ChrisSalter]

Hi there,

I want to buy the Piano Wizard Academy Package but is the offer for Brillkids members already closed?

Also, I am posting a comment from someone who bought the software. It will be great if someone can enlight me about the points he is raising.

1. It doesn't have the option to first play the song so you know what the song sounds like.
2. You cannot go over a selection in the song you are learning to practice just that selection.
3. When you have started a song, you have to finish it, cannot stop midway.
4. It only tells you if you have hit the right key, but if you didn't - either you missed that key, or hit the wrong key - you have no way to go back and try again as it has moved on to the next note.
4. The 'notes' keep moving across the screen, they don't sit still giving you a chance to try to get it right.
5. It doesn't give you any feedback as to where you can improve or areas you need to work on."

In anticipation,

Tieri

Tieri,

Sorry for the delay getting back to you. As for your first question, is the offer already closed, the answer is no, not yet. We are going to try and extend it through the Christmas season depending on keyboard availability. The link should still be active, here it is again.

http://forum.brillkids.com/announcements/piano-wizard-academy-offer-exclusive-to-brillkids-members!/ Let me know if there is a problem with the link, but I think it is still fine. We did add a couple of bonuses since we posted that, we will have Don and Delana Beattie both joining this forum and leading the monthly teleconference calls, so you will have two brilliant piano teachers as personal guides to maximize your children's progress with the game. Delayna in particular has years of early child teaching experience both with and without the game, so enjoy that bonus everybody!

These other issues look familiar, I think I replied about a year ago to this customer's comments, but I will respond here as well.

1. It doesn't have the option to first play the song so you know what the song sounds like.

In the first hundred songs, the left and right hand parts are "doubled" in accompaniment tracks so they are playing (fainter) even if you miss the notes in the lead completely, so you can hear the song. In Premier mode you can also choose another track and let the first two tracks play as accompaniment and hear it that way. What we find however, is that the kids actually are getting 80% and up the first time they play, so they are hearing both their successful lead play and the doubled accompaniment as well. It has not really been an issue, though with traditional lessons, hearing how the song is "supposed" to sound is very common, remember this is a visual hand-eye approach and the kids actually play the very first time they see the song without having to hear or decipher music notation. In other words, they don't have to wait and listen to learn, they learn my doing and doing right from the beginning. If they do want to preview, they can do it like suggested above, or if they want a visual preview (recommended to see where the range and notes are in a new track) they simply can hit "ESC" (escape) as they start the song, and scroll through the song to see the colors and range of the notes coming in that song ahead of time, and if they so choose, adjust or add fingering information at any point in the song. These are under the advanced options, and explained in the Academy Quickstart DVD as well as the help files included.

2. You cannot go over a selection in the song you are learning to practice just that selection.

Actually this is not true, we have a very cool couple of features, one called song looping, that just plays the same song over and over, and another that is more in line with what they are saying, is called PHRASE looping. To invoke this simply hit the Freeze menu (ESC) during gameplay, and find the phrase you want to review (there is always a more challenging section to any song or piece that could bear closer work) and simply click on the Phrase looping checkbox on the screen and two colored bands will appear next to the scroll bar. The blue is where you BEGIN the phrase (I usually give as much space before as I can) and the red band is where you END the phrase loop. Then just click Resume and you will see that phrase loop over and over. I use this if someone is playing at one tempo and can't handle a phrase, say a trill or difficult turn, and I do a phrase loop, and lower the tempo to at least half where I was, and simply up the tempo a beat or two at a time as they master the phrase until they are at the same tempo as the rest of the piece. I also can add in or adjust fingerings here, and that often helps them get it automatic under their fingers. This is an outstanding option, and people very quickly master what normally was frustrating them, and within 5 minutes we are back on track for the full song, with the challenging phrase "mastered" as if they learned a new word and now could use it perfectly.

3. When you have started a song, you have to finish it, cannot stop midway.

Not true. I do remember these comments, because I wondered if they had read a single help file or watched a single demo before posting this. (Tieri, I know you just found this and didn't write these, I thank your for letting me repost my replies in this context).  There are 2 ways to stop a song. One is ESC key, upper left corner key on most computer keyboards, and this either goes back to worlds selection in Easy Mode for kids to choose a new world or game object, and then resumes, or allows you to go back to pick an new song altogether or add another hand or change it. If you invoke this in Premier (sometimes called Advanced) mode, with the Freeze menu checked in Options (the default setting) then the screen freezes with several options above, to exit, to view options, to resume, and here is where the things like arrangements, worlds, game objects, fingerings, note names, phrase looping, etc can be set, and then you can resume the game (NOTE: Scoring is disabled for that song session so scores will always be accurate, but it is a great way to refine and practice different views, speeds and options on the fly). Besides the ESC option, both Easy Mode and Premier Mode use the "P" key to PAUSE. This does not invoke the Freeze Menu or take you back, it simply pauses the game, allowing time out to eat, explain a point, prepare for the next note, whatever the reason to pause. You can adjust the tempo in PAUSE mode with the right and left arrow keys on the computer keyboard, just as you can during gameplay.

4. It only tells you if you have hit the right key, but if you didn't - either you missed that key, or hit the wrong key - you have no way to go back and try again as it has moved on to the next note.

Not true. Yes it tells you on the fly which keys you got right and which you missed, and keeps track of it all for the end percentage score, (which by the way is wonderful, you have instant positive feedback every time you get it right!) but you CAN simply hit ESC key, and scroll back and make another stab at it, or even set up a phrase looping (see above) and redo that section over and over until you master it.

4. The 'notes' keep moving across the screen, they don't sit still giving you a chance to try to get it right.

True, with an explanation. We do not "hover" over the notes until you hit them, if we did, you are already out of rhythm anyway, so the right notes at the right time are no longer the right notes! Imagine an orchestra arranged so the players could come in with the right notes whenever they wanted! I guess we call that jazz but it is an art unto itself!. That being said, they CAN slow it down, literally to 1 beat per minute, so even the most complex music can be played slower, and they can choose which track or part to practice, which view, loop the song or phrase, map out the fingerings, etc., etc. But we also found that by NOT stopping, people jump right back on the horse and keep going, and end up with only a tiny fraction of notes missed in the end. Even Horowitz and Rubenstien missed notes in key performances, but they did not "stop and hover" until they got it right! In most piano practice, the student making a mistake stops and either has to restart or go back to an earlier phrase, but if you are playing piano for the choir, you better keep going! As far as sitting still and giving you a chance to do it right, you can simply hit "P" and pause at any moment, map out your hands, and hit "P" again to resume. It will not wait automatically if you miss, but again we don't think that is even a great feature to have if we wanted, it stops the music and keeps you focused backwards instead of ahead to the next notes.

5. It doesn't give you any feedback as to where you can improve or areas you need to work on."

Not exactly true. The truth is you know instantly where you miss, what they are referring to is a more detailed error report at the end, with a kind of post mortem map of your missteps. That is actually something we have thought about for a future update, but it is not currently in the game nor will be for about a year or more, if then. It is one feature we have thought about, but the truth is the instant feedback allows people to adjust so fast that they often go back and immediately go to the section they stumbled on, phrase loop it and master it before you could even evaluate a full report. Still, it is a feature we will consider for the future.

[waterdreamer]

I did what you suggested and I found this <a href="http://www.youtube.com/v/Z2u7iiv1Xq4&rel=1" target="_blank">http://www.youtube.com/v/Z2u7iiv1Xq4&rel=1</a>

My response,   touching, amazing, and very inspired     You see sometimes just by seeing someone play Mozart does not sell for me however seeing the REAL life results is more valuable.   

Wonderful video!

[ChrisSalter]

Hi Chris,
I am wondering if there is a possibility for a patch to add solfege note names in PW? 

Twinergy,

Sorry for the delay replying. We don't currently have plans to add solfege note names, though we do encourage the use of solfege in learning music. That being said, it is easier "said" than "done.  There are two main schools of thought to contend with. One is the "fixed" do, where "do" is always "C", the other is where "do" is always the first note of the major (or minor) scale, so in the key of F# "do" would be the F# and G# would be "re", etc. This is used to give people a sense of "tonality" and key, and the way those relative notes (the 4 and 5 fore example, or the 7)  are used for cadences, modulation, etc. That being said, there is also EVEN MORE ambiguity with solfege, in that sharps and flats are not clearly and systematically mapped out, in other words, it shares the limitations of music notation, in that the lines and spaces only map to the white keys. If we did support it, we would probably try and support both methods, because the proponents of the different schools can be QUITE passionate. Solfege is a study we would encourage to be used in parallel with the game, it is mostly used with singing, which we believe is very important part of music training, and we encourage throughout our coursework. Please understand this, we take a "no sacred cows" approach to learning music. If the sacred cow is useful, we use it, if not, we use something else, in spite of the cow's fans protests. We really think a lot of these conversations are more academic and pointy headed then useful, but we try and allow for a multitude of approaches, as what works for some will not for others, or at least as well. All of these work better with a great teacher.

To give you an idea of the current ways of describing note names

A, A# (Bb), B, C (where did B# go? Its C!) C# (Db), D, etc.(Chromatic scale, including all white and all black keys)

Or a "fixed do for Chromatic scale (5 variations at least, go the the table in http://en.wikipedia.org/wiki/Solf%C3%A8ge#Fixed_do_solf.C3.A8ge)

Do (C), di (C#) (or ra if read as Db, its equivalent, being that "C#" and "Db" are the SAME PIANO NOTE) re (D), ri (D#, or ma if read as Eb), mi (E) (Does your head hurt yet? If not go to the table in the link above and try and teach that to your children)

Or the 12 notes of the chromatic scale are simply numbered 1-12 (13 including the octave).

1 (C), 2 (C# or Db), 3 (D), 4 (D# or Eb), 5 (E), 6 (F), 7 (F# or Gb) 8 (G), 9 (G# or Ab), 10 (A) 11 (A# or Bb), 12 (B) and 13 (C again, but at the octave)

(This method seems the most straight forward, but it interferes with fingering numbers if used for the piano, which was one of the reasons we used colors to map to it. We liked the logic of one to one mapping, i.e., a single color or number per piano key, but the use of fingering numbers for piano is so much more important and would be another source of ambiguity instead of clarity)

Or simply count the relative notes of the major scale you are in, which only uses 7 notes, (8 with the repeat of 1 at the octave)

1, 2 , 3 , 4, 5, 6, 7, 8 (1) (Major scale only 1 being the "tonic" or starting note of that key)

Or

Do, re, mi, fa, sol, la, ti (or si in Latin countries) do (octave) (Major scale only, do being the "tonic" or starting note of that key)

OK, confused yet? We thought so too, and while all of these have their reasonings, they are NO PLACE TO START, anymore than starting with grammar to teach a child to speak would render any good. Later they are useful ways to think about a living language, but they are not the creators or origin of that living language, any more than these ways of describing music are the originators of music. They SHAPE musical perceptions, and can limit them, but they are not "primary", they are secondary, like speech is primary and written representations of speech and grammar are secondary. Do they have a place in music education? Yes, they have served us in some ways for centuries, but we need to understand the scope of their usefulness and not take a "religious" or fanatical approach to any one of them. (Did you know that in the Gregorian chant era certain intervals (half steps, tritones, seventh notes) were considered evil because they were "dissonant". And that Bach was one of the FIRST to use his thumb "the devil's digit" for the keyboard playing, saying something like, "God gave it to me, I will use it for his greater glory.")

So, we decided to use COLORS as the training wheels, but in such a way that it could MAP to the CHROMATIC SCALE, one to one, so there could be no confusion or need to explain musical theory for them to hit the right note. THEN we transition them to note names, fingerings, and finally to traditional music notation, but allowing them time to absorb those "codes" in stages, AFTER mastering the music.

So, a long response to a simple question, but solfege was omitted at this stage of the game development for the reasons above, but it can be used in parallel with the game, and we have no official opinion whether to use fixed or movable do, though Don and Delayna tend to use movable do in their class work, as well as Kodaly hand signals, but that is a bit challenging for a parent to master in conjunction with solfege without live feedback and training. Still, perhaps that is a worthy supplement to our videos if parents would like some guidance.

Hope that helps!

Thanks

Chris

[ChrisSalter]

One reason Piano Wizard Academy does not support solfege in the game at this time. (we do use the colors in singing as a kind of easy fixed do solfege)

Chart from Wikipedia article on fixed do systems of solfege

http://en.wikipedia.org/wiki/Solf%C3%A8ge#Fixed_do_solf.C3.A8ge

Note name   Syllable   Pitch class English   Romance   Traditional [15]   5 sharps / 5 flats ][19] Hullah [20] Shearer [21] Siler [22] Sotorrio

C   Do   do   –   duf   daw   du   (pe)   10
C♭   Do♭   –   du   de   do   (tsi)   11
C   Do   do   do   do   da   do   0
C♯   Do♯   di   da   di   de   ga   1
C   Do   –   das   dai   di   (re)   2
D   Re   re   –   raf   raw   ru   (do)   0
D♭   Re♭   ra   ra   ra   ro   ga   1
D   Re   re   re   re   ra   Re   2
D♯   Re♯   ri   ri   ri   re   nu   3
D   Re   –   ris   rai   ri   (mi)   4
E   Mi   mi   –   mef   maw   mu   (re)   2
E♭   Mi♭   me   me   me   mo   nu   3
E   Mi   mi   mi   mi   ma   mi   4
E♯   Mi♯   –   mis   mai   me   (fa)   5
E   Mi   –   mish   –   mi   (jur)   6
F   Fa   fa   –   fof   faw   fu   (nu)   3
F♭   Fa♭   –   fo   fe   fo   (mi)   4
F   Fa   fa   fa   fa   fa   Fa   5
F♯   Fa♯   fi   fe   fi   fe   jur   6
F   Fa   –   fes   fai   fi   (sol)   7
G   Sol   sol   –   sulf   saw   su   (fa)   5
G♭   Sol♭   se   sul   se   so   jur   6
G   Sol   sol   sol   so   sa   sol   7
G♯   Sol♯   si   sal   si   se   ki   8
G   Sol   –   sals   sai   si   (la)   9
A   La   la   –   lof   law   lu   (sol)   7
A♭   La♭   le   lo   le   lo   ki   8
A   La   la   la   la   la   la   9
A♯   La♯   li   le   li   le   pe   10
A   La   –   les   lai   li   (tsi)   11
B   Si   si   –   sef   taw   tu   (la)   9
B♭   Si♭   te   se   te   to   pe   10
B   Si   ti   si   ti   ta   tsi   11
B♯   Si♯   –   sis   tai   te   (do)   0
B   Si   –   sish   –   ti   (ga)   1
A dash ("–") means that the source(s) did not specify a syllable.

[HH]

One reason Piano Wizard Academy does not support solfege in the game at this time. (we do use the colors in singing as a kind of easy fixed do solfege)

Chart from Wikipedia article on fixed do systems of solfege

http://en.wikipedia.org/wiki/Solf%C3%A8ge#Fixed_do_solf.C3.A8ge

Note name   Syllable   Pitch class English   Romance   Traditional [15]   5 sharps / 5 flats ][19] Hullah [20] Shearer [21] Siler [22] Sotorrio

C   Do   do   –   duf   daw   du   (pe)   10
C♭   Do♭   –   du   de   do   (tsi)   11
C   Do   do   do   do   da   do   0
C♯   Do♯   di   da   di   de   ga   1
C   Do   –   das   dai   di   (re)   2
D   Re   re   –   raf   raw   ru   (do)   0
D♭   Re♭   ra   ra   ra   ro   ga   1
D   Re   re   re   re   ra   Re   2
D♯   Re♯   ri   ri   ri   re   nu   3
D   Re   –   ris   rai   ri   (mi)   4
E   Mi   mi   –   mef   maw   mu   (re)   2
E♭   Mi♭   me   me   me   mo   nu   3
E   Mi   mi   mi   mi   ma   mi   4
E♯   Mi♯   –   mis   mai   me   (fa)   5
E   Mi   –   mish   –   mi   (jur)   6
F   Fa   fa   –   fof   faw   fu   (nu)   3
F♭   Fa♭   –   fo   fe   fo   (mi)   4
F   Fa   fa   fa   fa   fa   Fa   5
F♯   Fa♯   fi   fe   fi   fe   jur   6
F   Fa   –   fes   fai   fi   (sol)   7
G   Sol   sol   –   sulf   saw   su   (fa)   5
G♭   Sol♭   se   sul   se   so   jur   6
G   Sol   sol   sol   so   sa   sol   7
G♯   Sol♯   si   sal   si   se   ki   8
G   Sol   –   sals   sai   si   (la)   9
A   La   la   –   lof   law   lu   (sol)   7
A♭   La♭   le   lo   le   lo   ki   8
A   La   la   la   la   la   la   9
A♯   La♯   li   le   li   le   pe   10
A   La   –   les   lai   li   (tsi)   11
B   Si   si   –   sef   taw   tu   (la)   9
B♭   Si♭   te   se   te   to   pe   10
B   Si   ti   si   ti   ta   tsi   11
B♯   Si♯   –   sis   tai   te   (do)   0
B   Si   –   sish   –   ti   (ga)   1
A dash ("–") means that the source(s) did not specify a syllable.

You have no idea what solfeggio is and how to teach it... You even didn't find time to read my article published by Moscow conservatory that I sent to you. How sad...Hope it would end soon: Dark Ages in music education...

[ChrisSalter]

Hellene,

There IS a way to disagree without being disagreeable. I had solfege through Don's work for 4 years, along with Kodaly, and looked at "fixed do" solutions when I sang in a choir in Sao Paulo, Brazil, and felt, and still feel, that it has the same strengths and weaknesses of music notation. In other words, if you leave out the sharps and flats (white keys) it is a simple place to start, but as soon as you begin to sing in other keys with sharps and flats, or modulate, you begin to find the limits of the system, and the confusion begins, in other words, it leads you right into the bushes where people get lost. Also, in the US, solfege names (do, re, mi) are not the primary way to describe the musical alphabet, and we did start here, not in Europe, so we started with what was familiar here. Her question was if we would be supporting solfege in our game, and perhaps I gave a larger than necessary explanation of the challenges of using ANY system of note naming, which is at the heart of the simplicity of our system. We simply don't address it at first. We teach them music. Not the "grammar" of music, or even the names of the notes. Music. Sounds they can play instantly and perfectly. We don't have to teach them the colors, they know that. Only later do we introduce the note names, notation, finger numbers, etc.  Why "note names"? Again, starting in the US we went with the convention here. Just as I can learn the solfege names in a sitting, so can people learn the alphabet system. What I don't have is any sacred attachment to nomenclature, nor am I in any way a musical snob about the "correct" descriptions. These are conventions, like languages, and are either useful or not, clarifying or not. When it comes to music, I am not an aristocrat, I am a peasant with great love and appreciation of music. I am also Irish descent, and we are an irreverent bunch.

The examples in the posts above point to the dizzying array of "names" or ways to describe a scale or note, (and they cite at least 6 total approaches to solfege alone), and we learned them all interchangeably working with Don, because he treated them as spokes of the wheel of the song, the more ways you "knew" the song the better you knew it. Different angles and viewpoints on the same piece of music, some more common, others more clear, all shedding some light on the relationships or tying you back to conventional terms and language. That repetition through variation is at the heart of our programs approach, one variation we left out was the use of solfege, because of the kinds of frankly silly postures some people take on "which" solfege is correct, and we felt it would only confuse at this stage, and least within the game. Our program leverages song very well, but it is not a professional solfege training tool, and we again treat it like a tool, not a be all end all solution, so add as much solfege as you wish, but these are the questions and challenges you will find on that path. These are the kinds of extras we intend to introduce to users through our teleconference bonuses, where they can ask questions live on things that we understand but are outside the scope of the game and the coursework.

I did look at your article and suggest it as a resource to anyone wanting to learn more about solfege, as I would recommend the Wikipedia link I supplied. (I find your comment about the "Dark Ages" funny because that was when solfege started, but I digress. . .)

Once again, I suggest that you share your knowledge and approach in as positive a light as you can, and let it speak on its own merits rather than attack something because it is "not yours" or "different", and assume that is is therefore inferior. It is "different" but that is its appeal, it breaks new ground and defrosts some of the frigid attitudes and practices that have kept us bound for too long.

For example, a different response to my post might have been . . .

"Chris,

I found your posts on solfege very interesting, My experience is that you CAN introduce it very easily, and here are the ways to do that, and the positive effects I found with using that approach . . .. Here is how we use it with SoftMozart, etc., etc., etc."[/i]

In this way you can contribute, instead of demean, be an expert and teacher, instead of , well, whatever this is.

We just disagree on some things, and frankly are in alignment on a lot more than not. Your characterizing our disagreements of approach as somehow dangerous, selfish, greedy, smooth talking are not fair or true. I think our disagreements are INTERESTING and STIMULATING, and we should be passionate, but not mean. Once again, I invite you to speak passionately, clearly, deeply about what you have, and if we discuss different approaches, lets do it with respect and appreciation of someone else who is trying to bring music to the world.

Thanks again,

Chris

[HH]

all what you try to do is to replace real education with gimmick tricks and many words
it could fly with this poor uneducated people, but won't with me
sorry
gimmick is your word

[Lappy]

To our dearest BrillKids Forum members,

First off, I would like to apologize for perhaps being a little too lax and a little too late to reply to these topics - they have been strewn all across our forum, and having such a big community places me at a disadvantage where I am not able to go through each and every new post and sift it with a fine-tooth comb.

But my inability to read through all of your messages doesn't mean I do not care, nor does it mean that I will allow one member - regardless of stature, position, or expertise - to needlessly attack another simply because one views the world as black and white and the other sees it with as many shades of gray as there possibly could be.

By now, you would all know that I am pertaining to the discussions between Hellene of Soft Mozart and Chris of Piano Wizard.

Although I had valued the earlier posts because of their effort to educate those of us here who are not as well-versed in music and teaching music to our children, I'm afraid that the last few exchanges have been unnecessarily acuate.  I use the word "cutting" because although one is free to stress an opinion here in our forum, one must still take extra care to be tolerant of others, whether because of a different idea, a different opinion, or a different point of view coming from a different background or experience.

There is a fine line between writing here in the forum to educate or promote an idea (which we are not against in any way) and cutting down people's idea to say they are completely wrong or ignorant (which I personally am VERY against.)

To those of you who may ask why I am writing this: I feel that these conversations we have been having have CROSSED THIS LINE.

This tone of writing has - and I am speaking for most of the members here - turned off a lot of people, not only to the aforementioned product and way of teaching which one of you have been so adamantly proclaiming is the ONLY TRUE WAY, but also to our community in general.  Many members have written to me about these goings-on, and for the sake of this community which I am administrating, I have no choice but to say something.

And for this, I would like for us to call a temporary truce.  By truce, I mean that I would like to request for the aggressor to please stand down and stop these unnecessary attacks. By aggressor, I mean you Hellene.

Far be it for me to defend just one way of thinking or teaching, it is true that there is a way - A KIND WAY - to talk to and educate people. As we have said before, you are free to talk about your products and educate the people here. But NO, you are not free to attack anyone here just because they think differently.

Please consider this as a SOFT WAY of asking you, Hellene, to please return to talking about your own products and the way your own method works for teaching. Please desist from attacking other people's point of view.  Let the other members decide for themselves what method they will like the best and what methods work for their children. Should I find any other demeaning posts, I will implement a soft ban on your account as a way of sanction.  So as not leave any of our current members "in the desert," this is a way to "teach" even you that actions which cause harm to others should be dealt with. I also believe this is the not the first warning you have ever been given, so i do hope you listen.

To Chris and most especially to all of our members, I have just read through every single post, and again I apologize for not having said anything sooner. 

Please feel free to PM me about your reactions to this post, and I will gladly reply to you to clarify in case there is anything vague about it.

Thank you everyone for your cooperation.  Let's try to keep our forum a happy place to be in and a great place to learn from, free of intolerance, prejudice, and close-mindedness.

[ChrisSalter]

Here is a "grid" view of music, that is the heart of the Piano Wizard Academy technology. This is NOT a screen shot of Piano Wizard Academy, but another manifestation of MIDI technology and how it can illuminate musical elements in different ways. Plus it is an amazing movement from the "Thanksgiving" quartet of Beethoven. You can see the mind of Beethoven in living color, and it is a great starting point to move toward understanding music notation, which is a less intuitive and more obscure way of representing the same music.

<a href="http://www.youtube.com/v/Gxmhpaq6I4E&rel=1" target="_blank">http://www.youtube.com/v/Gxmhpaq6I4E&rel=1</a>

Enjoy!

Thanks

Chris

[ChrisSalter]

For those of you following some of the discussions on Piano Wizard, there is an update to Brillkids Piano Wizard Academy Offer

http://forum.brillkids.com/teaching-your-child-music/how-can-music-dramatically-affect-your-child's-development-and-lifetime-success/msg63964/#msg63964

[LMsMum]

Hello Chris,
I have been unsuccessfully trying to load the demo version of PW over the past couple of weeks. After I leave my details in the grid and choose "PW" out of the list, a new window opens advising me to wait till the game loads. I have now left it to load for about 30 minutes it still shows 0% progress. I tried to leave a query for the support team, but I got an error message, so I thought I would try to contact you here and ask for help. Thank you in advance.

[ChrisSalter]

Dear Mum,

I am not exactly sure what you are trying to do, do you mean update the game? Were you then trying to reach support through the game? In any case, the easiest solution is to email Myko at [email protected], and copy me, at [email protected]. He is back in the saddle after having his first baby, and he will be able to take care of you quickly.

Happy New Year!

Thanks

Chris

[LMsMum]

Thank you very much for getting back so quickly, Chris. Now that my daughter got a keyboard as a Christmas present from her grandparents, I simply would like to try the demo PW on the website to see if my daughter takes to it. Buying the full version of PW would be a VERY big investment for us, and, although I have no doubt it is a great product, I need to make sure my daughter thinks so too.

[ChrisSalter]

Are you referring to the online demo, without the keyboard? You should be able to enter your name and email at www.musicwizard.com and get access to those, but to be honest it will not be like playing the actual game. Manipulating the mouse or typing keys is harder than actually playing the color coded key on a digital piano. I understand the concern, but we offer a 60 day unconditional guarantee, and the full program with the Academy Quickstart DVD alone will give you immediate results that will be undeniable and amazing. You can purchase it without a keyboard and save $100, or more with shipping being less. Also, Don and Delayna's teleconferences will start in January, and you will enjoy that bonus very much, they can guide you through any nuance or questions you may have personally, as they designed the course.

If you want to check out our payment plan, email Mary Menger, our office manager, at [email protected] and she can see if you qualify. Compared to piano lessons, it will be saving you money immediately. So, in other words, while not cheap, it is very economical and effective.

As for the joy of playing and learning alongside your children? Priceless.

Thanks

Chris

[LMsMum]

Thank you, Chris, I did not realise the demo did not require a keyboard. Is there a way to only buy the software?

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