LearnJazzPiano.com archives: Misc Lessons

Bach -- 11/04/2004, 10:38:22 -- #8619

guyyyss

you guys all seem to be so smart about all of this jazz stuff, and i pretty much just play classical, like lots of classical.. it's pretty much my life, even though i'm still a highschool student, i get up at 430 in the morning just to practise, how do you know all this jazz stuff, i'm having such a struggle with it, should i get a jazz teacher, or just continue trying to teach myself

Scot -- 11/04/2004, 15:42:46 -- #8632

Well, I get up at 5:30 to practice classical for a couple hours most mornings :) Sounds like you are fairly accomplished as a classical player.  Do you have a good handle on music theory? If there is a community college in your area that offers college level music theory, it's a great benefit to take those classes.  The classical theory taught will directly apply to jazz. The other thing is that since you are probably fairly advanced at classical, you are ready for a good  book. Do you have that Mark Levine jazz piano book?   Go to the Book Review forum and take a look at what people have said.   In your situation, it might be all you need to get started with all the cool voicings and piano jazz stuff. You'll need to listen to a lot of jazz of course.  Jazz is a language and in order to "speak" the language, play it, you need to understand it. The only way to understand it is to listen to a lot of jazz recordings.

Kai -- 11/05/2004, 01:48:27 -- #8646

I agree with Scot. I found music theory to Grade V (UK) very useful indeed for learning jazz -  in fact, absolutely essential. Finding a good classical teacher is relatively easy compared to finding a GOOD and accessible jazz teacher, at least in the UK.  The Mark Levine Jazz Piano book is an essential tool in your workbox.  Then, learning from the excellent material and recommended resources that are available on this site, together with lots and lots of listening will get you there eventually.

Akram Maximos -- 11/28/2004, 00:26:22 -- #9279

The file named "Quartal Jazz Oiano Voicings" does not open.  Also, files that belongs to Nor's Impov ideas, 2-5-1 vocings and Nor's 2 5 3 6 2 5 progressions do not open as well.

Nor251 -- 11/28/2004, 09:36:25 -- #9285

I'm back !

Well, I no longer have the old files, maybe they got corrupted!!! I only have the new files witch I came to put here! "Quartal Jazz Oiano Voicings" is webpage that will directs you to download the files. Nor.

Nor251 -- 11/28/2004, 09:55:07 -- #9286

I'm back !

Hi there! I'm Nor, sorry for not writing for a while this is because I was very busy with my book witch will be released next year 2005 by Hal Leonard, the book is called, "JAZZOLOGY: The Encyclopeadea of Jazz Theory for all Musicians" it took me so a lot of time, about 315 pages. My recent work is publishing a book about Bebop style, i'm currently writing this 2nd project, but I'll be here to answer your quiries... Have nice day! Nor. (Nor251)

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Scot -- 11/29/2004, 09:02:47 -- #9321

Nor, welcome back! How did you get Hal Leonard to publish your book?

7 -- 11/29/2004, 09:59:54 -- #9323

Nor, Long time no see! Good to have you back!

Nor251 -- 12/04/2004, 10:02:42 -- #9462

Scot, It's a long story! Someday You'll know.. Nor.

Nor251 -- 12/04/2004, 10:08:29 -- #9463

Problems with download files

I'll look if I still have my old files from my old Jazzbank page I made in 2002/2003, say you may have chance to get some files here! I'll alos try to put some experts of my book "JAZZOLOGY". all the best- Nor.

Nor251 -- 12/06/2004, 09:36:18 -- #9507

Simple Jazz Piano Comping

Hi, I just uploaded my "Simple Jazz Piano Comping Part-I" here, Enjoy! Nor.

Nor251 -- 12/06/2004, 09:39:18 -- #9508

problem...

my PDF files are about 212Ko, so Scot's site can't upload them. Scot can you expand the uplaod range to 500 ko? Nor.

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Nor251 -- 12/06/2004, 09:48:19 -- #9509

Re-Making the files.....

-Music paper w/treble and bass cleff   -second set of 2 5 3 6 2 5 progressions by Nor -2 5 3 6 2 5 progressions by Nor -More of Nor's 2-5-1's -Nor's 2-5-1 voicings -Some of Nor's Jazz improv ideas   I just come to notice that these files will never open, well, I will remake them for you.....give me some time :-) Nor.

femi -- 12/11/2004, 01:20:29 -- #9605

hi scot there some lessons in the misc lessons that are damaged i dont know if you can do something about it thanks femi

jazz jasper -- 01/18/2005, 17:09:37 -- #10508

Playing in a Trio!

Hello im planning on setting up a trio with my friends, the only problem is that we cant think of any material.  Also my main concern is that i have no experience of playing in a trio, and i was wondering if anyone could give me any advice in playing in a trio made up of piano drums and bass!(obviously im playing the piano!)  Help please!

7 -- 01/19/2005, 01:33:21 -- #10515

Check the "Top Ten Tunes" area on this site. Here's a direct link: http://www.learnjazzpiano.com/citadel/scotcit.mvc?room_desc=1&intro_off=0&room_id=1080324392&hall_id=1

dharminor -- 01/30/2005, 18:02:21 -- #10826

diminished scale fingering?

Hey can anyone suggest fingering in practicing dininished scales (W,1/2,W,1/2.....) cant find suggested fingering for these scales anywhere was wondering if there is any. thanks

7 -- 02/01/2005, 12:03:03 -- #10882

I like to imagine the diminished scales as a pair of stacked minor tetrachords with a half step between them. Put thumb on root of tetrachord (fingers 2,3,4 follow). Do not be overly concerned about having the thumb on a black key.

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Whacky -- 02/01/2005, 12:14:14 -- #10883

I'll second the minor tetrachord approach   That's how I teach it. However I don't want to start a thumb discussion:)

dharminor -- 02/02/2005, 01:04:03 -- #10899

thanks for the help.

7 -- 02/02/2005, 12:08:02 -- #10912

Diminished Scale Fingerings

I was trying to find my following post the other day, but couldn't. Here is a more "fleshed-out" explanation: * * * * * * * I find that visualizing the diminished scales as stacked minor tetrachords (with a half-step in between) permits me to play black notes with the thumb without stumbling. ~ C minor tetrachord C D Eb F 1 2 3  4 F# minor tetrachord F# G# A B 1  2  3 4 diminished scale C D Eb F   F# G# A B 1 2 3  4   1  2  3 4 ~ Eb minor tetrachord Eb F Gb Ab 1  2 3  4 A minor tetrachord A B C D 1 2 3 4 diminished scale Eb F Gb Ab  A B C D 1  2 3  4   1 2 3 4 ~~ C# minor tetrachord C# D# E F# 1  2  3 4 G minor tetrachord G A Bb C 1 2 3  4 diminished scale C# D# E F#  G A Bb C 1  2  3 4   1 2 3  4 ~ E minor tetrachord E F# G A 1 2  3 4 Bb minor tetrachord Bb C Db Eb 1   2 3  4 diminished scale E F# G A  Bb C Db Eb 1 2  3 4  1  2 3  4 ~~ D minor tetrachord D  E F G 1 2 3 4 G# minor tetrachord G# A# B C# 1  2  3 4 diminished scale D E F G  G# A# B C# 1 2 3 4  1  2  3 4 ~ F minor tetrachord F G Ab Bb 1 2 3  4 B minor tetrachord B C# D E 1 2  3 4 diminished scale F G Ab Bb  B C# D E 1 2 3  4   1 2  3 4 ~~~ There are other ways to finger these scales, of course, but that will depend on the context of the tune you're working with. 7

dharminor -- 02/02/2005, 22:14:44 -- #10936

Thanks so much for going through the trouble. it will be very helpful.

Whacky -- 02/02/2005, 23:07:26 -- #10940

I like this for the C minor and F# minor ones: 2 3  4 1   2 3 4 1 C D Eb F  F# G# A B and for F minor / B minor 1 2 3  4  1  2 3 4 F G Ab Bb B C# D E and this one's a little odd 1 2 3  1 2  3  1 3 G A Bb C C# D# E F#   I"ll have to check my math but I think that covers all of em...

nelito_agulay -- 04/26/2005, 03:53:24 -- #13256

advanced blues

can you post the notes you played in he advanced blues. im a beginner love to play jazz but i dont know how to play those.

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Scot -- 05/01/2005, 11:30:01 -- #13436

Well, I don't really know what the notes are. If you load the midi files into sequencing software like Sonar or sheet music software like Sibelius (free demo at http://www.sibelius.com) you can see what notes are being played, but they will look funny because there is no real timing involved...

bossanovaman -- 05/01/2005, 23:02:40 -- #13453

Improvising

Any ideas for improvising over ALL OF ME?  What is the secret? The changes baffle me to a great deal. Regards, Myron (a guitar player)

Scot -- 05/03/2005, 19:19:06 -- #13507

What kind of stuff are you trying to do when you improvise? If a set of changes is difficult, the easiest way to improvise is to play the melody again. And again. And again. But each time you go through it, change the timing, change a few notes here and there, and make something of your own out of it. Thinking that you have to play a bunch of notes over a bunch of changes isn't very productive when trying to make a nice solo. Be deliberate in your choice of notes, play only what you intend to play, and if the changes are hard, play sparse.  Don't try runs and scales, just play a few key notes. Do you know the tune by heart? Can you play it in 12 keys?  Try learning it in all keys- you WILL start getting the hang of the changes once they are part of your life, and learning it in 12 keys is  a great way of making the tune part of you. Most of the time when someone has trouble over changes it's because they don't know the tune.  I mean, you can always PLAY the tune, but do you KNOW it?   Can you write the melody and changes out on a piece of sheet music paper without listening or looking at the original chart? Do you practice scales that fit over the changes?  Arpeggios?  Can you sing it and play it at the same time? As soon as this tune becomes part of your blood, when you feel it in the beat of your heart, then you won't have much problem playing over it. Then next time these kinds of changes come along, and you'll see  them in other tunes, you'll feel confident that you can play over them the way you want.

SolArt -- 06/11/2005, 08:03:35 -- #14916

Chromatic scale without using common fingering (fingers 1, 2, and 3)

Learn to play the chomatic scale using fingers 3, 4, and 5. It's actually not so bad if you've been playing keys a while. 'Good for your hands.

SolArt -- 06/11/2005, 09:15:11 -- #14921

A Very Interesting Chord

I simply LOVE this chord! We're in the key of "G" & this is the dominant chord after your doodling: L.H. Ab D F# C                R.H. F Bb D F Then resolve to some form of "G" tonic.

Scot -- 06/11/2005, 13:26:48 -- #14937

Can you play that without rolling?  Big hands!  Sounds nice though.

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SolArt -- 06/11/2005, 19:11:50 -- #14966

Response & Keyboard Observations & Exercises

Thanks for the compliment! No, I have to roll that particular major 10th. However I can play eight of those intervals, the E G# and B D# ones being taxing. Depending on which particular M10th some of them partially press down the adjacent key without sounding it. Anyway it works on piano, exnay on organ! My R.H. is more limited. Have y'all ever noticed intervals often do not have the same distance between them? Also I've noticed that the keyboard is pretty much symmetrical. This can be mentally pictured by "butcher-knife-style" placing a mirror on certain places on the keyboard, such as in the middle of the Ab. (For a simple example if you play in the right hand D F# A the left hand mirror-image would be G Bb D, get it?) Anyway it's interesting to check out with wide chords & a good stretching exercise as well. Mainly due to the fact of the wide space between the thumb & digit finger not every voicing can be copied by the other hand (in "regular" normal mode). It's also fun to "reflect" your right hand's doings with your left hand even if it sounds like noise, but after all this is only an exercise & besides your left hand may be jealous!

AKINBRAMZ -- 06/20/2005, 08:00:00 -- #15316

please help

am new and im don't know how to get started,please tell me what to do to improve my playing

jmkarns -- 07/07/2005, 14:23:53 -- #16272

I would start with what you like to play.  Just go over all the material you can get your hands on.  Between the three of you there will be a lot to share.  In my experience, it's not so much the material (that will come).  It's more about learning to listen and play well with others.

Gillie -- 10/21/2005, 16:44:14 -- #20138

Tips on modulating from a minor key t o another minor key

I there somewhere where I can research this.  My searches have resulted in nothing .

SolArt -- 10/21/2005, 17:20:36 -- #20141

How about a simple (in the destination key) iv - V7- i for starters?

7 -- 10/22/2005, 02:13:52 -- #20154

In many turnarounds, the second chord is a diminished 7th. You can use that as a pivot chord to effect a modulation to virtually any other key (major or minor). It works like magic. A typical turnaround consists of 4 chords spread over 2 bars: Bar 1 - beats 1 & 2: The tonic chord Bar 1 - beats 3 & 4: some diminished 7th chord Bar 2 - beats 1 & 2: the ii of the tonality you are gravitating towards Bar 2 - beats 3 & 4: the V7 of the tonality  you are gravitating towards Example 1: C minor returning to C minor | Cm C#dim7 | DØ7 G7#5 | Example 2: C minor modulating to Gb minor: | Cm C#dim7 | AbØ7 Db7#5 | I just picked Gb minor because it's about as far away from C  minor as you can get. Also it's possible to use a Cdim7 or a Bdim7 for the second chord, it's amazing how many permutations of this you can get away with and still have a completely smooth transition. The reason you can use virtually any  of the three diminished 7th chords as the pivot is because it is used as a tension passing chord that immediately resolves. Fool around with this until you get a combination that pleases your ear. Some combinations will be more pleasant than  others depending on what your target tonality is. Another type of chord that can be used succesfully for the second "pivot chord" is some kind of VI of the target tonality (if you get my drift).

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Gillie -- 10/22/2005, 10:40:10 -- #20164

SolArt - As you say that's a start. 7 I'm getting on with this and coming up with some pleasant surprises.  I'll let you know how I get on. Thank you both.

Gillie -- 10/22/2005, 15:23:02 -- #20174

Hi 7 I rather rashly asked my fellow players if we could play 3 of our tunes (beginning with A) and modulate to at least one other key and back again.  So, for the first time,  I had to do the following: All of Me in C and F Angel Eyes in Dm and Cm Autumn Leaves in Gm and Em All of Me I found fairly straightforward, so it was the minor keys that gave me problems, hence my posting and your response. After gratefully reading your response and trying a few things – tho’ I have a lot more ‘playing around’ to do with these ideas -  I came up with the following but have a question please. And a further question – Are there rules about ascending/descending? My problem seems to be that I don’t know or have forgotten this theory and don’t seem able to find it explained in a straightforward way. When you refer to the second “pivot chord” in your last sentence, do you mean the ’ii of the tonality that I want to gravitate towards’ can be a six chord of that key? Angel Eyes  Cm  Dm Bar 1 beats 1 and 2  Cm   Bar 2 beats 3 and 4 F#o Bar 3 beats 1 and 2 Eo  (or a B chord?) Bar 4 beats 3 and 4 A7 Angel Eyes  Dm  Cm Bar 1 beats 1 and 2  Dm   Bar 2 beats 3 and 4 Go Bar 3 beats 1 and 2 Do  (or an A chord?) Bar 4 beats 3 and 4 G7 Autumn Leaves  Em to Gm Bar 1 beats 1 and 2  Em   Bar 2 beats 3 and 4 F#o   Bar 3 beats 1 and 2  Am  (or an Eb chord?)Bar 4 beats 3 and 4 D7 Autumn Leaves  Gm to Em Bar 1 beats 1 and 2  Gm   Bar 2 beats 3 and 4  C#o Bar 3 beats 1 and 2   F#m (or a C chord?) Bar 4 beats 3 and 4 B7 Please criticise  - It’s the only way I’ll learn this. Tks again.

7 -- 10/22/2005, 16:41:37 -- #20178

What I meant was that the second chord in the progression (Bar 1 - beats 3 & 4) could be some kind of VI (instead of a diminished chord). So you'd end up with the following root movement (X indicates original tonic - Y indicates new tonic):   / /   /  /        /  /       /   / | X   "VI of Y" | "II of Y"  "V of Y" | Y  ... Angel Eyes  Cm  Dm Bar 1 beats 1 and 2  Cm   Bar 1 beats 3 and 4 F#o  (or some B chord) Bar 2 beats 1 and 2 EØ Bar 2 beats 3 and 4 A7 Angel Eyes  Dm  Cm Bar 1 beats 1 and 2  Dm   Bar 1 beats 3 and 4 Go  (or some A chord) Bar 2 beats 1 and 2 DØ Bar 2 beats 3 and 4 G7 Autumn Leaves  Em to Gm Bar 1 beats 1 and 2  Em   Bar 1 beats 3 and 4  F#o  (or some Eb chord)   Bar 2 beats 1 and 2  Am Bar 2 beats 3 and 4  D7 Autumn Leaves  Gm to Em Bar 1 beats 1 and 2  Gm   Bar 1 beats  3 and 4  C#o (or some C# chord) Bar 2 beats 1 and 2  F#m Bar 2 beats 3 and 4  B7

7 -- 10/22/2005, 18:24:22 -- #20183

I wanted to mention a couple of other things about modulations: 1. Generally modulations go UP. That increases the energy level and put more "ooomph" into the arrangement. 2. When the modulations occur generally they only go up a half-step or a whole step ESPECIALLY when a singer is involved. It's just plain difficult for the singer to go up TOO high for obvious reasons. 3. Often a modulation up a half-step or up a whole step will JUST SIMPLY GO THERE. IOW, you're finished playing a verse and the next verse simply starts in the new key. So there are a couple of more tricks for you to check out...

Gillie -- 10/23/2005, 15:48:43 -- #20217

OIC – now I get it. Thank you very much for your help.  It has saved me a lot of time. I didn’t understand quite a bit of ‘modulating’ or had forgotten a lot of it and you have helped me to ‘fill the gaps’.  I had this idea that modulations generally went up a fourth or fifth.  I discovered that this is generally the case in classical music and that explained to myself (classical background) why I became confused in the first instance. I had totally overlooked key relationships/cycle of fourths etc. Doh! I have heard bands in jam sessions jump to another key and I hadn’t listened to which key they jumped.  Had I done so, I probably would have realised that they favour such patterns as whole/half step modulations and generally ascend rather than descend. I had not listened (with my ears sufficiently open) to singers change key. Neither had I read up enough of, firstly, looking for common chords and, secondly, choosing common tones and then going to the dominant seventh chord of the target key. Finally, as is always the case, I did find an article, complete with exercises, on modulation from a book by Gail Smith called “Complete Book of Modulations for the Pianist”.  This was very useful too.  It was on a “Creative Keyboard” site if anyone else is interested.

7 -- 10/23/2005, 17:58:28 -- #20225

Put up the link. And thanks for the thanks!

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Gillie -- 10/24/2005, 02:49:54 -- #20232

ok here it is: http://www.melbay.com/creativekeyboard/oct02/modulations.html and comping styles that someone was after: http://www.melbay.com/creativekeyboard/apr04/comping.html

indialogue -- 11/23/2005, 21:04:41 -- #21415

Question about Chords

I was a professional musician several years ago and am just getting back into my music.  I am great at playing by ear...thus I slacked off on some of the theory.  I want to understand the progression of chords used in jazz piano music, but am not sure where to start.  I just ordered "The Jazz Theory Book" and hope that will explain things.  I just want to be able to achieve the beautiful sounds I hear on recordings.  I know what I want a song to sound like, I just can't figure out how to get there.  Lot of trial-and-error.  There has to be a "method to the madness."  Do you think lessons are necessary?  Or does anyone have other suggestions.

albetan -- 11/27/2005, 16:22:23 -- #21554

Please see files at Albetan's area: Chord progressions, Substitute chords, Basic Jazz chords.

the fingers -- 01/23/2006, 18:15:32 -- #23392

erroll garner question

how do you get the erroll garner sound? especially his fast descending right hand chords?

SolArt -- 01/24/2006, 05:00:50 -- #23399

See the Erroll Garner thread in The Piano Lounge.

miles124 -- 03/05/2006, 18:51:55 -- #24877

slash chords...how to make interesting....

hi!...I have some tunes I'm gonna record with some dudes... ..one tune is in Ab:   Gb/Eb 2bars, Db/Eb 2 bars, F/Eb 4 bars ...what kind of stuff could work on this?...I know the first one--Gb/Eb is basically Ebminor, and I guess the second one could be called Eb sus (you shouldn't play the C here??)...I'm wondering about stuff that would integrate well over these changes...are there some pentatonics that would work??.. Thanx!

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animesis -- 03/15/2006, 14:33:45 -- #25224

Where to Start

Hi, I want to learn Jazz piano but I have absolutely no idea where to start! I was thinking of getting some Jazz books, like Theory books and listening to Jazz music.. am I thinking along the right lines. Im an accomplished Classical Pianist, 10 years now. Classical I find simple, but this Jazz... Please Help me Out!

Hush -- 03/22/2006, 12:30:54 -- #25461

Hi animesis, I can tell you to go to Albertan´s Area there you will find a lot of usefull information. Check out all the "lessons" rooms.

mynstrol -- 04/01/2006, 13:56:35 -- #25931

glisses

Hi, Can someone tell me the proper technique of the gliss...and what keys can we use this technique in?  what note would you start on and end on?!  thanks!

SultanLastDay -- 04/10/2006, 05:17:15 -- #26262

the use of quartals

Please may i know some of the applications of quartals? I must confess that my piano skills has largely improved after visiting your site on a few occations. Riverson fron Ghana. riveagle@yahoo.co.uk

7 -- 04/10/2006, 11:46:31 -- #26270

Visit the "Quartals" room.

albetan -- 04/30/2006, 19:31:10 -- #26908

Pleaso go to Search LJP Write: quartal selecting files

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Easytime -- 05/20/2006, 16:51:18 -- #27337

I want to thank the organisers of this website - posting free materials for we the learners. But I have a problem. I want to begin learning jazz music (both writings and playings), but I don't know how to start. Please help me out. Thanks Eyo Eyo Nigeria.

7 -- 05/20/2006, 18:25:24 -- #27338

Start Here: http://www.learnjazzpiano.com/citadel/scotcit.mvc?room_desc=1&intro_off=0&room_id=1074922438&hall_id=1074921458 There is also a wealth of tools for the beginner over in "Albetan's Area". If you have specific questions/issues post them in the main forum called the "Piano Lounge".

wdennissorrell -- 05/21/2006, 09:39:45 -- #27357

Read everything that you can here. Albetan's area is especially rich for novices, but neglect none of the rooms. Even if you don't understand a concept completely, it will improve your understanding. Also 7 has an excellent room, but his personal site http://jeffrey-brent.com/ has a ton of excellent materials and examples. Peace out!

7 -- 05/21/2006, 11:47:28 -- #27360

Actually the jeffrey-brent.com is my teaching business site. I think you wanted to refer to my main site http://Jeff-Brent.com Go to "lessons"

dough-re-mi -- 10/19/2006, 14:19:47 -- #30556

I am not finding any files to download in the lessons room

I get a "file not found" error when I click on the link. Are they no longer available?

7 -- 10/20/2006, 12:12:03 -- #30568

I tried a couple of files and got an error message too.

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fingalight -- 10/27/2006, 04:18:08 -- #30736

LIst files

try to access the files thru the "list files" from the above links.....and make sure u have the necessary accesories installed on your system....acrobat reader for the PDF files

geeman -- 08/21/2007, 06:27:47 -- #36496

Some of Nors  files are not working.

Scot -- 08/21/2007, 18:36:31 -- #36505

Not downloading or just corrupt files?

geeman -- 08/22/2007, 10:15:57 -- #36517

corrupt files

Scot -- 08/22/2007, 11:33:52 -- #36524

Unfortunately, nothing I can do about that.  If I recall, some of them were corrupt back when they were uploaded.

geeman -- 09/03/2007, 04:31:39 -- #36770

Damaged files

Files listed below may be damaged they won't open. S ome of Nor's Jazz improv ideas Some of Nor's Jazz improv ideas More of Nor's 2-5-1's 2 5 3 6 2 5 progressions by Nor second set of 2 5 3 6 2 5 progressions by Nor Thank you

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olasemi -- 09/09/2007, 12:34:06 -- #36940

horns lines in jazz

Just want to know more abour horns lines in jazz

barleng -- 09/23/2007, 13:35:02 -- #37233

drop 2 chords

any one explain what are drop 2 chords, or have I got the context wrong

Scot -- 09/26/2007, 13:18:25 -- #37275

Drop two is a term used to describe a certain type of voicing that is used a lot in big band arranging as well as solo jazz piano playing. The idea is to spread out a harmony.  Here's a basic example. Take a basic C7 chord: C E G Bb Now take the G (second note from the top) and move it down an octave: G C E Bb You just turned the basic C7 chord into a drop two C7 chord. I didn't know the terminology until a couple years ago (seriously!) but I knew the concept because it's something I use for the simple reason that sometimes it just sounds better to spread the voicing out, and the drop 2 scenario seems to do it just right much of the time.

jim555 -- 03/03/2008, 16:55:27 -- #40562

PROBLEM WITH FILE DOWNLOAD

Hi Just joined as a new member - Fantastic site, however I cannot download any of your files - trying to download some exercises - download happens very quickly however no picture/image - nothing - what do i need to do Jim555 Australia

Scot -- 03/09/2008, 11:23:15 -- #40659

Click on the "list files" link under the room name.

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