Roland Musical Instrument MTLC 16 User Guide

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MTLC-16  
Music Tutor Lab Controller  
Owner’s Manual  
and User’s Guide  
Copyright © 2001 ROLAND CORPORATION  
All rights reserved. No part of this publication may be reproduced in any form without  
the written permission of ROLAND CORPORATION.  
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MTLC-16 Features  
What Is It?  
The MTLC-16 is an integrated stereo hardware/software lab teaching system that includes animated music notation, an  
electronic gradebook, and drag ‘n’ drop classroom management tools. It consists of several integrated components.  
The MTLC-16 is a “break-out” product for group piano teaching. It features stereo sound, computerized record-keep-  
ing, and most important—visual display of all music lessons and literature. The MTLC-16 provides research-class tech-  
nology to tutor music reading skills. Improved reading skills—long an elusive goal—are not only possible, but readily  
attainable for all students, especially those needing remediation.  
This technology-enhanced learning can continue beyond the classroom door. The visual core of the MTLC-16 is avail-  
able for student purchase. Imagine the progress possible when students have this visual tutor guiding them wherever  
they practice. Check with your local Roland dealer or your college/university bookstore.  
Stereo Music Lab Communication Console  
• Communicate with up to 16 students in stereo, expandable to 32 students  
• Set-up easily using supplied connectors, cables, and headsets  
• Drill students alone, in groups, or in pairs  
• Create up to four separate student groups  
• Record student performances to an optional cassette or CD player/recorder  
Virtual Lab Controller and Classroom Manager  
• Control all MTLC-16 functions from a PC  
• Use preset or user-created classroom configurations  
• Monitor classroom rosters and grades via computer  
• Instantly recall student groupings and communication settings  
Visual Music Tutor  
• Enhance group lessons with SMF disk playback and visual notation display  
• Provide interactive music tutorials  
• Record, printout and assess student performances  
Virtual Sound Canvas, a GS software synthesizer  
• Provide orchestrated accompaniments from 902 instrument sounds (including 26 drum kits)  
• Upgrade the built-in wave-table synthesizer so SMF arrangements sound more musical on your PC  
Comprehensive Group Teaching Tool  
• Begin group teaching immediately by following the “Survivor’s Guide to the MTLC-16”  
• Understand and apply several innovative group teaching technologies by reading the comprehensive  
owner’s manual  
• Learn more about group teaching through the Annotated Bibliography of Group Teaching  
Expandable Music Lab Controller  
• Communicate with up 32 students in stereo by combining two MTLC-16 lab controllers  
• Reinforce musical concepts by adding an overhead TV-monitor (S-Video), a flat-panel LCD,  
or a gas-plasma screen  
• Capture student or teacher performances via MIDI by adding a USB-equipped MIDI interface  
• Experience hands-free teaching by adding a wireless mouse and/or headset  
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MTLC-16 Features  
What Is Included?  
The MTLC-16 Music Tutor Lab Controller is accompanied by a complete package of hardware, software, cables, and  
headphone/microphones, and comprehensive print materials—everything you need, whether you are a veteran group  
piano pedagogue, or a college/university teaching assistant conducting your very first class. Particularly important are  
the print materials, written by experienced keyboard educators. Included are the Owner’s Manual with step-by-step  
instructions, an annotated bibliography of books and articles on group keyboard teaching, and a “Survivor’s Guide” to  
help master the few technology components.  
Hardware  
Qty.  
MTLC-16 Lab Communication Console .........................................................................................................(1)  
MTLC-16 AC Adapter .......................................................................................................................................(1)  
MTLC-1 Student Communication Boxes........................................................................................................(16)  
RJ-45 Cables .......................................................................................................................................................(16)  
Stereo headsets with built-in Microphone ....................................................................................................(17)  
1/4” to 1/4” Stereo Audio Cable .....................................................................................................................(1)  
9-Pin Din Serial Computer Connector ............................................................................................................(1)  
Software  
Qty.  
Installation CD ....................................................................................................................................................(1)  
including:  
Virtual MTLC-16 Lab Communication Package  
V-MT1 Visual Music Tutor  
VSC-88H Virtual Sound Canvas, v. 3.01  
Printed Materials  
Qty.  
MTLC-16 Lab Communication Console Owner’s Manual ..........................................................................(1)  
V-MT1 Visual Music Tutor Owner’s Manual..................................................................................................(1)  
VSC-88H Visual Sound Canvas Owner’s Manual ........................................................................................(1)  
MTLC-16 QuickStart “Survivor’s Guide” ......................................................................................................(1)  
Current Software Catalog ..................................................................................................................................(1)  
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MTLC-16 Features  
What Are the Options?  
There are several options to optimize your teaching lab. You may use standard recording technologies like cassette and  
CD-players, or add a hard-disk recorder for even more advanced functions.  
However, while the Monitor section below lists options, please consider the visual monitors carefully—since students  
will be following these visual displays very closely in each class. Whether you select an S-video TV monitor, sleek LCD  
panels, a large gas plasma display, or an “In Focus” projector, size and image quality are extremely important—you  
may want to splurge a bit. Also listed as an option, the USB-to-MIDI interface, is another must-have. This connector uti-  
lizes the graphic displays in the “Rehearsal Window,” as well as enabling in-class recording. The USB has rapidly  
become the standard interface; it is both inexpensive and easily installed.  
External Audio Player/Recorder  
Cassette Player/Recorder  
CD Player/Recorder  
Hard-Disk Player/Recorder.  
Visual Monitor(s)  
TV(s) (S-Video)  
PC VGA Monitor(s)  
LCD Panel(s)  
Gas Plasma Screen(s)  
Audio Monitor(s)  
Speaker(s) (preferably wall mounted)  
Amplifier(s) (one per speaker)  
USB MIDI Interface  
MIDI Sport 2x2 (www.midiman.com)  
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Contents  
Educators Foreword .....................................................................................1  
MTLC-16 Features..........................................................................................2  
What Is It?....................................................................................................................................................................2  
What Is Included?.......................................................................................................................................................3  
What Are the Options? ..............................................................................................................................................4  
Table of Contents...........................................................................................5  
Names of Things and What They Do..............................................................6  
Music Lab Installation Guide..........................................................................8  
Music Lab Installation ...............................................................................................................................................8  
MTLC-16 Installation ................................................................................................................................................9  
Test Components .....................................................................................................................................................10  
Chapter 1–The Visual Music Tutor Advantage...............................................12  
Developing Solid Reading Skills............................................................................................................................12  
Putting the Visual Tutor to Work ...........................................................................................................................12  
Making Reading More Successful–A Few Tips....................................................................................................13  
PREVIEW playing .........................................................................................................................................13  
SLOW playing................................................................................................................................................13  
OUTLINE playing—selectively reading the entire score while the SMF is playing............................13  
SHADOW playing—“air play” reading of the piece while the SMF is playing...................................13  
PARALLEL SIGHTREADING methods—The Best Readers are Frequent Readers............................14  
Chapter 2–Surviving Your First Class............................................................15  
Survival Checklist–Before the Class ......................................................................................................................15  
The Class....................................................................................................................................................................16  
Chapter 3–Operating the MTLC-16 ...............................................................19  
Chapter 4–Operating the Virtual MTLC-16....................................................27  
Virtual Lab Control ..................................................................................................................................................27  
Classroom Management..........................................................................................................................................30  
Gradebook .................................................................................................................................................................31  
Hardware Detection.................................................................................................................................................32  
Chapter 5–Operating the V-MT1 (Visual Music Tutor)....................................33  
Annotated Group Teaching Bibliography .....................................................36  
Articles .......................................................................................................................................................................36  
Books ..........................................................................................................................................................................38  
Dissertations and Theses.........................................................................................................................................41  
Additional References..............................................................................................................................................42  
Appendix....................................................................................................43  
Installing the USB MIDISport Interface ................................................................................................................43  
Warranty ....................................................................................................................................................................45  
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Names of Things and What They Do  
students can listen to, talk to, and play for (or along with)  
the other selected students (page 21).  
1 [Tape In] Button  
Broadcasts audio from any external audio source (e.g.  
tape player, CD player, or rhythm machine) to all head-  
phones. When this button is engaged, each student can  
listen to and play along with the audio material. Pressing  
this button cancels the “Aux In” button (page 24).  
5 Student [1-16] Buttons  
Establish two-way communication between teacher and  
student(s). When one (or several) of these buttons is  
engaged, the selected student(s) can listen to, talk to, and  
play for (or along with) the teacher. The “Mic” button  
must be engaged to activate the teacher’s microphone  
(page 20).  
2 [Aux In] Button  
Broadcasts audio from any external audio source (e.g.  
tape player, CD player, or rhythm machine) to all head-  
phones. When this button is engaged, each student can  
listen to and play along with the audio material. Pressing  
this button cancels the “Tape In” button (page 24).  
6 [All] Button  
Establishes one-way communication between teacher and  
students. When this button is engaged, all students can  
listen to and play for (or along with) the teacher. Students  
will not hear other students keyboards and microphones.  
The “Mic” button must be engaged to activate the teacher  
microphone (page 23).  
3 [Pairs] Button  
Connects adjacent students (i.e. Student “1” with Student  
“2”, Student “3” with Student “4”, etc.) for duet-style  
practicing. When this button is engaged, adjacent stu-  
dents can listen to, talk to, and play along with their part-  
ner (page 22).  
7 [Group Comm A, B, C, D] Buttons  
Establish two-way communication between teacher and  
students in a selected group. When one (or several) of  
these buttons is engaged, the selected student group(s)  
can listen to, talk to, and play for (or along with) the  
teacher. The “Mic” button must be engaged to activate the  
4 [Group Assign A, B, C, D] Buttons  
Connect selected students for group-style practicing.  
When one of these buttons (i.e. A, B, C, or D) is held down  
and student number buttons are engaged, the selected  
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Names of Things and What They Do  
teacher’s microphone (page 21).  
17 [Power Jack]  
Connects the MTLC-16 to the supplied AC power adapter.  
8 [Mute] Button  
Silences all student instruments. When this button is  
engaged, students can only listen to the teacher’s instru-  
ment and microphone, or external audio material via  
“Tape In” or “Aux In” (page 25).  
18 [Mon. Out] Jacks  
Connect the MTLC-16 to an external speaker system (e.g.  
stereo power-amp with speakers) (page 10).  
19 [Rec. Out] Jacks  
Connect the MTLC-16 to an external stereo recording  
device (e.g. tape recorder, CD recorder, or hard disk  
recorder) (page 10).  
9 [Mic] Button  
Activates the teacher’s microphone. When this button is  
engaged, the selected student(s) or group(s) can listen to  
the teacher’s microphone (page 20).  
20 [Aux. In]/[Tape In] Jacks  
10 [Student Broadcast] Button  
Connect the MTLC-16 to external stereo audio sources  
(e.g. tape player, CD player, or rhythm machine) (page  
10).  
Broadcasts two-way communication between teacher and  
selected student(s) to all headphones. When this button is  
engaged, selected student(s) can listen to, talk to, and play  
for (or along with) the teacher while the remaining stu-  
dents listen (page 23).  
21 [Teacher Instrument] Jacks  
Connect the MTLC-16 to the teacher’s instrument. (page  
9).  
11 [Phones] Slider  
Adjusts the teacher’s headphones level. Slide the slider  
towards the top of the MTLC-16 to increase the level and  
slide the slider towards the bottom of the MTLC-16 to  
decrease the level (page 19).  
22 [To Slave] Connector  
Connects the MTLC-16 (“Master”) to another MTLC-16  
(“Slave”) for a total of 32 student stations (page 10).  
23 [To Computer] Connector  
12 [Inst] Slider  
Connects the MTLC-16 to a computer. When a computer  
is connected to the “To Computer” connector, all of the  
MTLC-16’s buttons can be controlled via computer (page  
10).  
Adjusts the teacher’s instrument level. Slide the slider  
towards the top of the MTLC-16 to increase the level and  
slide the slider towards the bottom of the MTLC-16 to  
decrease the level (page 19).  
24 Student Instrument [1-16] Connectors  
13 [Mic] Slider  
Connect the MTLC-16 to all student stations via RJ-45  
cables and MTLC-1 Student Connector Boxes (page 9).  
Adjusts the teacher’s microphone level. Slide the slider  
towards the top of the MTLC-16 to increase the level and  
slide the slider towards the bottom of the MTLC-16 to  
decrease the level (page 19).  
25 [Master On/Off] Switch  
Toggles between “Master” and “Slave” status. When this  
button is engaged, the MTLC-16 functions as the “Master”  
communication console. When this button is not  
engaged, the MTLC-16 functions as the “Slave” communi-  
cation console (page 10).  
14 [Tape In/Aux In] Slider  
Adjusts the “Tape In” and “Aux In” levels. Slide the slid-  
er towards the top of the MTLC-16 to increase the level  
and slide the slider towards the bottom of the MTLC-16 to  
decrease the level (page 24).  
26 [To Expander] Connector  
Connects the MTLC-16 to another MTLC-16 for a total of  
32 student stations (page 10).  
15 [Mon. Out] Slider  
Adjusts the MTLC-16’s monitor output level. Slide the  
slider towards the top of the MTLC-16 to increase the  
level and slide the slider towards the bottom of the  
MTLC-16 to decrease the level. This slider is only active  
when an external recording device and/or an external  
speaker system is connected to the MTLC-16 via the “Rec.  
Out” and “Mon. Out” jacks respectively (page 25-26).  
27 [Teacher] Headset Jacks  
Connect the teacher’s headset microphone (blue plug) and  
teacher’s headset stereo phones (black plug).  
16 [Power Switch]  
Turns the MTLC-16 on and off.  
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Music Lab Installation Guide  
Music Lab Installation  
Room Preparation  
When preparing a music teaching lab, there are many factors to consider. For example, the size and shape of the room,  
the availability of lighting and power outlets, as well as a room’s ventilation and temperature control need to be  
addressed. Please consider the following physical and electrical requirements before installing your music teaching lab.  
Physical Space Requirements  
Make sure there is sufficient space for all musical instruments, hardware, benches, and students. Full-size, free-  
standing keyboards (88-keys) require 22 square feet (including a bench and space for the student.) “Slab” key-  
boards (less than 88 keys) may require much less space.  
Create an effective floor plan that ensures a clear “line-of-sight” from all student keyboards to the teacher. While  
this is not always possible due to the constraints of a given room, it is a good ideal.  
Include a large desk or table next to the teacher keyboard if possible. This provides the teacher easy access to the  
communication console and/or the computer.  
Be sure that there is adequate space behind the teacher station. This allows the teacher to move easily from the  
teacher station to the student stations.  
Shade music lab windows to regulate sunlight. Avoid bright or direct sunlight in the lab, because heat generated  
by sunlight can overheat the Communication Console. Room temperature should not exceed 85 degrees during  
normal use. The ideal physical space will allow for regulated temperature and humidity.  
Use anti-static, or static-resistant, carpet on the floors whenever possible to lower the noise-level in your lab.  
Electrical Requirements  
Once the floor plan is defined, determine the number of electrical outlets and power strips needed to supply  
power to all devices. Isolate the MTLC-16 Communication Console from devices such as computers or lights by  
plugging the devices into separate 120v wall plug receptacles. Plugging computers or rheostatic lights into the  
same receptacle as the MTLC-16 could cause disturbing noise and hum during operation. Use only the supplied  
A/C power adapter; using other A/C adapters can damage the unit and void the warranty.  
Use surge protectors on all electronic equipment in the music lab. This includes the MTLC-16 Lab Controller, the  
teacher’s instrument and computer, the student keyboards, and all external audio devices. Check the voltage and  
amperage requirements for the equipment being installed and consult with building engineering staff regarding  
the level of required electrical service needed.  
Set the main power switch of the Music Tutor Lab Controller to the “Off” or “Out” position before connecting the  
A/C power adapter to a 120v wall plug receptacle. Use only the A/C power adapter supplied with the Music  
Tutor Lab Controller; using other A/C adapters can damage the unit and void the warranty.  
For further protection against electrical surge damage, disconnect all A/C power adapters from the wall plug  
receptacle during school vacations or summer breaks.  
Equipment Checklist  
The MTLC-16 includes all of the components needed to connect up to (16) student instruments and (1) teacher instru-  
ment. It also includes all of the software needed to control the communication console via computer, to provide visual-  
ized learning tools, and to keep track of class rosters and grades. Before installing the MTLC-16, be sure you have the  
following components:  
Hardware  
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Music Lab Installation Guide  
MTLC-16 Lab Communication Console .........................................................................................................(1)  
MTLC-16 AC Adapter .......................................................................................................................................(1)  
MTLC-1 Student Communication Boxes........................................................................................................(16)  
RJ-45 Telephone-Type Connectors...................................................................................................................(16)  
Headsets with built-in Microphone ................................................................................................................(17)  
1/4” to 1/4” stereo audio cable .......................................................................................................................(1)  
9-Pin Din Serial Computer Connector ............................................................................................................(1)  
Software  
Installation CD ....................................................................................................................................................(1)  
including:  
VMTLC-16 Virtual Music Tutor Lab Controller software  
V-MT1 Visual Music Tutor software  
VSC-88H Virtual Sound Canvas software  
Printed Materials  
MTLC-16 Music Tutor Lab Controller Owner’s Manual ..............................................................................(1)  
V-MT1 Visual Music Tutor Owner’s Manual .................................................................................................(1)  
VSC-88H Visual Sound Canvas Owner’s Manual ........................................................................................(1)  
MTLC-16 QuickStart or “Survivor’s Guide” ..................................................................................................(1)  
Current Software Catalog .................................................................................................................................(1)  
MTLC-16 Installation  
Set Up the Music Lab  
Place the teacher’s instrument in the front and center of the lab.  
Place the Music Tutor Lab Controller(s) (MTLC-16), computer (if used), and external playback/recording devices  
(if used) on a table next to the teacher’s instrument.  
Place student instruments in rows facing the teacher’s instrument (row configuration is optional). Allow extra  
space behind each instrument for instructional purposes.  
Place audio monitor(s) (if used) to the side of the teacher’s instrument facing the student instruments.  
Place the visual monitor(s) (if used) on a podium or wall mount near the teacher’s station facing the student  
instruments.  
Connect all devices to an AC power strip as described in “Electrical Requirements” above.  
Connect Cables  
Place one student communication box on each student instrument and insert the attached 1/4” plug into the head-  
phone jack of each student instrument as you proceed with the installation.  
Number the student communication boxes (MTLC-1) “1” – ”16.”  
Connect each student communication box to the corresponding numbered outputs on the MTLC-16 using the sup-  
plied RJ-45 cables.  
Connect the headphone jack on the teacher’s instrument to the “Teacher Instrument Left/Stereo” jack on the  
MTLC-16 using the supplied TRS (tip-ring-sleeve) cable.  
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Music Lab Installation Guide  
Set the “Master On/Off” button on the MTLC-16 to the “On” (“Master”) position.  
Connect the optional computer to the “To Computer” jack on the MTLC-16 using the supplied 9-pin serial cable. If  
sound from the computer (i.e. SMF playback) needs to be broadcast to the class, connect the computer’s head-  
phone output to the “Aux. In” jack on the MTLC-16 using the appropriate cable (e.g. 1/8” to RCA cable.)  
Connect the 9-pin “To Computer” jack on the optional second MTLC-16 to the 9-pin “To Slave” jack on the first  
MTLC-16. Set the “Master On/Off” button on the second MTLC-16 to the “Off” (“Slave”) position. Connect the  
“To Expander” jack on the second MTLC-16 to the “To Expander” jack on the first MTLC-16 using a supplied  
RJ-45 cable.  
Connect the “Output L/R” jacks on the optional external playback/recording device to the “Tape In” jacks on the  
MTLC-16. Connect the “Input L/R” jacks on the playback/recording device to the “Rec. Out” jacks on the MTLC-  
16.  
Connect the Left and Right inputs on the optional external audio monitors to the “Mon. Out” jacks on the MTLC-  
16.  
Connect the optional audio monitor(s) to the “Mon. Out” jacks on the MTLC-16 using the appropriate cable(s) (e.g.  
RCA to 1/4”.)  
Connect the optional visual monitor(s) to the monitor out jack on the computer using the cable(s) suggested in the  
computer and/or monitor’s manual.  
Connect a headset to each student communication box, as well as to the MTLC-16 (the jacks are on the left side of  
the MTLC-16.) Make sure both the “Mic” and “Phones” plugs are inserted.  
Install Software  
Power up your Windows® computer; if it is already powered up, please make certain to close all programs, so  
none are running during the install procedure.  
Disable your computer's virus-protection software  
Insert the self-installing MTLC-16 CD-ROM into the tray of your computer's CD-ROM drive  
Wait until the auto-run program begins to run; it will bring you to the Installation Wizard.  
Follow the prompts; at the end of the process, you will be asked to restart the computer.  
Restart the computer; it is now ready to be used with your MTLC-16 Music Tutor Lab Controller  
At this point, you may want create shortcuts on your desktop, so you can quickly open the programs. It is recommend-  
ed that you create a shortcut for the MTLC-16 program wherever it is most convenient for you: the Start Menu, the Task  
Bar, or the Desktop itself. You will not need one for either the Visual Music Tutor (V-MT1) or the Virtual Sound Canvas  
(VSC-88), because these programs are automatically activated from within the MTLC-16 controller software.  
Test Components  
After all music lab equipment is placed, the cables are connected, and the software is installed, test each music lab com-  
ponent using the following procedure.  
Power Up All Music Lab Components  
Student Instruments  
Teacher’s Instrument  
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Music Lab Installation Guide  
External Playback/Recording Device(s)  
Visual Monitor(s)  
Computer  
MTLC-16  
Audio Monitor(s)  
Test the Teachers Station  
A) Set the output level on the teacher’s instrument to maximum (this gives the best signal-to-noise response.)  
B) Set the “Mic”, “Inst”, and “Phones” sliders on the MTLC-16 to their maximum setting.  
C) Put on the teacher’s headset and play a few notes on the teacher’s instrument. You should hear what you are  
playing. If you do not hear anything, check the teacher’s instrument and teacher’s headset connections.  
D) Press the “Mic” button on the MTLC-16 and say something. You should hear what you are saying. If you do  
not hear anything, check the teacher’s headset connections.  
Test Student Stations  
A) Press the “All” button on the MTLC-16.  
B) Play a few notes on the teacher’s instrument while an assistant listens at student station #1. The assistant  
should hear what you are playing. If the assistant does not hear anything, check the student communication  
box to MTLC-16 “1” connections.  
C) Have an assistant adjust the output level on student instrument #1 to maximum (this gives the best signal-to-  
noise response.)  
D) Have the assistant play a few notes on student instrument #1. The assistant should hear what he or she is  
playing. If the assistant does not hear anything, check the student instrument to student communication box  
connections.  
E) Have the assistant say something. The assistant should hear what he or she is saying.  
F) Make adjustments in headphone and microphone levels with the level-control knobs on the side of the student  
communication box. All communication boxes should be adjusted to equal audio levels.  
G) Repeat steps B – F above for each remaining student station.  
Secure Equipment and Cables  
If all of the components are functioning properly, finalize the placement of all equipment.  
Attach each student communication box to the furniture or student keyboard, near the headphone jack on the  
instrument, using screws or velcro.  
Secure all power outlets and power cords.  
Secure all communication cables by either tying them together or placing them in wiring channels to avoid haz-  
ards in the classroom setting.  
Care should be taken to make sure that all cords and cables be secured in a neat and orderly fashion to avoid trip-  
ping over them and pulling them out of their sockets, which can cause damage.  
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Chap. 1–The Visual Music Tutor Advantage  
Developing Solid Reading Skills  
To pass a school’s piano proficiency exam, one typically needs to play the Star-Spangled Banner, demonstrate basic har-  
monization and improvisation skills, and perform two-handed keyboard pieces. All these tasks require two basic skills:  
READING and RESPONDING accurately, in time.  
It is suggested that development of eye-hand coordination is the critical skill in basic keyboard reading, and today has  
been made achievable like never before. At a student’s first glance at a music score, the eyes can and should be guid-  
ed—visually tutored—to follow the score and the fingers be trained to rhythmically, accurately respond. Whether the  
music score is treble or bass staff only, the full grand staff or a lead sheet, it is the eyes that should lead. This guiding  
and pacing of the eyes will almost “force” the timely visual recognition of notes and patterns. Then fingers will be  
coaxed to follow accurately and in time.  
Two computer-age developments are now applied exclusively in Roland’s new MTLC-16 to achieve this improved  
music reading, from the first lesson onward to the development of good reading habits. Both developments are com-  
monplace computer technologies: the Standard MIDI File (SMF) and a Visual Music Tutor. The first, an SMF or digital  
music recording, allows the student to pace the reading/learning at any suitable tempo. The second, the V-MT, extends  
that flexibility by displaying the digital music so the eyes are compelled to follow along, again at the computer-guided  
tempo. This practical monitoring of eye-hand coordination eliminates common reading problems, instilling proficient,  
accurate reading.  
A failsafe visual tutor is important, since the challenge for a keyboard student, whether, private or group, is a complex,  
recurring four-step process. First the EYE must sense the pattern; second, the BRAIN must make sense of it; third, the  
FINGERS must respond—and fourth, must do so IN TIME.  
Research into the eye movements of keyboard players has detected many ways to monitor and train the eyes: a tachis-  
toscope, a moving mask, a pointed finger, and others. The goal of each is to “nudge” the eyes along. Smooth, regulated  
movements are the goal, pacing the eye movement from left to right, measure-by-measure, “scrolling” downward one  
staff at a time. Fluent sightreaders typically avoid uncontrolled eye movements, particularly movements shifting back-  
ward, and concentrate on looking ahead.  
Putting the Visual Tutor to Work  
From the first glance of the music, the SMF and Visual Tutor work together to guide the eyes, whether a concept piece,  
exercise or tune. The process in short: 1) Play the SMF slowly enough so the student can follow, the first time without  
accompaniment tracks. 2) As skill improves, play the SMF with rhythm. 3) Finally, with increased skill and accuracy, the  
student adds the orchestra. Of course, the student could be following along in the score, but following the on-screen  
notation adds two important elements: a bouncing ball and colored note heads to attract and guide the eye, and auto-  
matic “page turns” to allow the students to read ahead.  
This visual eye training displays an entire score and is available with the Notation Screen (function key F2), Rehearsal  
Screen (F3) or Tone/Mixer Panel (F4). This visual coaching is also suitable when practicing with Markers A & B. A prac-  
tice loop can help a student painstakingly polish a segment, over and over. The visual reinforcement helps focus both  
the reading task, as well as the finger pattern.  
There are several options that help visually reinforce the SMF being heard through the MTLC-16. The actual note dis-  
play is re-sizable so the class can focus on the segment being read. Another option notates all sharps and flats in color—  
a practical reminder of those easily-overlooked first sharps and flats that occur in keys of G and F major. All in all, the  
flexible visual guide in Roland’s Music Tutor is a landmark in developing strong reading skills in a group keyboard  
instruction.  
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The Visual Music Tutor Advantage  
Making Reading More Successful—A Few Tips  
It is beyond the scope of this brief text to outline everything involved in developing sightreading technique, but here  
are a few pointers that can be practically implemented in every MTLC-equipped piano lab, as well as being used in  
every computer- or disk-assisted rehearsal session.  
PREVIEW playing  
If you look before you leap, you will not be surprised. A mental “read-through” will locate familiar and trouble-  
some parts that can be understood before actually trying to get the fingers moving accurately and in time. Just one  
brief “look through.” This “look through” is enhanced further if the SMF is playing along.  
SLOW playing  
Merely playing a piece, either hands separately or together, at a reduced tempo will prepare the students for the  
real playing. This is as critical as a preview. However, the writer’s experience as a teacher and as a student indi-  
cates that both the PREVIEW and SLOW run-throughs will most likely be ignored. As teachers, we must remem-  
ber that the learners want only one thing—they want to PLAY! So, we may want to assume that students will  
ignore the first two steps. With that in mind, let’s play!  
OUTLINE playing—selectively reading the entire score while the SMF is playing  
The SMF provides the rhythmic and musical propulsion; the student is visually “forced” to play selected notes (a  
sketch or outline of the piece) in a visually guided rhythm  
Play only FIRST BEAT of each measure  
Play only FIRST AND THIRD BEATS of each measure (either duple or triple meter)  
Play ALL BEATS  
Play ALL NOTES, including subdivisions  
At the end of this short process, students or entire class have been visually guided through four separate play-  
throughs  
SHADOW playing—“air play” reading of the piece while the SMF is playing  
Again, the SMF provides the propulsion while an “imaginary” perfect performance takes place—no wrong notes  
are possible.  
Move the fingers on top of keys without actually depressing any keys.  
“Play” along with these activities:  
a) sing the note names,  
b) sing the finger numbers, and  
c) name each interval and direction  
Now, when the actual playing begins, the eyes have already read the score several times, and the fingers are  
“itching” to play  
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The Visual Music Tutor Advantage  
PARALLEL SIGHTREADING methods—The Best Readers are Frequent Readers  
Good reading habits will be strengthened further by using the following two strategies: 1) insisting that the class  
methods and materials have correlating disks, and 2) have students read through other parallel methods with  
visual/SMF guidance.  
Possible parallel methods/materials could be:  
1) If the class text is Alfred's Piano Course for Adults, then one might use the chapters in PDM: Piano for the  
Developing Musician that use parallel concepts. So, when the class was learning the dotted quarter-eighth pattern in  
the text, supplementary—and parallel—reading materials from another book would not only reinforce the con-  
cepts, but provide fresh new examples for reading.  
2) For younger classes using Alfred's Group Piano Method, parallel reading materials would be those from Bastien  
Piano Basics, Hal Leonard Student Piano Method, Noona's Comprehensive Piano Method, or any other disk-based  
method. Again, the emphasis is simple: the more one reads, the better one reads!  
By insisting that the class method is accompanied by SMFs, every student has an individual, visual guide to  
help develop good reading. In addition, the Visual Tutor serves as a teaching assistant for the teacher.  
A parallel reading method is an important adjunct; however, one must keep in mind that these “read  
throughs” are not aiming for perfection but, rather, the visual/tactile process. Either the OUTLINE or SHAD-  
OW options are suitable.  
Provide students with a list of supplementary book/disk publications that they can read through, emphasiz-  
ing popular or standard tunes  
Use other tutorial SMF disks for reading practice, especially the correlating POPULAR MUSIC materials from  
FJH Piano Adventure series, the Alfred Basic Piano Course, or the Hal Leonard Student Piano Method. In addi-  
tion, both the Looney Tunes and the Performance Plus series from Warner Bros. provide interesting, enjoyable  
and challenging reading materials. Best of all, students will enjoy reading through these tunes; they'll proba-  
bly forget they are learning.  
Finally, there are two more SMF series, the first with accompanying books, the second without books. By using  
these SMFs with the Visual Music Tutor, students will be compelled to read along with professionally-record-  
ed MIDI files. In addition, the subtle propulsion of the SMF playback provides pressure to "keep up with the  
ensemble," further strengthening keyboard reading skills.  
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Chap. 2–Surviving Your First Class  
Survival Checklist–Before the Class  
Two months before: Order your texts and disks. As stated in the previous chapter, it is imperative that you use the  
basic technology of an SMF-accompanied text. Several publishers' texts with accompanying disks are listed below.  
Alfred  
Basic Group Piano Course, Books 1-4  
Group Piano for Adults, Books 1-2  
Piano 101, Books 1-2  
Piano 101, The Short Course  
Stipes  
Keyboard Musicianship, 7th edition, Books I & II,  
Wadsworth  
Piano for the Developing Musician, 5th edition  
Piano for Pleasure, 4th edition  
Supplementary materials from various publishers  
Turbo Music’s You're the Star series (distributed by Hal Leonard)  
Performance Plus series (Warner Bros.)  
One month before: Order Visual Music Tutor (V-MT1) for student purchase at bookstore. Research suggests a vast  
improvement in reading skill and retention when a student uses music tutor disks (SMFs) to guide their progress.  
By requiring students to use a visual tutor as they study, one will see significant skill improvements.  
The day before: Make certain all things are in place, and have a “technical rehearsal” to determine that all connec-  
tions are working  
A) Verify that all Text, syllabi and disks are in class (or in bookstore for student purchase)  
B) Type student names into virtual gradebook. You may use the import text option to simplify the process.  
C) Verify all MIDI & visual connections are working  
D) Make printed notes for yourself of all common MTLC-16 functions  
30 minutes before class: Have another “technical rehearsal” to verify that everything is operational and in place—  
books, disks, connections, volume levels, and visual display  
A) Random check of audio communication with student stations  
B) Technical check of SMFs  
C) Technical check of monitors  
D) Technical check of MIDI communication between computer and teacher keyboard  
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Surviving Your First Class  
The Class  
Make certain you have the following materials conveniently located.  
A) Printed materials: teacher’s books and disks, and all relevant handouts  
B) Verify that students have all their materials  
1) Text with interactive disks  
2) V-MT1  
3) Additional SMFs/Books per syllabus  
Talking to the class:  
To survive the first round of teacher-class communication, press ALL and the Microphone button; now the student can  
hear both your instrument and your voice. If this is your first class, and you find yourself inching toward panic mode,  
press MUTE. This will silence all student instruments and voice communication. For more detailed description of the  
communication options, see either the 11” X 17” (folded in half) “Survivor’s Guide” or the next section of this manual.  
Playing your first SMF:  
The following options are the easiest to get started, and this assumes that a number of student eyes are watching you  
intently.  
A) Insert the SMF disk for your text into the disk drive of the digital piano, select the song, adjust the tempo and  
PLAY. Merely hearing the music will focus student attention on the music. OR  
B) Insert the SMF disk into the disk drive of the computer, open the MTLC-16 software and then click on “Visual  
Music Tutor” in the menu bar, and navigate the File menu until you select the desired song. Now, press the  
SPACE BAR. The music begins and students can concentrate on the music being learned.  
Interactive models for successful learning:  
Establishing an interactive routine that uses SMF recordings, reinforced with visual cues, will help improve student  
progress.  
Basics  
A) Listen to song—ALL tracks on  
B) Listen to song a slower tempo—MUTE Tracks R, 1, & 2, so only Tr. 3 & 4 are playing  
1) Hands separately  
2) Hands together  
Shadow Play—“air play” or mentally read through the piece while the SMF plays  
A) Moving fingers on top of keys without actually depressing any keys  
B) Other non-playing activities to mentally play the piece:  
1) sing notes names  
2) sing finger numbers  
3) naming intervals and direction  
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Surviving Your First Class  
C) When the actual playing begins, the eyes have read the score several times, and the fingers have been  
“itching” to play  
D) Using various tempi & track configurations  
1) SLOWLY, without SMF, either hands separately or together  
2) Increase tempo gradually as skill permits  
3) Add rhythm track (Track R)  
a) Slow R.H.  
b) Slow L.H.  
4) Add orchestra track (Track 2)  
a) Slow R.H.  
b) Slow L.H.  
5) Mute piano parts  
6) Find difficult spots & use Markers  
a) Set Marker A  
b) Set Marker B  
c) Turn on Repeat or “loop” button, and practice this spot until it is polished  
d) Turn Repeat button off, and continue playing  
e) Clear Markers A & B  
Outline Play—slowly play only selected notes as they occur, while listening to the musical flow  
of the tempo-reduced SMF  
A) First beat only  
B) First and third beats  
C) All main beats  
D) All notes  
E) Using various tempi & track configurations  
1) SLOWLY, without SMF, either hands separately or together  
2) Increase tempo gradually as skill permits  
3) Add rhythm track (Track R)  
a) Slow R.H.  
b) Slow L.H.  
4) Add orchestra track (Track 2)  
a) Slow R.H.  
b) Slow L.H.  
5) Mute piano parts  
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Surviving Your First Class  
6) Find difficult spots & use Markers  
a) Set Marker A  
b) Set Marker B  
c) Turn on Repeat or “loop” button, and practice this spot until it is polished  
d) Turn Repeat button off, and continue playing  
e) Clear Markers A & B  
F) Play a tempo  
1) Since you are near-perfection now, congratulate yourself, or  
2) Locate remaining difficult spots and user Markers A & B for additional spot practice  
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Chap. 3–Operating the MTLC-16  
The Lab Communication Console is the heart of the MTLC-16 Music Lab. It provides routing capabilities similar to  
those of a telephone switchboard. For example, when a teacher needs to hear a particular student, or group of students,  
he or she can do so from the MTLC-16. When a teacher needs to arrange the class into four groups of four for quartet-  
style playing, he or she can do so from the MTLC-16. While rewiring a music lab for alternate configurations seems dif-  
ficult, it is actually quite simple. With the MTLC-16, the following applications are all possible from the Communication  
Console.  
Instructor Level Control  
Purpose  
Allows the teacher to adjust the level of his or her microphone, instrument, and headphones for comfort and  
usability.  
Procedure  
Teachers Microphone  
While speaking into the teacher’s microphone, set the “Mic” slider at a comfortable listening level. Sliding the slid-  
er towards the top of the MTLC-16 increases the listening level and sliding the sliders towards the bottom of the  
MTLC-16 decreases the listening level.  
Teachers Instrument  
While playing the teacher’s instrument, set the “Inst” slider at a comfortable listening level. Sliding the slider  
towards the top of the MTLC-16 increases the listening level and sliding the sliders towards the bottom of the  
MTLC-16 decreases the listening level.  
Teachers Headphone  
While playing the teacher’s instrument and/or speaking into the teacher’s microphone, set the “Phones” slider at  
a comfortable listening level. Sliding the slider towards the top of the MTLC-16 increases the listening level and  
sliding the sliders towards the bottom of the MTLC-16 decreases the listening level.  
Details  
These sliders are most commonly used for adjusting the level of the teacher’s microphone, instrument, and headphones  
for comfort and usability. However, the microphone and instrument sliders also affect recording levels when “Mon.  
Out” is used for Lab Performance Recording.  
The selected student hears: “Mic” and “Instr” level changes.  
The teacher hears: “Mic,” “Instr,”and “Phones” level changes.  
The unselected student hears: only his or her own instrument and microphone.  
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Operating the MTLC-16  
Single Student Practice  
Purpose  
Allows students to practice privately.  
Procedure  
The controller defaults to this mode when the power is turned on and no buttons are pressed.  
Details  
This application is most commonly used for single student practice. However, the teacher can monitor or communicate  
with any student by following the instructions for “Single and Multiple Student Monitoring and Communication.”  
Each student hears: only his or her own instrument and microphone.  
The teacher hears: only his or her own instrument and microphone.  
Single and Multiple Student Monitoring and Communication  
Purpose  
Allows the teacher to listen to, talk to, or play the teacher’s instrument for selected students.  
Procedure  
A) Press the “Mic” button on the upper right corner of the MTLC-16 to activate the teacher’s microphone. The  
LED next to the “Mic” button will light when the teacher’s microphone is activated.  
B) Press a student’s number button (“1-16”) on the lower row of the MTLC-16 to monitor or communicate with  
the selected student. The LED above a student’s number button will light when the student is selected.  
C) Press several student number buttons to monitor or communicate with multiple students simultaneously.  
Details  
This application is most commonly used for monitoring or communicating with a single student while the remaining  
students practice privately. However, the teacher can monitor or communicate with several students simultaneously by  
selecting several student number buttons.  
The selected student hears: the teacher’s instrument and microphone, and his or her own instrument and micro-  
phone.  
The teacher hears: the selected student’s instrument and microphone, and his or her own instrument and micro-  
phone.  
The unselected student hears: only his or her own instrument and microphone.  
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Operating the MTLC-16  
Group Practice  
Purpose  
Allows student groups to practice privately.  
Procedure  
A) Assign student(s) to a group  
i) While holding down a “Group Assign” button (A, B, C, or D), press a student’s number button (“1-16”) on the  
lower row of the MTLC-16.  
ii) Repeat for each student in the group.  
B) Unassign student(s) from a group  
i) While holding the “Group Assign” button (A, B, C, or D) you wish to alter, press the student’s number button  
(“1-16”) you wish to unassign on the lower row of the MTLC-16.  
ii) Repeat for each student you wish to unassign.  
Details  
This application is most commonly used for group-style practice. However, the teacher can monitor or communicate  
with any group by following the instructions for “Group Monitoring and Communication.”  
Each student assigned to a group hears: the instruments and microphones of other students assigned to the group,  
and his or her own instrument and microphone  
The teacher hears: his or her own instrument and microphone.  
The unassigned student hears: only his or her own instrument and microphone.  
Group Monitoring and Communication  
Purpose  
Allows the teacher to listen to, talk to, or play the teacher’s instrument for selected groups.  
Procedure  
A) Press the “Mic” button on the upper right corner of the MTLC-16 to activate the teacher’s microphone. The  
LED next to the “Mic” button will light when the teacher’s microphone is activated.  
B) Assign students to a group (A, B, C, or D) by following the instructions under “Group Practice.”  
C) Press a “Group Comm” button (A, B, C, or D) on the lower right corner of the MTLC-16 to monitor or commu-  
nicate with the selected group. The LED next to the “Group Comm” button will light when the group is select-  
ed.  
D) Press several “Group Comm” buttons to monitor or communicate with multiple groups.  
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Operating the MTLC-16  
Details  
This application is most commonly used for monitoring or communicating with a single group while the remaining  
groups practice privately. However, the teacher can monitor or communicate with several groups simultaneously by  
selecting several “Group Comm” buttons.  
Each student assigned to a selected group hears: the teacher’s instrument and microphone, the instruments and  
microphones of other students assigned to the group, and his or her own instrument and microphone.  
The teacher hears: the instruments and microphones of all students in the selected group(s), and his or her own  
instrument and microphone.  
The unassigned student hears only his or her own instrument and microphone.  
Pairs (Duet-Style) Practice  
Purpose  
Allows adjacent students (1 and 2, 3 and 4, … 15 and 16) to practice privately.  
Procedure  
Press the “Pairs” button. The LED next to the “Pairs” button will light when “Pairs” is selected.  
Details  
This application is most commonly used for duet-style practice. However, the teacher can monitor or communicate  
with any pair by following the instructions for “Pairs (Duet-Style) Monitoring and Communication.”  
Each student pair hears: the instrument and microphone of the adjacent student, and his or her own instrument  
and microphone.  
The teacher hears: only his or her own instrument and microphone.  
Pairs (Duet-Style) Monitoring and Communication  
Purpose  
Allows the teacher to listen to, talk to, or play the teacher’s instrument for selected pairs.  
Procedure  
A) Press the “Mic” button on the upper right corner of the MTLC-16 to activate the teacher’s microphone. The  
LED next to the “Mic” button will light when the teacher’s microphone is activated.  
B) Press the “Pairs” button. The LED next to the “Pairs” button will light when “Pairs” is selected.  
C) Press one of the adjacent students’ number buttons to monitor or communicate with the selected pair (e.g.  
Press “1” to select students “1 and 2.”) The LEDs above the selected pair will light when one of the students in  
the pair is selected.  
D) Press several adjacent students’ number buttons to monitor or communicate with multiple pairs simultane-  
ously.  
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Operating the MTLC-16  
Details  
This application is most commonly used for monitoring or communicating with a single pair while the remaining pairs  
practice privately. However, the teacher can monitor or communicate with several pairs simultaneously by selecting  
several student number buttons.  
Each student pair hears: the instrument and microphone of the teacher, the instrument and microphone of the  
adjacent student, and his or her own instrument and microphone.  
The teacher hears: the instruments and microphones of all students in the selected pair(s), and his or her own  
instrument and microphone.  
The unselected pair hears: the instrument and microphone of the adjacent student, and his or her own instrument  
and microphone.  
Class Communication  
Purpose  
Allows the teacher to talk to or play the teacher’s instrument for all students.  
Procedure  
A) Press the “Mic” button on the upper right corner of the MTLC-16 to activate the teacher’s microphone. The  
LED next to the “Mic” button will light when the teacher’s microphone is activated.  
B) Press the “All” button on the lower right corner of the MTLC-16. The LED above the “All” button, as well as  
all of the LEDs above the student number buttons, will light when “All” is activated.  
Details  
This application is most commonly used for communicating with all students.  
All students hear: their own instrument (unless “Mute” is depressed) and microphone, and the teacher’s instru-  
ment and microphone.  
The teacher hears: only his or her own instrument and microphone.  
Student Broadcasting  
Purpose  
Allows the class to hear a selected student’s instrument and microphone for the purposes of demonstration or  
example.  
Procedure  
A) Press the “Student Broadcast” button on the upper right corner of the MTLC-16. The LED next to the “Student  
Broadcast” button will light when “Student Broadcast” is selected.  
B) Press a student’s number button (“1-16”) on the lower row of the MTLC-16 to broadcast the student’s instru-  
ment and microphone to the entire class. The LED above a student’s number button will light when the stu-  
dent is selected.  
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Operating the MTLC-16  
C) Press several student number buttons to broadcast multiple students to the class.  
Details  
This application is most commonly used for broadcasting a single student’s instrument and microphone to the class.  
However, the teacher can broadcast several students simultaneously by selecting several student number buttons.  
The selected student hears: the teacher’s instrument and microphone, and his or her own instrument and micro-  
phone.  
The teacher hears: the selected student’s instrument and microphone, and his or her own instrument and micro-  
phone.  
The unselected student hears: the teacher’s instrument and microphone, the broadcasting student’s instrument  
and microphone, and his or her own instrument and microphone.  
External Audio Broadcasting  
Purpose  
Allows the teacher to broadcast an external audio source (e.g. drum machine, CD player, MP3 player, etc.) to the  
class.  
Procedure  
A) Press the “Tape In” or “Aux In” button on the upper left corner of the MTLC-16 (Pressing “Tape In” cancels  
“Aux In” and pressing “Aux In” cancels “Tape In.”) The LED next to the “Tape In” or “Aux In” button will  
light when either button is selected.  
B) Press play on the external audio source.  
C) Set the “Tape/Aux In” slider at a comfortable listening level. Sliding the slider towards the top of the MTLC-  
16 increases the listening level and sliding the slider towards the bottom of the MTLC-16 decreases the listen-  
ing level.  
Details  
This application is most commonly used for broadcasting an external audio source to the class while the class listens  
and/or plays along in private. However, the teacher can also listen to, talk to, or play the teacher’s instrument for  
selected students, pairs, or groups by following the instructions above for the intended application.  
All students hear: the external audio source (via “Tape In” or “Aux In”), and their own instrument and micro-  
phone.  
The teacher hears: the external audio source (via “Tape In” or “Aux In”), and his or her own instrument and  
microphone.  
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Operating the MTLC-16  
Lab Performance Recording  
Purpose  
Allows the teacher to record: the teacher’s instrument and microphone, a selected student’s instrument and micro-  
phone, a selected pair’s instrument and microphone, a selected group’s instruments and microphones, and/or an  
external audio source.  
Procedure  
A) Be sure an external audio player/recorder is connected to the “REC. OUT” jacks on the back of the MTLC-16  
as described in the “Music Lab Installation Guide.”  
B) Select student(s), pair(s), group(s), or an external audio source to be recorded by following the instructions for  
“Single and Multiple Student Monitoring and Communication,” “Group Monitoring and Communication,”  
“Pairs (Duet-Style) Monitoring and Communication,” “Class Communication,” “Student Broadcasting,”  
and/or “External Audio Broadcasting.”  
C) Set the “Tape/Aux In,” “Mic,” and/or “Inst” sliders at comfortable listening levels. Sliding the sliders towards  
the top of the MTLC-16 increases the listening level and sliding the sliders towards the bottom of the MTLC-16  
decreases the listening level.  
D) Press record (or play and record) on the external audio source.  
E) While playing the instrument and/or speaking into the microphone being recorded, set the “Mon Out” slider  
at a satisfactory recording level. Sliding the slider towards the top of the MTLC-16 increases the recording  
level and sliding the slider towards the bottom of the MTLC-16 decreases the recording level.  
F) Begin the lab performance.  
Details  
This application is most commonly used for recording a selected student, pair, or group’s lab performance while the  
remaining students practice privately. However, the teacher can record several students, pairs, or groups simultaneous-  
ly by selecting several student number buttons or “Group Comm” buttons simultaneously. The teacher can also broad-  
cast a performance to the class by pressing the “Student Broadcast” button. The LED next to the “Student Broadcast”  
button will light when “Student Broadcast” is selected.  
Student Instrument Muting  
Purpose  
Allows the teacher to turn off all student instruments when communicating with the class.  
Procedure  
Press the “Mute” button on the right half of the MTLC-16. The LED next to the “Mute” button will light when  
“Mute” is selected.  
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Operating the MTLC-16  
Details  
This application is most commonly used for muting student instruments while the teacher is demonstrating. However,  
selected student instruments can be un-muted (while the others remain muted) by pressing the student’s number but-  
ton.  
All students hear: the teachers instrument and microphone, and/or an external audio source (if “Tape In” or “Aux  
In” is depressed.)  
The teacher hears: his or her own instrument and microphone, and/or an external audio source (if “Tape In” or  
“Aux In” is depressed.)  
Classroom Speaker Monitoring  
Purpose  
Allows the MTLC-16 to function without headphones for demonstration purposes.  
Procedure  
A) Be sure an external audio monitoring system (preferably stereo) is connected to the “Mon. Out” jacks on the  
back of the MTLC-16 as described in the “Music Lab Installation Guide.”  
B) Set the external audio monitoring system at a comfortable listening level.  
C) Select student(s), pair(s), group(s), or an external audio source (i.e. “Tape In” or “Aux In”) to be broadcast to  
the class by following the instructions in sections: “Single and Multiple Student Monitoring and  
Communication,” “Group Monitoring and Communication,” “Pairs (Duet-Style) Monitoring and  
Communication,” “Class Communication,” “Student Broadcasting,” and/or “External Audio Broadcasting.”  
D) Set the “Tape/Aux In,” “Mic,” and/or “Inst” sliders at comfortable listening levels. Sliding the sliders towards  
the top of the MTLC-16 increases the listening level and sliding the sliders towards the bottom of the MTLC-16  
decreases the listening level.  
E) While playing a selected instrument(s) and/or speaking into the microphone(s) being broadcast to the class,  
set the “Mon Out” slider at a satisfactory listening level. Sliding the slider towards the top of the MTLC-16  
increases the listening level and sliding the slider towards the bottom of the MTLC-16 decreases the listening  
level.  
F) Adjust the audio monitoring system if needed.  
Details  
This application is most commonly used for broadcasting a selected student, pair, or group to the class via external  
audio monitors. However, the teacher can broadcast several students, pairs, or groups simultaneously by selecting sev-  
eral student number buttons or “Group Comm” buttons.  
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Chap. 4–Operating the Virtual MTLC-16  
The Virtual Communication Console (VMTLC-16) is a computer-based remote control for the MTLC-16’s Lab  
Communication Console and more. It not only provides remote control of the Lab Communication Console, but also  
adds classroom customization and gradebook options. For example, when a teacher needs to hear a particular student  
play along with a standard MIDI file orchestration, he or she can do so from a computer without touching the Lab  
Communication Console. When a teacher needs to store several classroom rosters, complete with student names and  
grades, he or she can do so from a computer without using a traditional gradebook. Moreover, controlling all of the Lab  
Communication Console’s buttons, customizing classroom configurations, and recalling gradebook information from a  
computer is actually quite simple. With the VMTLC-16 software, the following applications are all possible from a com-  
puter.  
Virtual Lab Control  
After opening the VMTLC-16 software on your computer, you can control all of the Lab Communication Console’s but-  
tons from the computer by clicking on button icons that appear on the screen. These button icons function just like the  
physical buttons on the Communication Console. Click them once to engage the button and click them again to disen-  
gage the button (an LED icon next to the button icon will light when the corresponding button icon is engaged.)  
The only button icons that function differently from the physical buttons on the console are the “Group Assign” button  
icons (i.e. A, B, C, D). With these button icons, instead of holding down a “Group Assign” button (i.e. A, B, C, D) while  
selecting students, click on a “Group Assign” button icon to engage it, click on selected student number button icons to  
assign students to the group, and then click on the “Group Assign” button again to disengage it.  
While selecting icons on the screen is the simplest way of using the VMTLC-16, there are additional ways of controlling  
the Lab Communication Console from the computer. These include selecting button functions from drop-down menus,  
or pressing a corresponding computer keyboard “shortcut” (a key or keys on the computer keyboard that act just like  
button icons). With this in mind, the following are applications related to Virtual Lab Control including button icons,  
drop-down menus, and shortcut equivalents of the Communication Console’s buttons.  
Roster – Student Selection  
A) Click a student number button icon (i.e. keyboard icon), or  
B) Click “Roster” in the menu-bar and click a student in the drop-down menu, or  
C) Press Alt+R, and then use the arrow keys to select a student from the drop-down menu.  
Options – Additional Buttons Control  
Group Assign A, B, C, and D  
A) Click a “Group Assign” button icon (i.e. A, B, C, D), or  
B) Click “Options” in the menu-bar and select “Group Assign” (i.e. A, B, C,D) from the drop-down menu, or  
C) Press Alt+O, and then use the arrow keys to select “Group Assign” (i.e. A, B, C, D), or  
D) Press Ctrl+F1, Ctrl+F2, Ctrl+F3, or Ctrl+F4.  
Group Comm A, B, C, and D  
A) Click a “Group Comm” button icon (i.e. A, B, C, D), or  
B) Click “Options” in the menu-bar and select “Group Comm” (i.e. A, B, C, D) from the drop-down menu, or  
C) Press Alt+O, and then use the arrow keys to select “Group Comm” (i.e. A, B, C, D), or  
D) Press F1, F2, F3, or F4.  
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Operating the Virtual MTLC-16  
Mic  
A) Click the “Mic” button icon, or  
B) Click “Options” in the menu-bar and select “Mic,” or  
C) Press Alt+O and then use the arrow keys to select “Mic,” or  
D) Press Ctrl+M.  
Mute  
A) Click the “Mute” button icon, or  
B) Click “Options” in the menu-bar and select “Mute,” or  
C) Press Alt+O and then use the arrow keys to select “Mute,” or  
D) Press Ctrl+U.  
Student Broadcast  
A) Click the “Student Broadcast” button icon, or  
B) Click “Options” in the menu-bar and select “Student Broadcast,” or  
C) Press Alt+O and then use the arrow keys to select “Student Broadcast,” or Press Ctrl+T.  
Pairs  
A) Click the “Pairs” button icon, or  
B) Click “Options” in the menu-bar and select “Pairs,” or  
C) Press Alt+O and then use the arrow keys to select “Pairs,” or  
D) Press Ctrl+T.  
Clear All  
A) Click the “Clear All” button icon, or  
B) Click “Options” in the menu-bar and select “Clear All,” or  
C) Press Alt+O and then use the arrow keys to select “Clear All,” or  
D) Press Ctrl+Z.  
Tape In  
A) Click the “Tape In” button icon, or  
B) Click “Options” in the menu-bar and select “Tape In,” or  
C) Press Alt+O and then use the arrow keys to select “Tape In,” or  
D) Press Ctrl+I.  
Aux In  
A) Click the “Aux In” button icon, or  
B) Click “Options” in the menu-bar and select “Aux In,” or  
C) Press Alt+O and then use the arrow keys to select “Aux In,” or  
D) Press Ctrl+A.  
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Operating the Virtual MTLC-16  
Static/Adjustable – VMTLC-16 Display Customization  
When the VMTLC-16 software is loaded, the computer screen should be in the “Static” mode. This means the computer  
screen looks and functions like its hardware counterpart, the MTLC-16 Communication Console. However, when you  
click “Adjustable” in the menu-bar, the computer screen switches to the “Adjustable” mode. This means the user can  
customize the screen, by adding names to student stations and changing the location of the student station icons, to bet-  
ter emulate the physical arrangement of students in the Music Lab.  
While arranging student/teacher station icons on the screen takes a little setup time, it can be accomplished quickly  
and easily with the following buttons and icons.  
[Arrange/Control] Button  
A) Click “Adjustable” in the menu-bar to put the VMTLC-16 into the “Adjustable” mode (when the VMTLC-16 is  
in the “Adjustable” mode, the “Arrange” button will appear in the lower left corner of the computer screen,  
next to the “Capture” and “Clear All” buttons)  
B) Click the “Arrange” button icon (the “Arrange” button icon should now say “Control”)  
C) Click a student station icon (over the student station number and not over the keyboard icon) and hold. Then  
Drag the student station icon to the desired location on the screen and release.  
D) Repeat step “c” for each student station (NOTE: the teacher’s station can also be moved.)  
E) Right-click on a Student Station Icon and select “Delete Keyboard” to delete unused student station icons.  
F) Click the “Control” button icon when all student station icons have been placed.  
G) Be sure to save the current classroom configuration by following the instructions under “Classroom  
Management: Save Class As.”  
Box # [1] or [2] Buttons  
When two MTLC-16 Communication Consoles are hooked together using the supplied cables (see the “Music Lab  
Installation Guide” for details), the VMTLC-16 software can accommodate (32) student stations. However, only sixteen  
student stations will appear on the screen at one time. To see the remaining stations, do the following.  
A) Click on the Box # “2” icon on the lower half of the screen to see Box # 2’s (16) student station icons.  
B) Click on the Box # “1” icon on the lower half of the screen to see Box # 1’s (16) student station icons.  
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Operating the Virtual MTLC-16  
Classroom Management  
Roster – Adding Student Names  
A) Right-click on a student station icon (over the keyboard icon not the student station number.)  
B) Type the student’s name in the pop-up dialogue box: first name first, followed by a space, and then the last  
name (NOTE: only letters and numbers are allowed.)  
C) Press “enter.” The student’s first name should now appear under the student station icon.  
File  
The VMTLC-16 stores, retrieves, and displays classroom configurations for up to 25 classes. This means all associated  
information—including names, student station icon locations, and gradebook information—can be saved to the com-  
puter’s disk drive for recall at any time.  
New Class  
Creates a classroom configuration file on the computer’s disk drive.  
A) Click “File” in the menu-bar and select “New Class,” or  
B) Press Alt+F and then press “N,” or  
C) Press Alt+F and then use the arrow keys to select “New Class.”  
D) Type the class name and press enter (or click “OK.”)  
Open Class  
A) Opens a previously saved classroom configuration.Click “File” in the menu-bar and select “Open Class,” or  
B) Press Alt+F and then press “O,” or  
C) Press Alt+F and then use the arrow keys to select “New Class,” or  
D) Press Ctrl+O.  
E) Click a class name and press “Enter” (or click “OK.”)  
Save Class  
Saves the current classroom configuration to a file on the computer’s disk drive.  
A) Click “File” in the menu-bar and select “Save Class,” or  
B) Press Alt+F and then press “V,” or  
C) Press Alt+F and then use the arrow keys to select “Save Class,” or  
D) Press Ctrl+S.  
E) If the current classroom configuration has not been saved previously, type the class name and press enter (or  
click “OK.”)  
Save Class As  
Saves the current classroom configuration to a file on the computer’s disk drive.  
A) Click “File” in the menu-bar and select “Save Class As,” or  
B) Press Alt+F and then press “E,” or  
C) Press Alt+F and then use the arrow keys to select “Save Class As.”  
D) Type the class name and press enter (or click “OK.”)  
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Operating the Virtual MTLC-16  
Delete Class  
Deletes the current classroom configuration file from the computer’s disk drive.  
A) Click “File” in the menu-bar and select “Delete Class,” or  
B) Press Alt+F and then press “D,” or  
C) Press Alt+F and then use the arrow keys to select “Delete Class.”  
D) Click the class name and press enter (or click “OK.”)  
Exit  
Closes the current classroom configuration file and the VMTLC-16 Software.  
A) Click “File” in the menu-bar and select “Exit,” or  
B) Press Alt+F and then press “X,” or  
C) Press Alt+F and then use the arrow keys to select “Exit,” or  
D) Press Ctrl+X.  
E) If the current classroom configuration has not been saved previously, type the class name and press enter (or  
click “OK.”)  
Gradebook  
In order to open the “Gradebook,” the current “Class” must be saved. To save the current class, see “Save Class” under  
“File” above. Once the current class is saved, click “Gradebook” in the menu-bar. A new window will appear with the  
following items.  
Assignment Column  
Allows the teacher to enter assignment titles (e.g. test name, performance name, etc.) for each student.  
A) Click a student name in the student name box located in the upper left corner of the screen.  
B) Click a blank cell in the Assignment Column.  
C) Type an assignment title.  
D) Press “Tab.”  
Score Column  
Allows the teacher to enter numbered assignment scores for each student.  
A) Click a student name in the student name box located in the upper left corner of the screen.  
B) Click a blank cell in the Score Column.  
C) Type a numbered score.  
D) Press “Tab.”  
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Operating the Virtual MTLC-16  
Notes Column  
Allows the teacher to enter notes (e.g. “Needs two-hand work,” “Don’t forget to test!,” etc.) for each student.  
A) Click a student name in the student name box located in the upper left corner of the screen.  
B) Click a blank cell in the Notes Column.  
C) Type a note.  
D) Press “Tab.”  
Average Column  
Numbered scores from the “Score Column” are averaged in this column.  
[Print Student] Button  
Prints the selected student’s gradebook records.  
A) Click a student name in the student name box located in the upper left corner of the screen.  
B) Click the “Print Student” button.  
Hardware Detection  
TX = “Transmit”  
This virtual LED blinks when the VMTLC-16 software is “transmitting” messages to the connected communication con-  
sole.  
RX = “Receive”  
This virtual LED blinks when the VMTLC-16 software is “receiving” messages from the connected communication con-  
sole.  
CD = “Carrier Detect”  
This virtual LED lights when the VMTLC-16 software detects (“carrier detect[s]”) the connection of the communication  
console.  
[Capture] Button  
Makes the on/off status of the VMTLC-16’s buttons match the on/off status of the connected communication console’s  
buttons.  
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(Visual Music Tutor)  
Chap. 5–Operating the V-MT1  
MIDI Song Files, Notation and WYSIWYG*—the Visual Imperative  
Soon after MIDI (Musical Instrument Digital Interface) was introduced in 1983, software publishers began using MIDI’s  
power to display notes of a song file as graphic, print-worthy notation—instant music publishing. Finale® and Sibelius®  
are but two examples of successful music notation companies. But the primary output of these programs—and  
sequencing programs—is the static, printed page.  
The V-MT1 is a visual sequencing/notation program, a powerful tool that is remarkable for two reasons: what it does,  
and almost more importantly, what it does NOT do.  
What it does:  
The V-MT1 plays back Standard MIDI Files (SMFs) of both type 1 and type 0. This interactive data is used to help  
students learn. Typical student-teacher interactions made possible by MIDI: recordings can be adjusted, so the  
tempo is slower; the recording’s orchestration can be turned off for greater learning focus; and the MIDI file’s  
notation can be instantly displayed in a dynamic, animated musical score that unfolds in tempo, as the recording  
is played back. This user-adjustable music score guides the student through the piano class, the method book, the  
exercises, the ensembles or some of those “for fun” pieces.  
What it does NOT do:  
While the V-MT1 quickly and easily prints music scores from a MIDI file (except those including copyright  
notices), it is designed primarily for on-screen display to fluently guide and tutor the music learner’s eyes. Its  
sequencing functions are limited to the basics one would encounter in a real-time classroom situation, such as  
recording a pattern or melody and then playing it for the class. The notation functions are similarly simplified:  
recording a tune and displaying it in easily re-sized notation for all the class to visualize. To edit any SMF created  
by the Visual Music Tutor, these “after-class” edits can easily be handled by any suitable sequencing or notation  
program, such as Cakewalk®, Finale or Sibelius.  
*WYSIWYG (what you see is what you get) is an acronym from early computing years when printed documents began  
to accurately reflect that of the on-screen display.  
Function 1 (F1) the Panel View  
F1 is the simple “panel view” that allows users to easily play an SMF. Its transport  
controls closely resemble those of a cassette tape player, with a few additional con-  
veniences for music learning. Learning features include: BWD and FWD buttons to  
reverse or advance the recording one measure at a time, + and – buttons to allow  
simple tempo changes, metronome button for providing a “Professor. Rhythm,” and  
transpose button to allow any recording to be played back in any key.  
WHY: For simplest playback, most often when students have already learned the piece, this panel view lets learn-  
ers follow an interactive audio track. This is also suitable for “already fluent readers” who may prefer to follow a  
static printed score on the music rack.  
HOW: Press F1 (function button #1) or the upper left icon in the menu bar.  
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Operating the VMT-1 (Visual Music Tutor)  
Function 2 (F2) the Notation View  
F2 is the first “notation view” that will visually guide the student as s/he learns  
or plays along with an SMF. This view displays the music notation of any music  
file, and can be re-sized in two ways: the actual notehead size can be enlarged or  
reduced, and each measure can be made wider or narrower. The V-MT’s visual  
component is enhanced further by two guides for the music reader: a bouncing  
ball, following the gentle arc of a “conductor” imparts a musical flow: As the  
actual notes of the SMF are being played, those notes are indicated in red. The  
bouncing ball and these red notes lead the eye along the staff, helping to establish solid reading habits. Further, a user-  
selectable option allows sharps and flats to be displayed in color—another way to continually remind learners of the  
key signature.  
In this view, one can still access the transport controls—RESET, BWD, FWD; change the TEMPO or TRANSPOSITION;  
and mute unwanted TRACKS.  
WHY: As new concepts, exercises or tunes are introduced to a class, this window provides the most score options,  
as well as the largest notation window—up to four grand staves at one time. One gets the best display when the  
active window is maximized. The F2 “moving score” options will visually prompt students to move their eyes  
along with music, as well as highlighting the oft-forgotten black keys (sharps or flats) in other colors. This colored  
sharp/flat option can be turned off as skills progress.  
HOW: Press F2 (function button #2) or the second icon in the upper left corner of the file menu. This window  
allows adjustments of tempo, transposition, tracks being played, as well as note size and measure width.  
Function 3 (F3) the Rehearsal View  
F3 is the “rehearsal view.” While it also contains the transport controls and “ani-  
mated notation,” the bar graph immediately below the music staff is the impor-  
tant feature. It displays both velocity (dynamics) and duration (note length) of the  
SMF recording in a turquoise bar graph; immediately below that bar graph is  
another salmon bar graph that displays the user’s performance. A learner or entire  
class can now visualize the difference between whole and quarter notes, legato  
and staccato touches, and many other musical nuances. It’s also helpful for  
advanced students to visually note the dynamic contours of scales, phrases or ornaments.  
WHY: This window is particularly helpful to display differences between staccato and legato, as well as dynamic  
contours within a musical phrase  
HOW: Press F3 (function button #3) or the third icon in the upper left menu bar. You may adjust tempo, transpo-  
sition, tracks being played, as well as note size and measure width.  
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Operating the VMT-1 (Visual Music Tutor)  
Function 4 (F4) the Tone or “Mixer” Window  
In addition to all the interactive playback functions—tempo, track mute and transpo-  
sition, this window allows the learner to focus on one particular track at a time, to  
play along, to change timbre, or print out that one part. In addition, the easily used  
“mixer” allows users to re-balance the volume levels, re-orchestrate the recording, or  
solo any individual part.  
WHY: These simple mixing options allow teacher or student to be the “produc-  
er” and alter any part of the piano or orchestrated parts. These alterations may illustrate a musical concept, may  
highlight a passage, or may be used for an “I wonder how it would sound if…” exploration.  
HOW: Press F4 (function button #4) or click on the fourth icon from the left (in the menu bar). In this view, you  
may also adjust tempo, transposition, tracks being played, as well as note size and measure width.  
For More Information  
For additional information about the Visual Music Tutor’s functions, see the accompanying Owner’s Manual. It will  
walk you through the functions listed above, plus describe additional tutoring options for all SMFs.  
For a brief outline of commonly used functions, refer to the 11 x 17 Survivors Guide. It will cover the most frequently  
used operations of this important Music Tutor program.  
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Annotated Group Teaching Bibliography  
When piano teachers begin teaching in groups, they real-  
ize a number of differences between private lessons and  
“instructing the masses.” Because of this, many articles  
and books have been written to describe effective tech-  
niques for class teaching. The following annotated bibli-  
ography first appeared in the Winter 2001 Roland Keyboard  
Educator. It is reprinted by permission.  
importance as a venue by which a greater number of piano students  
can be reached more effectively. Benedict offers thoughts on the value  
of extended lesson times, supervised practice sessions, equipment  
use, and motivation through a merit system, which can be applied to  
the group class.  
Bennett, Beulah Varner. “The Group – Ideal for Teaching  
Fundamentals.” Clavier Vol. 11, No. 10 (December,  
1972): pp.38-41.  
Group piano instruction is currently experiencing a resur-  
gence of attention in the United States. The opportunities  
for group dynamics and peer interaction make group  
study an appealing option for the independent teacher.  
Benefits include additional time to spend with the stu-  
dents in a group class, incorporating more elements of a  
well-rounded musical education in a group setting, and  
increased income for the teacher. Group piano is at the  
forefront in the field of pedagogy, and the Music Teachers  
National Association and Roland Corporation support the  
philosophy and tenets of group teaching. MTNA devoted  
an entire day of its conference (Pedagogy Saturday March,  
1999) to discussions on the topic. Recent articles in key-  
board journals and magazines continue to highlight the  
changes that continue to occur in the area of group piano.  
This article centers on the idea of using the group class as a place to  
build a strong musical foundation for the piano student. Due to the time  
limitations of the private lesson and the amount of information to be  
covered, the teacher may often omit aspects of a comprehensive musi-  
cal education that can be incorporated into a longer class period.  
These skills include ear training, singing, rhythm drill, orientation of the  
keyboard and grand staff, and development of a musical vocabulary of  
terms. Each of these areas is isolated and discussed with reference to  
appropriate concepts and activities that may be used to strengthen  
these specific areas of musical understanding. Ideas show great poten-  
tial for use by the independent group piano teacher.  
Bianchi, Louise. “For Success: Make Your Program  
Match Your Group.” Piano Quarterly 101 (Spring,  
1978): pp.19-22.  
This article should be on every group teacher’s “must read” list. The  
information is presented in a question/answer format, with the ques-  
tions chosen by Bianchi as the most common teacher concerns about  
group piano classes. Six areas of concern are met with advice from the  
author. The opinions expressed in the answers are honest and helpful,  
and explanations are supported by examples from Bianchi’s own expe-  
riences.  
The purpose of this article is to provide an organized list  
of material on the topic of group piano accessible to the  
independent teacher. The focus is mainly on materials  
published since 1980, although a few older yet still valu-  
able sources have been included due to their timeless  
nature. We hope that teachers will find in these materials  
new ideas and suggestions for group teaching in their  
own studios.  
The opening questions deal with the common concerns of appropriate  
grouping and the possible need for periodic regrouping. Bianchi states  
her lack of support for regrouping, and instead encourages teachers to  
consider restructuring the lessons to meet the needs of the class.  
Questions also deal with the frequency of class meetings, preferences  
for the combination of group and private lessons, and the most benefi-  
cial number of students to have in a piano class. Perhaps the most  
informative answer comes to the question, “How long do you continue  
with group lessons?” Bianchi answers this with an example from her  
teaching experience, which may serve as inspiration to those strug-  
gling with the complexities of a class that has been together for a  
greater length of time. Numerous reasons are given in this article not  
only for using groups in the education of piano students, but also for  
continuing those groups in ways that aid the students in becoming  
strong, well-rounded musicians.  
Articles  
Allen, Alana. “How I Became a Group Piano Teacher.”  
Roland Keyboard Educator Vol. 4, No. 2 (Spring,  
2000): pp.4-5.  
The shift from teaching privately to heading a studio of nearly 100 stu-  
dents organized into groups is addressed in this report. Beginning with  
grouping her students into teams of four, the author expanded her facil-  
ities, increased her income, and incorporated technology to support her  
growing list of interested clients. Her use of Roland technology is high-  
lighted, and suggestions for obtaining equipment and using  
Burkett, Thomas A. “The Challenge of Group Piano  
Teaching and the Rewards.” Music Educators  
Journal Vol. 69 (November, 1982): pp.31-33.  
The various combinations of private and group lessons that may be  
used are approached in this article, with specific attention given to  
combinations that may work best for the teacher making the transition  
sequencers and computers in the piano study are offered.  
Benedict, Michaele. “Try a New Approach.” Clavier Vol.  
33, No. 10 (December, 1994): pp.33-34.  
With the reduction of arts programs in the schools, group lessons gain  
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Annotated Group Teaching Bibliography  
from private to group teaching. Musicianship classes, repertoire class-  
es, ensemble work, and technique sessions are offered as ways of  
Hepp points to specific areas in which group instruction boosts stu-  
dents’ reading skills, including development of the musical area of  
blending private and group instruction. Particularly useful is the second reading (utilizing rhythm drills, flashcards, step-skip exercises, etc.)  
half of the article, which goes into detail concerning the group teaching and a group activity he refers to as tachistoscoping. The second  
skills needed by the effective class teacher. Grouping techniques, les-  
son organization, understanding the learning process, and leading the  
group are all carefully explained. Those teachers looking for informa-  
tion on the beginning steps for developing a group program will want to  
read this article.  
answer to Chronister’s question is aimed more at the psychological  
benefits of group study with additional information given on reading  
activities for teams, partners and relay tasks.  
Fairchild, Judith A. “Teacher’s Guide to More Effective  
Group Piano Study.Piano Guild Notes (May/June,  
1996): pp.4-6.  
Carson, Carolyn. “Put a Little Classroom in Your  
Teaching.” Clavier Vol. 20, No. 9 (November, 1981):  
p.44.  
This brief article contains ideas for enhancing group lessons through  
motivation, creative activities and studio decoration. A short list of  
resources for the classroom teacher is given at the end of the article.  
This source serves mainly to start the flow of ideas concerning effec-  
tive organization of the group studio.  
Despite this article’s limitations due to its adherence to one specific  
method, the novice group teacher will appreciate the specific guide-  
lines presented in this outline format. Objectives of beginning piano  
study are listed, and the “Ten Positive Aspects of Group Piano” may be  
used in extolling the benefits of group study to the parents of your stu-  
dents. Brief plans for ten lessons are given, with the target class being  
beginning students (ages 8-10) in one-hour sessions. The scope of  
assignments in a group setting, a detailed plan for the first class meet-  
ing, and suggestions for musicianship study are examined.  
Cheek, Sharon. “Misconceptions About Group  
Teaching.” Roland Keyboard Educator Vol. 3, No. 4  
(Fall, 1999): pp.8-10, 14.  
Nine common misconceptions by parents and teachers are met with  
logical and innovative answers in this article. Many of the misconcep-  
tions stated are likely to be heard from parents or other teachers at  
Hardy, Diane. “Group Teaching – A Complete  
Preparation.” American Music Teacher  
(September/October, 1980): pp.18-19.  
A basic introduction to the use of group teaching in the independent  
some point, and knowledge of the facts supporting group piano instruc- studio is offered with guidelines for pacing, sequencing, discipline, and  
tion may be of great use to the independent teacher incorporating  
group lessons into the studio. Lack of private attention, varying learn-  
ing speeds of students, and problems with individual technique are  
answered in such a way as to strengthen the argument for the use of  
group piano lessons by more and more teachers.  
activity selection. This particular teacher schedules three private les-  
sons and one group lesson per month for each student. The group  
takes place in the early morning, when schedules are open and atten-  
tion spans are greatest. An itinerary of a sample class includes drill,  
ensemble playing, theory games, listening activities, sight-reading, per-  
forming, composing and ear training. By presenting the group class as  
a privilege for the piano student, teachers may find their students excit-  
ed about learning important musical concepts.  
Chronister, Richard. “The Challenge of Group  
Teaching.” Clavier Vol.15, No. 8 (October, 1976):  
pp.40-42.  
Jenks, Linda. “Group Piano Techniques for the Private  
Teacher.” American Music Teacher Vol. 34, No. 2  
(1984): pp.10-14.  
Chronister reveals some misconceptions about group piano teaching in  
this article. Lack of extensive equipment is dismissed with the following  
comment: “A great deal of equipment, including expensive electronic  
labs, used badly diminishes the success of the teacher. One piano  
used effectively can produce marvelous results.” Instead, the author  
places importance on the teacher’s ability to teach a group as a class  
and not merely a collection of individuals. Ideas for sightreading, intro-  
ducing new concepts, repertoire work, and performance opportunities  
are offered with special consideration to teaching the class as a cohe-  
sive group. Some of the pitfalls of the beginning group teacher may be  
allayed by applying Chronister’s ideas.  
Common issues associated with group piano instruction are met in this  
article. Included are discussions on classroom management, financial  
considerations, areas of teaching focus and varied uses of class piano.  
Noteworthy is Jenks’ inclusion of a typical class piano experience,  
which takes the reader through an entire class meeting from the arrival  
of the students to previewing new assignments. The paragraphs deal-  
ing with outfitting a piano lab both encourage group piano for those not  
possessing a technological studio, and outline the process through  
which teachers may obtain a fully-equipped piano lab.  
Chronister, Richard. “Does Group Piano Help You Teach  
Reading?” Keyboard Companion (Winter, 1996):  
pp.12-16.  
Chronister poses a question concerning the link between group piano  
study and the development of reading skills, which is answered by  
Christopher Hepp and Christine Hicks, Kathy Nafius, and Sue Collier.  
Johnson, Rebecca. “Group Lessons: They’re Not Just for  
Beginners.” Clavier Vol. 20, No. 10 (December,  
1981): p.27.  
Positive results of group teaching for more advanced students are the  
main focus of this article. Many teachers associate group study in  
37  
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Annotated Group Teaching Bibliography  
piano with beginners, but Johnson describes her favorable use of  
ciated with the development and continuation of a group program.  
group instruction with intermediate and advanced students as well. The From the inspiration of a group piano workshop through outfitting a stu-  
benefits of group study to younger students apply equally to older chil-  
dren and youth. Among these benefits, Johnson mentions increased  
dio and scheduling lessons, the teachers illuminate some of the great  
joys inherent in teaching piano students in groups. As Perdew states,  
knowledge of repertoire, development of musicianship, improved listen- “Any time we share an experience with others it becomes more mean-  
ing skills, better technique, increased musical sensitivity and rhythmic  
stability, and greater creativity and independence of thought.  
ingful.”  
A teacher’s creativity and teaching skills are tested when leading group  
lessons, and the opportunity to teach in groups adds a spark of new-  
ness to even the most experienced teacher’s schedule. Classes from  
preschool music readiness sessions to adult group lessons are men-  
tioned. Students as well as the teachers find joy in studying piano with  
others, and avenues for expression and motivation which may not be  
as accessible in private study are opened.  
Lee, Patricia Taylor. “Making the Most of Your Teaching  
Day.Clavier Vol. 20, No. 8 (October, 1981): pp.54-  
55.  
Ideas are presented for incorporating group lessons into the studio as  
a supplement to some type of individual teaching or as a replacement  
for the private lesson. The discussion of the value of repertoire/theory  
classes, partner lessons, and technique/keyboard skills/theory lessons  
gives the studio teacher many options to explore in the addition of  
group lessons to the private studio. Benefits of group dynamics are list-  
ed, and scheduling ideas are also put forth by Lee in a concise, yet  
helpful manner.  
Rowe, Charlotte. “Class Piano Lessons After 30 Good  
Years.” Clavier Vol.38 (January999): pp.6-7.  
This short article chronicles one teacher’s switch from private to group  
teaching 30 years ago. The positive results of this transition will serve  
as inspiration for those considering such a switch in their own studio.  
The registration process, scheduling, fees and makeup lessons are  
explained with ease in a way that can be utilized by other teachers.  
Lesson content is approached, including work in technique, theory,  
sightreading, repertoire and improvisation.  
Loris, Susan. “Creative Ideas for Group Lessons.”  
Clavier Vol. 33, No. 4 (April, 1994): pp.37-40.  
Inventive ideas for fostering creativity in a group piano setting are given  
in this article. Suggestions for tapping into the minds of students are  
presented in the areas of theatrical works, rhythm exercises, theory  
activities, listening sessions and improvisation activities. Not only are  
the ideas proposed, but additional printed sources for use in the class-  
room are provided in the body of the article. The ideas expressed here  
may be used to add excitement and interest to study, thus aiding in  
guiding students on the path to becoming a well-rounded musician.  
Stevens, Kay. Interaction: The Hidden Key to Success  
in Group Piano Teaching.” International Journal of  
Music Education Vol.13 (1989): pp.3-10.  
Interaction at a level perhaps only possible in a group class is the  
focus of this article. The benefits of such interaction include motivation,  
social acceptance, “peer learning,” cooperation and acclimation to per-  
formance situations. The various levels of interaction in a group class  
are measured in this study, and combinations of teacher and student  
talk, teacher and student demonstration, and musical responsiveness  
are examined. Understanding of the various types of communication  
and levels of learning occurring in the group piano studio may be  
gained through study of the results of this research project.  
McCain, Claudia J. “From Private to Group Lessons.”  
Clavier Vol. 27, No. 4 (April, 1988): pp.40-41.  
This article is a real life chronicle of the transition of a teacher from pri-  
vate instruction to group lessons in the private studio. Practical advice  
is given from conception of the new program to its realization. Partner  
lessons are recommended as a starting point for the teacher unfamiliar  
with group ideas, as it limits the number of students that are included,  
but incorporates partner games, drills, and to a certain extent, class-  
room management. In McCain’s studio, partner lessons were com-  
bined with a weekly group lesson, and sample schedules are provided  
to clarify the important step of time management. Suggestions for facili-  
ty improvement and lesson content are also given. The author helps  
make the process of change from private to group lessons approach-  
able for the independent teacher.  
Books  
Agay, Denes, ed. Teaching Piano: A Comprehensive Guide  
and Reference Book for the Instructor. New York:  
Yorktown Music Press Inc., 1982.  
Volume I of this two-volume set includes an article by Hazel Ghazarian  
Skaggs entitled “Group Piano Teaching.” In this article, Skaggs lists  
ideas for team teaching, a course of study and activities for group  
piano lessons, games/rewards appropriate for groups, discipline, and  
studio equipment for the group classroom. Good lists of the advan-  
tages and disadvantages of group study and positive and negative  
aspects for the teacher are given in the article as well.  
Perdew, Amy, Nadine Cuff, and Karen Johnson. “How  
and Why Boise Teachers Became Group Piano  
Teachers.” Roland Keyboard Educator Vol. 4, No. 2  
(Spring,2000): pp.16-19.  
The excitement of group piano teaching is captured here by teachers  
who have made the transition from private to group teaching. Each of  
the three authors writes insightfully about the concerns and joys asso-  
38  
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Annotated Group Teaching Bibliography  
Bastien, James W. How to Teach Piano Successfully, 3rd  
nature to the group teacher, but others may need constant notice and  
work in order to become incorporated in the techniques of the teacher.  
ed. San Diego, CA: Neil A. Kjos Music Co., 1995.  
This pedagogy text presents what is perhaps the most comprehensive  
information available about group piano study. Taken into account are  
multiple levels of group study, issues pertaining to the group environ-  
ment and student involvement, and examples illustrating the many  
points made by Bastien. A few chapters in particular focus on the group  
process. The pages that are the most valuable references for group  
teachers are pp. 15-16, 30-31, and 82-94.  
Some parts of this book are rather dated. For instance, a disclaimer  
from the author at the beginning states that she stopped using dummy  
keyboards since first printing of the book, even though they are pro-  
moted as a good teaching tool in the text. Also, chapters covering con-  
tent of the first lesson, first term, first year and beyond focus on one  
specific sequencing, which may not coincide with other teachers’  
philosophies.  
Pages 15-16 list some considerations for those wanting to teach piano  
in groups. The questions are intended to provoke thought for the  
potential group teacher. The teacher is queried as to his or her desire  
to work with groups of children, ability to organize activities, skill in  
developing interest in group learning, and belief that students will learn  
as much in a group setting as they would in private study.  
Kowalchyk, Gayle and E. L. Lancaster. Alfred’s Basic  
Piano Library: Group Piano Course, Teacher’s  
Handbook, Books 1-2. Van Nuys, CA: Alfred  
Publishing Co., Inc., 1997.  
Kowalchyk and Lancaster provide a course specifically designed for  
group piano instruction. To be noted here is the eight-page supplement  
in the front of the teacher handbook aimed at dealing with practical  
issues of group teaching. This same supplement may be found in the  
front of the teacher handbook to books 3-4 of this series as well.  
Scheduling issues are explored on pages 30-31. Combination group  
and private lessons as well as small and large group lessons are  
explored as viable options in the independent studio. Sample grids  
illustrate hypothetical time and space arrangements for the studio offer-  
ing group lessons.  
General information concerning advantages of group teaching (a list of  
sixteen items), types of groups, equipment needs for large and small  
groups, the process of grouping students, and scheduling lessons is  
useful to the independent teacher. Teachers may find the lesson plan-  
ning segment especially valuable due to its focus on organizing the  
lesson, classroom management, effective teaching techniques and  
effective use of technology. The classroom management portion, in  
particular, emphasizes suggestions for the teacher including the impor-  
tance of eye contact, benefits of specific feedback, proper balance of  
talking and playing, inclusion of every student, use of humor, and the  
need for variety in student tasks. Effective teaching techniques applica-  
ble to specific areas like new concepts, ear training, technique, rhythm  
drills, composition and improvisation, sight reading, and ensemble  
work direct the teacher’s focus in appropriate and creative ways.  
In addition to information on class size, group activities and equipment,  
Bastien includes a section on music readiness, and invites considera-  
tion of yet another possible group class in the piano studio. General  
music concepts such as the musical alphabet, rhythm, and high and  
low may be taught prior to serious concentration on the physical  
aspects specific to piano playing. With this solid foundation of musical  
knowledge, students may progress more quickly through the beginning  
stages of piano study. In addition, exposure to the group setting in the  
form of a music readiness class aids in the adaptation of a student to a  
group class in piano. Photographs illustrate the activities and use of  
equipment in a group piano studio.  
Clark, Frances. Questions and Answers: Practical Advice  
for Piano Teachers. Northfield, IL: The  
Instrumentalist Co., 1992.  
Clark addresses the subject of teaching methods in her well-known for-  
mat of questions and answers in this noteworthy book (pages 183-  
190). Questions posed by teachers range from the topic of group study  
versus private to discussion of disruptive students in a class setting to  
repertoire classes as a supplement for private piano lessons.  
Lyke, James, Yvonne Enoch, and Geoffrey Haydon.  
Creative Piano Teaching, 3rd ed. Champaign, IL:  
Stipes Publishing Co., 1996.  
Chapter four of Creative Piano Teaching is an essay by James Lyke  
addressing the issue of private, group, or a combination of both in  
piano study. Common falsehoods discouraging teachers from teaching  
in groups such as lack of equipment and emphasis on keyboard skills  
above performance are addressed and explained. Basic equipment for  
group teaching is listed in the chapter, and independent teachers may  
be surprised at the uncomplicated setting in which group piano may be  
taught effectively. Lyke’s list of essentials for a working group teaching  
situation is worth study by the teacher. Grouping, teaching without  
“telling,” and modeling are among the items isolated by the author as  
necessities for a well-run group piano class.  
Enoch, Yvonne. Group Piano Teaching. London: Oxford  
University Press, 1974.  
Enoch’s chapter on planning the piano group covers the reasoning  
behind group teaching, the number of pianos and students that are  
ideal in a group, the number and length of lessons, classroom arrange-  
ment, preparation for teaching group piano, and the importance of  
parental reports. Another chapter that may prove inspirational to the  
group piano teacher is chapter eight, in which the author offers hints  
and information to other teachers. This checklist is worth reading fre-  
quently, because it contains a number of items for teachers to remem-  
ber or consider in group teaching. Many of these items are second  
The combination approach to piano teaching where private lessons are  
supplemented with musicianship classes is given consideration as well.  
Specific guidelines for planning lessons with proper sequencing and  
content are precise yet helpful to the group teacher. A sample pre-print-  
39  
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Annotated Group Teaching Bibliography  
ed planning form is found at the end of the chapter.  
and ensemble experience are all listed as virtues of the group piano  
class. A concluding paragraph in the chapter links these advantages  
with recommendations for teachers and parents.  
Mehr, Norman. Group Piano Teaching. Evanston, IL:  
Summy-Birchard Co., 1965.  
Chapter four examines the qualifications of a good piano class teacher.  
Knowledge of the subject, ability to organize the subject, understand-  
ing of people and some distinct personal characteristics are identified  
by the authors as important points for the effective teacher. As the  
authors emphasize, however, some areas of competency may be  
stronger than others, and group teachers may do a fine job with small  
weaknesses in certain areas.  
This practical handbook for the group teacher approaches group study  
on a philosophical and educational level. The first chapter, “The  
Dynamics of Group Teaching,” explores the variables at work in group  
interaction. Chapter two, “Philosophy and Psychology of Music  
Education,” presents general concepts of learning theory and process.  
Important ideas concern the need to focus not only on the music but  
also on the child, and the inherent ability present in every child.  
Implications for group teaching involve the setting of standards and  
sequencing of concepts. Chapter three presents a short list of do’s for  
the group piano teacher.  
Strong recommendations should be made for study of the principles of  
good piano teaching found in chapter six. Twenty-one principles are  
listed, and as a group they define the basic tenets of music education  
and education in general. Among the notable inclusions are the follow-  
ing ideas:  
Proceedings from Pedagogy Saturday III. Los Angeles,  
CA: MTNA National Conference, March 20, 1999.  
Available from MTNA.  
The topic of MTNA Pedagogy Saturday III, “Three or More: Beyond the  
Traditional Private Lesson,” echoes the emphasis on group teaching in  
the field of pedagogy. More than 150 moderators and panelists con-  
tributed teaching ideas that reach beyond the private studio. Texts of  
the speakers’ and panelists’ presentations along with reports of the  
panel discussions are presented here and display the gamut of peda-  
gogical thinking presently at work in the area of group teaching.  
“Ask, rather than tell.”  
“Give experience before rules whenever possible.”  
“Relate new material to the familiar.”  
“Introduce only one or two new kinds of learning at a time.”  
Chapter eight encourages teacher flexibility and conviction in good  
group management. Following segments address sightreading, tech-  
nique and interpretation of piano literature in the group class. Appendix  
B does a fine job of giving advice to parents on their involvement in  
their child’s musical education.  
The four chapters in the volume cover “three or more” teaching, peda-  
gogical and practical advantages of group instruction, necessary teach-  
ing skills for group teaching, and ways in which teachers may acquire  
these necessary skills. Necessary skills discussed by the distinguished  
panelists encompass basic psychological principles, group dynamics,  
language, lesson design and assessment, learning styles, and person-  
ality profiles. Workshop attendance and membership in professional  
organizations are two highly recommended ways in which teachers  
may acquire effective group teaching skills.  
Thompson, John et al. Teaching Piano in Classes: Expert  
Opinions, Plans, and Advice for Practical Teachers.  
Philadelphia, PA: Theodore Presser Co, 1932.  
This 78-page booklet contains contributions from ten leading peda-  
gogues of the 1930s. Despite its publication date, this resource con-  
tains pertinent information on a variety of topics concerning group  
instruction. Of particular interest are articles by John Thompson (“How  
to Make the Most of Class Piano Teaching”), Hope Kammerer (“The  
Piano Class Teacher and the Parent”), Caroline Groll-Verhoeff (“Piano  
Instruction Problems Solved Through Experience”), Mary Bush Hauck  
(“Planning a Practical Piano Class”), and Addye Yeargain Hall (“The  
Conduct of the Piano Class”).  
Robinson, Helene and Richard L. Jarvis, ed. Teaching  
Piano in Classroom and Studio. Washington:  
MENC, 1967.  
Despite its publication date, this resource from Music Educators  
National Conference is one of the most insightful in terms of philoso-  
phy, group management, and principles of good teaching. Some seg-  
ments of the book deal with group piano in the public schools, but  
many others are directly applicable to group piano in the independent  
studio. Five chapters in particular warrant consideration by the group  
teacher.  
In his chapter, John Thompson provides the reader with an overview of  
attributes and skills necessary for a good group piano teacher, among  
them a background of knowledge in educational psychology, pedagogy  
and various methods. Kammerer addresses the parental role in the  
group lesson, with emphasis on parents’ “homework” and the help that  
parents can give in the lesson and in the home. Groll-Verhoeff writes of  
her transition from being a studio teacher to becoming a group teacher,  
incorporating ideas about equipment, studio space and classroom  
rules that may be of use to the group pedagogue. Hauck lists advan-  
tages of class instruction, along with ideas for the number of students  
in a class, length of the lesson, a model for the development of a group  
lesson and some particularly interesting general remarks. Hall discuss-  
es the teacher’s role as the conductor of the musical growth of the  
class.  
Chapter one addresses the educational significance of piano study.  
Basic philosophical foundations of group instruction are introduced and  
explained. The aesthetics of music study are also included in this chap-  
ter, which may help the beginning group teacher to convince parents of  
the value of group instruction.  
Chapter two contains a fabulous list of advantages of group piano  
study from an educational viewpoint. Social factors, creative activity  
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Annotated Group Teaching Bibliography  
five areas of ability than their counterparts who had private instruction.  
This may be attributed to several factors, including teacher training,  
peer interaction, supervised practice and more instructional time for the  
group piano students. Conclusions of the study focus on the greater  
achievement levels of the group students; no measurable difference  
was found in students of varying sex or age. An interesting point to  
note is that participating teachers having experience in both group and  
private methods unanimously favored group piano over the more tradi-  
tional private instructional approach.  
Dissertations and Theses  
Diehl, Lily Pan. An Investigation of the Relative  
Effectiveness of Group and Individual Piano  
Instruction on Young Beginners in an Independent  
Music Studio Utilizing an Electropiano Laboratory.  
D.M.A. diss., University of Southern California,  
1980.  
This research study focuses on the effects of group and individual  
piano instruction on musical achievement for piano students ranging  
from the ages of six and a half to nine and a half. Five aspects of musi-  
cal achievement were measured, including aural discrimination, knowl-  
edge of musical symbols, public performance, sightreading and trans-  
position. Out of these five skills, the results in four categories were con-  
stant between private and group study. In sightreading, however, the  
author found a significantly higher level of performance in the students  
who received piano instruction in groups. Students of the age of eight  
who studied in groups scored even higher than their private study  
counterparts in the sightreading portion of the research. In addition,  
males who studied in groups achieved a significant difference in the  
category of public performance. This data may serve to direct the inde-  
pendent teacher toward group instruction, with particular emphasis on  
the development of sightreading skills.  
Shender, Marie. An Evaluation of the Effectiveness of a  
Group Piano Program using Electronic Keyboard  
and Computer Technology. Ed.D. diss, Columbia  
Teachers College, 1998.  
This study identifies the educational benefits and drawbacks of a sam-  
ple group piano program through feedback from students, parents and  
teachers associated with the program. Parents reported musical  
growth through the program, and students expressed enjoyment of  
group activities involving piano lessons, group songs and use of other  
instruments. High motivation was cited as a benefit, while lack of indi-  
vidualized attention was mentioned as a problem. Competition  
between students was regarded as healthy because it encouraged stu-  
dents to progress more quickly. Advantages and disadvantages of  
group instruction are discussed, with recommendations given for stu-  
dents, parents and teachers taking part in piano classes. Integration of  
technology into the group piano classroom is cited as a benefit, and  
exposure to musical software in the home is also linked to increased  
musical growth by the student.  
Magrath, Dorothy Jane. An Approach to the Teaching of  
Theory/Musicianship Classes for the Pre-College  
Pianist as a Supplement to Private Instruction.  
D.M. diss., Northwestern University, 1982.  
Emphasis on developing basic musical understanding beyond that  
required to play a given piano piece is the focus in this dissertation.  
Spiral learning, in which concepts are transferred from the piece in  
which they were first encountered to other works, is advocated through  
classes supplementing private piano lessons. A thorough integration of  
concepts encompassing style, theory, analysis and aural awareness is  
recommended.  
Skiba, Marlene. Foundations of Group Piano for the  
Independent Teacher. M.A. thesis, Northeastern  
Illinois University, 1988.  
Three main aspects of group teaching are discussed in this scholarly  
yet accessible work. Group dynamics, the history of group learning and  
a methodology for developing an effective group program in the private  
studio serve as the headings for the three sections. Chapters 1-3 focus  
on understanding the cognitive process, behavioral patterns and ways  
in which the group teacher can channel competitive and cooperative  
personalities to provide a conducive learning environment for the stu-  
dents. A great deal of historical background is included in this section.  
The author deals with the task of explaining the role of the group and  
the individual’s functions within an educational setting. Group cohe-  
siveness is given careful consideration.  
Valuable sources contained in this dissertation include learning objec-  
tives, a curriculum and suggestions for teaching the previously men-  
tioned concepts. Procedures and appropriate materials for attainment  
of these objectives are proposed. Textbooks and workbooks that may  
be useful to the teacher in a group setting are listed in one of the  
appendices.  
Rogers, William Forrest. The Effect of Group and  
Individual Piano Instruction on Selected Aspects of  
Musical Achievement. Ed.D. diss., Columbia  
University, 1974.  
The purpose of this study was to investigate the effects of different  
modes of instruction on student achievement levels. Rogers measured  
the students’ abilities in aural discrimination, knowledge of musical  
symbols, sightreading, transposition and improvisation before and after  
the period of study. Sixty-four students aged 7-9 participated in the  
study, which took place in a school in Harlem, New York.  
Chapters 4-6 contain an overview of the history of group learning. The  
results of a statistical survey of members of the Illinois State Music  
Teachers Association are given, and the interpretation of these results  
is given at a later point in the thesis. A difference in the profiles of the  
private and group teacher in the independent studio present points to  
ponder. For instance, results indicate that group teachers tend to be  
more schooled in the areas of psychology, child development, group  
teaching and improvisation. They are more likely to have a teaching  
studio outside of the home, and also may own more teaching aids than  
the private teacher. Group teachers tend to be more innovative, more  
achievement-oriented and more interested in group activities in all  
Results of the study indicated the group students tested higher in all  
41  
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Annotated Group Teaching Bibliography  
areas of their lives. They incorporate more musicianship classes,  
improvisation, accompanying, harmonization, ensemble work, theory  
and ear training into their lessons than does the typical private teacher.  
The last section covers almost every notable facet of group instruction  
of interest to the independent teacher. Topics range from the teacher’s  
personal qualifications to forming and maintaining groups of piano stu-  
dents. Many questions may be answered in this informative third sec-  
tion of Skiba’s thesis.  
Additional References  
Bradley, J. “Ideas for Great Group Piano Classes.”  
American Suzuki Journal Vol.23, No. 3 (1995): pp.36-  
37.  
Lee, J. “Group Piano Lessons: A Practical Guide.” Music  
Teacher Vol.60 (October, 1981): p.24.  
Rose-Joubert, M. “Group Piano Teaching: The Other  
Side of the Coin – A Personal Experience.” ISME  
(1990): pp.204-207.  
Williams, Roderick Rockhill. Group Piano Instruction:  
Its Relationship to Private Piano Teaching. Ph.D.  
diss., Columbia Pacific University, 1990.  
42  
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Appendix  
Installing the USB MIDISport Interface  
Because the Virtual MTLC-16 software connects the serial port of the computer with the serial port on the MTLC-16 to  
synchronize the software and hardware, it is essential that you connect the computer with the teacher's keyboard via a  
suitable MIDI interface. Since the serial port is already occupied, the practical options are either the parallel (printer) or  
the USB port. It is strongly recommended that you use the USB port, so you can use the parallel port for printing tasks  
in your music lab. The Midiman USB MIDISPORT 2X2 interface is recommended, is self-powered, and installs easily. It  
provides 2 IN and 2 OUT ports, handling all the MTLC/V-MT needs, as well as allowing room for some expansion at a  
later date.  
HARDWARE installation:  
(On a PC: You must be running Windows 98 to properly use the MIDISport )  
1) Attach the MIDISport to your USB port with the standard USB cable included with the MIDISport package.  
2) A computer USB port is a small (1/8" x 3/8"), rectangular female connector, sometimes found in pairs.  
3) Insert the male end of the USB cable into the USB port on the back of your computer.  
4) Take the six-sided end of the USB cable and plug it in to the USB port on the back panel of the MIDISPORT.  
This male end of your USB cable is almost square (1/4" x 1/4") and should fit into the female USB connector of  
your MIDISport.  
5) Power up your computer so you can install the software drivers.  
SOFTWARE Installation  
1) For the hardware to communicate with the software, you need to install the "drivers." A software driver is a  
special, dedicated program that makes a MIDI interface accessible to a software application.  
2) The complete instructions are included in a "Read Me" file included on the MIDISport CD-ROM. Read it care-  
fully; the following text is a brief overview of the procedure.  
3) Double click on the filename to open it. It will guide you through the instructions to properly install your driv-  
er software.  
4) For complete installation instructions, you may also go to the website:  
CONNECTING the COMPUTER to the TEACHER KEYBOARD  
1) Connect the MIDISport 2X2 to the computer via the USB port, using the cables provided  
2) Connect the MIDI OUT of the teacher keyboard to the Input-A of the MIDISport with a MIDI cable of appro-  
priate length; the shorter the better for this application.  
3) Then connect Output-A of the MIDISport 2x2 to the MIDI IN of the teacher keyboard  
4) Another MIDI OUT–Output-B—can be connected to additional keyboards or sound modules  
5) Another MIDI IN–Input B—can be connected to an additional controller  
IMPORTANT NOTE: To use the MIDISport, the USB/MIDI Thru switch should be in the IN position, so the MIDISport  
will work as a MIDI interface  
43  
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Appendix  
Using the MIDISport with your MTLC-16  
1) After the MIDISPORT driver has been installed, you will need to select that interface in the Visual Music Tutor  
(V-MT1) software.  
2) Open the V-MT1 software and navigate the File menu until you see the Options menu  
3) Use the Options menu to pull down the Connection Setup option  
4) Then proceed with the selection until you have selected the INput as MIDISport 2X2 and the OUTput as  
MIDISport 2X2, taking care to select the options that correlate with the MIDI cables and connections that you  
have made  
5) Now you can record class examples, print them out, as well as illustrating touch and duration in the Rehearsal  
window (F3)  
44  
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Appendix  
JLCooper Electronics Limited Factory Warranty  
JLCooper Electronics (“JLCooper”) warrants this product to be free of defects in materials or workmanship for a period of 12  
months from the date of purchase.  
This warranty is non-transferable and the benefits apply to the original owner. Proof of purchase in the form of an itemized  
sales receipt is required for warranty coverage.  
To receive service under this warranty, customers in the United States should contact the JLCooper factory at (310) 322-9990  
and talk to a service technician.  
If necessary, a Return Authorization number may be issued.  
For our customers outside the United States, it is recommended that you first contact your Dealer or Distributor, since they  
may offer their own service or support policy.  
If local support is not obtainable, please send a FAX to JLCooper’s Service Department at (310) 335-0110, with a detailed  
description of the service required.  
Upon issuance of return authorization, the product should be properly packed and shipped to Service Department, JLCooper  
Electronics, 142 Arena St., El Segundo, CA 90245.  
Please include the following: copy of the sales receipt, your name and address (no P.O. Boxes, please), a brief description of the  
problem, and any other related items discussed with the service department and considered necessary to evaluate the product  
or effect a repair. The return authorization number must be clearly written on the outside of the package.  
JLCooper will, without charge for parts or labor, either repair or replace the defective part(s). Shipping costs are not covered  
by this warranty.  
JLCooper’s normal repair turn around time at the factory is approximately 15 business days, from receipt of product to ship-  
ping. Your actual turn around time will include return shipping.  
Actual turn around time will vary depending upon many factors including the repeatability of the customer’s reported com-  
plaint, the availability of parts required for repair, the availability of related products needed to evaluate the product if neces-  
sary.  
Priority services are available. These should be discussed with the service technician at the time the return authorization is  
issued.  
This warranty provides only the benefits specified and does not cover defects or repairs needed as result of acts beyond the  
control of JLCooper including but not limited to: abuse, damage by accident/negligence, modification, alteration, improper  
use, unauthorized servicing, tampering, or failure to operate in accordance with the procedures outlined in the owner’s manu-  
al; nor for acts of God such as flooding, lightning, tornadoes, etc.  
THE DURATION OF ANY OTHER WARRANTIES, WHETHER IMPLIED OR EXPRESS, INCLUDING BUT NOT  
LIMITED TO THE IMPLIED WARRANTY OF MERCHANTABILITY, IS LIMITED TO THE DURATION OF THE  
EXPRESS WARRANTY HEREIN. JLCOOPER HEREBY EXCLUDES INCIDENTAL AND CONSEQUENTIAL  
DAMAGES, INCLUDING BUT NOT LIMITED TO: LOSS OF TIME, INCONVENIENCE, DELAY IN PERFOR-  
MANCE OF THIS WARRANTY, THE LOSS OF USE OF THE PRODUCT OR COMMERCIAL LOSS, AND FOR  
BREACH OF ANY EXPRESS OR IMPLIED WARRANTY OF MERCHANTABILITY, APPLICABLE TO THIS PROD-  
UCT. JLCOOPER SHALL NOT BE LIABLE FOR DAMAGES OR LOSS RESULTING FROM THE NEGLIGENT OR  
INTENTIONAL ACTS OF THE SHIPPER OR HIS CONTRACT AFFILIATES. THE CUSTOMER SHOULD CON-  
TACT THE SHIPPER FOR PROPER CLAIMS PROCEDURES IN THE EVENT OF DAMAGE OR LOSS RESULT-  
ING FROM SHIPMENT.  
45  
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®ÂØÒňή  
Roland Corporation U.S., 5100 S. Eastern Avenue, Los Angeles CA 90040-2936  
2944US  
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