This RealStyle demo features the slow-mid tempo jazz waltz electric guitar style from RealTracks Set 94. This style features laid-back, swinging 8ths with occasional fast runs. It's complemented here by the jazz waltz piano & acoustic bass styles from RealTracks Set 76, along with the JazzBrushesWaltz RealDrums style. The song demo is in the key of Bb, and never strays far from that tonal center. This is the perfect setting for this mellow style.

This demo features the fast samba nylon guitar soloist, backed up by piano & acoustic bass RealTracks and Samba RealDrums. The chordal movement in this demo is fairly quick, but notice the extended D7sus chord starting at bar 30, which lasts through to the end of bar 36. This kind of dramatic shift heightens the tension, and the soloist handles it perfectly. This RealStyle loads in this exact instrumentation, so with a single click, you can have this exact band playing your song, soloist and all!

This demo shows how the "Rehearsal" piano styles can be used on their own to back up a singer, or in this case a soloist. The piano covers all of the sonic bases, including rhythm, bass notes, and full chordal control, so drummer and bass player aren't really needed. This style is the ballad tempo with a stride bass. The trumpet solo is not part of the style, but rather has been added to the song on the Soloist track

TThis RealStyle features the slow-mid tempo jazz-swing electric guitar soloist, backed up by a RealTracks trio of piano, acoustic bass & JazzBrushes RealDrums. The demo uses common jazz progressions, with a variety of II-V-I's, almost exclusively with one chord per bar.

This demo pairs two styles from RealTracks Set 94: Piano, Acoustic, Rehearsal Waltz Sw 085 & Guitar, Electric, Soloist JazzWaltz Sw 085. With RealTracks, you can have a whole band at your fingertips, but sometimes you just want some basic piano backing you up! That's what we have with these Rehearsal Pianos, but don't let their simplicity fool you! These styles are solid and elegant in a way that requires years of experience.

This demo features the slow ballad "Rehearsal" piano style all on it's lonesome. These styles can be used with any chords, in any key, and while they work very well with maj7, m7 & 7 chords, they work equally well with triads, as is demonstrated here. This is the perfect style for a singer or soloist, whether practicing or performing.

This demo features a quartet of jazz realtracks, with the electric guitar taking the lead. It's backed up by acoustic bass & piano from RealTracks Set 55, and the JazzBrushesSticks RealDrums style.

This RealStyle features the electric guitar soloing in 3:4 time. The backing instruments are piano and acoustic bass from RealTracks Set 76, along with the JazzBrushesWaltz drum style from RealDrums Set 2. The chord progression is a very common one in jazz, but it has the unique aspect that while it's in the key of G, it doesn't actually play a Gmaj7 chord until the last 2 bars of the 32 bar form. This has the effect of constantly pushing toward the conclusion of the song, drawing the ears in it's direction.

This demo features the slow waltz rehearsal piano RealTracks, with no other instruments. The inclusion of "RealCharts" makes this a great style for beginner pianists to learn with, as they can see the notes being played in notation, as well as on the on-screen piano keyboard. This demo song uses a combination of both triads and more complex 7th chords, and the style is equally adept at both.

This RealStyle features the 110 bpm Electric Guitar Jazz Soloist, but with the style designating it to be used at "double-time" at 55 bpm rather than at 110. The other instruments are at 60 bpm, so they don't need this setting applied (the guitar is stretched the short distance from 55 to 60 to match the other instruments). However, these instruments (bass, piano & drums) all play time at 60 for the A section, but then break into a double-time feel at B. The overall effect is that for the A section, the rhythm section is playing at 60, and the soloist has a cool double-time groove going on over top of that, and then at the B section (bar 17) the other instruments start to follow along with the double-time feel, eventually moving back to 60 bpm for the ending.