Yeah, not sure what he's trying to do in the end. Even if the part is B natural - there's a lot to be said about learning the part. The examples were given in "C" because it's easy to convey what the notes should be and how to make the microtuning adjustments. Then apply to some other key. I think if I had 9 fingers occupied with other tasks - perhaps delegating a pinky to play one note at a time and accomplishing 3-part harmony in key may be useful in small doses.

Could just let an ARP play the whole darn thing - so at least it's a step in the right direction along the spectrum of playing piano vs being a DJ.

I think Rod took his (automatic transmission) Montage racecar out to a nice long back street - pressed down on the gas - and expected it to go 120MPH or so. Finding out he could only make it go 55MPH, posted wondering if there was a governor or some other issue. Come to find out, he just didn't use 3rd-5th gear because he had his auto tranny stuck in the "D2" position, so the forum set him straight (use "D"). Not that he's going to go 120MPH as a regular thing.

He could've hired a racecar driver, sat in the backseat, and used ARPs. Maybe some day he'll build his own car and put a manual transmission in there, use the clutch, and dictate shift timing on his own.

Hello John and Jason - tehe! I think you guys are still according me the status of 'musician' which I am not. I'm an amateur soundsmith who dabbles in mixing and tweaking on a simple level. Therefore, I have no 'part' to learn, you see? I don't read music, nor write it. I view Montage not as a music machine, but a noise generator of bewildering capability. 'Motion sequence' is entirely lost on me - I dislike it in the main - so although Yamaha claim it's the raison d'etre for Montage, it isn't for me. I turn it off, the arpeggiator as well, to get at the sound beneath all the hype. My focus is 'could I play a tune with it?'. The only exception is soundscapes or atmospheres, but I'm not generally a fan of those as they can become boring or annoying, and they don't go anywhere. So I think my 'race-car' has manual transmission - I shift all the time, and don't use any of the 'automatic' features of Montage at all. It's more a Diamond T than a Ferrari, with multiple gearboxes and masses of rugged power - once you know how to use it all!

Tommy's a seasoned pro - so he's encouraging the right thing - strive towards walking without crutches.

I agree with that, but tend to meet players where they are because my angle is more of a keyboard tech who attempts to translate the player's wishes into configurations that can work to achieve whatever is asked for. I also look at some of these questions as appealing to a wider audience so I like to showcase features and explain more of the detail of how it works so, hopefully, you can "master" the feature should you want to put it to any use.

They're complementary approaches as any hobbyist, tinkerer, beginner, weekend warrior, seasoned pro needs to work on chops in order to widen their own net to catch more fun. I mean, if you can't do something that you'd want to play - that can't be as much fun as being able to play it. This is the "learn your scales" side.

The keyboard has features that were intended to solve problems - or not intended to solve those problems and, through luck, can be employed slightly outside the boundaries of original design to "automate" certain tasks. So as a shortcut (to the chops) - or even if you have the chops but some things really are impossible to do -- like play with more than 10 fingers (assuming you're in the middle of the bell curve - some people do have more)/two feet/etc... You have "mechanical" limitations - so an arpeggio has to be used sometimes to just get the job done. Or whatever reason you have to automate something. You have to know how to push buttons, turn dials, do non-musical data entry, and do the technical side of "programming the keyboard" in order to accomplish this. So that's my general approach on the forum. I mean, the act of programming the keyboard is always non-musical but point is to reach a musical end. I think programming the keyboard tends to be a very non-fun thing (tedious) until it's done and you're off to being a musician again. Almost everything has a cost.

About the reading music "part" stuff ...

Doesn't matter. The last thing you doodled at the keys was a part. Not being so strict as to say you're reading sheet music. The suggestion was strive to play these passages without the crutches as something you incorporate into your time at the keyboard. To me it's take it or leave it. If not inspired to improve your chops - there's not a demand for it unless it's coming from inside. So I personally think it's OK to set limits as to what you want to improve and maybe work on taking a more "arranger keyboard" "1-finger-chord" type approach. It's not my thing, but it's OK if it's yours.

That said - it's a beautiful thing when one musician encourages another. Many players in their youth have a pivotal moment when encouragement from a more seasoned musician inspired all of what followed and the world benefits (the musical offspring of the grown encouraged musician) from such a seemingly small moment. You don't have to be young to start the same journey. Plenty of examples of late bloomers who have made major contributions. I think it's pretty cool you're being challenged to keep going into your music cube and getting incrementally better at translating your mind's eye into your head's ear.

Ah, I see, and thanks Jason (and Rod) for helping me understand the issue better. Well here's an idea that might work - it's less Tesla and more moped, but if he uses his two index fingers, each hand playing only one note in other words, he could stick to the white notes, and still get exactly what he's striving for (I think) with little digital dexterity (of either sort) required. Or aim for the cracks!
Maybe even write an arpeggio (I know, he dissed the arpeggiator, but...) that trills consecutive notes of a major scale? That would enable Rod to play this "Mexican" (this 'musical' term is not mine) style in ANY key!
Oh, I just thought of a problem with that - Rod is using two different horn sounds. So unless the arpeggio could span two midi channels (?), you'd have to split the keyboard and use Approach A - but (as in the Troggs tape...) split your hands; with the two 'pointer fingers', one on each side of the split.
HTH.:)

Hello Jason and Tommy - where did I get 'John' from? Apologies Tommy. I very much appreciate the time you all spend setting me straight. I liked your idea of the index finger on each hand - but that's my problem. I went to weekly piano lessons a couple of years ago, with a very patient and understanding teacher, and struggled with it for 6 months (I really did do my homework!) but it was mutually agreed that I don't have the kind of brain that can direct both hands at the same time in different directions. I love music, but can never be a musician. The piano is the only instrument I've ever wanted to play, but accept that I can't - so I 'play' by ear and play around with sound instead. Hampered there by the same brain not being good at electronic stuff either (I was in the wrong queue when brains were handed out) - to me, guys like you are awesome. The Montage is also awesome, with more layers than Salome. A long way from Tyros - I like Tyros, but the 'arranger' bit is too mechanical - I'm not trying to make music anyway, but sounds you can make music with. Montage can do that in spades! So mI bang away, but will almost certainly always need those crutches ...