This JazzPianoSkills Podcast Episode explores Jimmy Giuffre's "Four Brothers". Discover, Learn, and Play Chords Changes, Harmonic Function, Melody, and Fingerings plus five jazz vocabulary patterns for improvising.
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Every JazzPianoSkills weekly podcast episode introduces aspiring jazz pianists to essential Jazz Piano Skills. Each Podcast episode explores a specific Jazz Piano Skill in depth. Today you will discover, learn, and play Jimmy Giuffre's "Four Brothers." In this Jazz Piano Lesson, you will:
The Jimmy Giuffre Bebop Tune "Four Brothers"
Chords Changes, Harmonic Function, Melody, and Fingerings for "Four Brothers"
Multiple patterns extracted from "Four Brothers" for developing classic jazz language to use when improvising
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Dr. Bob Lawrence
President, The Dallas School of Music
Welcome to jazz piano skills. I'm Dr. Bob Lawrence. It's time to discover, learn and play jazz piano. Well, the last two weeks, we have looked at five different jazz improvisation patterns for the primary sounds of music major dominant minor, half diminished and diminished, plus the altered sounds deriving from the harmonic and melodic minor scales, sharp 11, flat 13, flat nine, flat 13. And the fully altered sound flat nine, sharp nine, flat five sharp five, all from the root note of F. Not only did we apply these five jazz improvisation patterns to these iconic jazz sounds, but we also studied and applied proper fingerings to the patterns, making it possible for us to play with an authentic jazz articulation. The goal of our fingerings has always is to allow the continuous incremental shifting of our right hand across the keys, right. It only makes sense small movements are much more manageable and accurate, than large leaps. I've said it many times, understanding and applying this truth becomes paramount when improvising and playing melodies of tunes especially melodies of bebop tunes, and especially the Bebop tune that we're going to tackle today. So today you're going to discover the classic Jimmy Giuffre's bebop tune Four Brothers. And you're going to learn the chord changes harmonic function melody and fingerings for Four Brothers. And you are going to play multiple patterns extracted from Four Brothers for developing classic jazz language to use when improvise. So as I always like to say, regardless of where you are in your jazz journey, a beginner and intermediate player and advanced player even if you're a seasoned and experienced professional, you're gonna find this jazz panel skills podcast lesson exploring Jimmy Giuffre, these Four Brothers to be very beneficial.
But before we dig in, as I do, every at the beginning of every podcast episode, I want to welcome first-time listeners to jazz panel skills and personally invite you to become a member. Now, I use to take this time to briefly explain all of the educational benefits of a jazz panel skills membership. But guess what? I am not going to do that anymore. That's right. Instead, I'm just going to encourage you to go check out jazz panel skills.com. And once you're there, you'll be able to poke around and learn more about all the tremendous educational resources, materials, and services that are available to help you with your jazz journey. Now there are several membership packages to choose from. So if you have any questions, do not hesitate to reach out to me. I'm always happy to spend some time with you and help you in any way that I can. The bottom line become a member and you'll begin to discover learn and play jazz like never before. Okay, so what am I going to do with this time that I would typically be spending, talking about all the benefits of becoming a jazz piano skills member? Well, I got a little recommendation this morning from a gentleman named Leo Leo, I hope you're listening, who basically in a nutshell, he said, Hey, man, knock it off, get more education, less promotion of jazz piano skills. I said, You know what? I think you're right. So instead of doing the promotion, I'm going to spend this time teaching, of course, right. So what I thought I would do is take a few minutes at the beginning of every podcast episode to share with you a question of the week and of course provide an answer as well. So I think this is a much better use of your time and my Time, right?
Okay, so the question I want to attack this week comes from Andy Fleet, and in London, England. And Andy wrote this question actually, a couple of weeks ago. But so good. I thought we'd start off with this one. And here's what Andy wrote.
He said, Dr. Bob, thanks so much for these weekly standards. I've been listening to your podcast for a while now and love your style and approach to music and jazz piano. Some really cool interviews as well. Well, thank you for that, Andy. He goes on to say I'm an experienced player, but there's always something to learn, right. And one thing that doesn't make sense to me, is your approach to functional Roman numeral charts. I was taught, and now teach that key centers change in pieces many times. A good example is all the things you are where it moves comfortably between a few key centers, I noticed your functional charts all relate to the starting key. Rather than moving through the keys. All the things you are in a flat isn't A flat major for five bars, then changes to C major for two bars, and then move moves to E flat major etc. This makes much more sense musically to me, and makes playing over it more simple. curious to hear why you take the approach you do. I know there are always several ways of looking at the same thing in music, so maybe it's just a personal thing. But I'm keen to hear your insight. I look forward to hearing your thoughts. And thanks again for a wonderful podcast series. Andy fleet, London, England.
Well, I answered Andy, but I thought I would share some of the answer here with you today. So, Andy, first and foremost, thanks a ton for being a jazz panels skills member. And again, thanks for this fantastic question. The first thing I want to say is that both approaches to harmonic analysis of a tune should be part of your practice regimen, both approaches. The approach that you use and mentioned in your question, is what I refer to as chord scale relationships. And I teach this process, it is so important to be able to look at chord changes of a tune, like all the things you are and be able to decipher where each chord is coming from. In other words, what scale or key is the origin of that specific chord? Now in doing so we can determine what pool of notes, what scale can we use as our base when improvising. Once we have determine the correct seven notes, scale, from which the core derives, we can now sort out the right notes from the wrong notes, or more academic way of saying it is, we can determine the notes that reside inside the harmony. And those that do not. The notes outside of the harmony are the ones we can use to create tension. And again, that's what wrong notes do they create tension. So all of this is to say that you are 100% Correct, Andy, this skill of being able to determine the various chord scale relationships of a tune is an essential approach to harmonic analysis. Now, another way of approaching harmonic analysis, is what I encourage you to do with the standards that I send out every Saturday. This approach is concerned with what I like to call the harmonic dN a of a piece. In other words, what is the root movement of the harmonic progression? You're training, right? For example, if I'm playing the old standard blue moon right
right here D flat seven, C seven, B flat seven
Okay, now mat tune is typically an E flat and it starts out very simply, with a 16251 progression. But you heard heard me illustrate there it goes to a D flat dominant to a C dominant And to be dominant, to be flat dominant, back to the beginning. Okay, so when learning the harmonic DNA of this tune, I want to think about this part of the progression as a flat seven dominant, going to say six dominant go into a flat six dominant going to a five dominant. In other words, hear it in relation to the parent key or the tone, I want to hear the root movement of this song as flat seven to six, the flat six to five. In doing so, my ears begin to truly hear harmonic motion root movement, and I truly know the tune, so I can easily play it in any key that I wish to play it, I do not want to try to learn this tune by thinking I have a five of G flat go into a five of F go into a five of E go into a five of E flat. Now we're back to CT scan relationships, which is a different animal, very cumbersome and difficult to transpose and not very helpful for training our ears to hear the root movement of chord progressions. So when trying to compare both of these approaches to harmonic analysis, it is important to know that we are not comparing apples to apples and oranges to oranges. As I just mentioned, they are two different animals. And both approaches are absolutely essential skills that need to be practiced, if you hope to truly become an accomplished jazz musician. Wow. How cool is that? Right. Well, thanks, Andy, for a great question. And I hope my answer I hope it's helpful. And as always, if further clarification is needed, please let me know. So what do you all think? Should I replace my promotion of jazz piano skills with the question of the week? I think so. It's very cool. Now don't be shy. Send me your questions. And who knows? Who knows? Yours may be the next one presented in next week's podcast episode.
Okay, let's discover, learn and play jazz piano. Let's have a little fun with Jimmy Giuffre's Four Brothers. All right, all of us. I mean, all of us at the beginning of our jazz journeys, invest a lot of time, a lot of effort, a lot of energy, searching for the secrets to learning how to play jazz, right? We all do it. We've all done it. We try all kinds of approaches and gimmicks, and hope that we discover a shortcut that shaves years off of our development timeframe. Like I said, we've all done it. And today, it's easier than ever to do it with YouTube and, and a gazillion other websites out there. It's easy to run down a million rabbit holes, and search for the secret formula for playing jazz piano. And doing so we end up with a ton of data fragments with no idea of how to connect them or even determine if they should be connected at all.
On the other hand, it's only fair to say that technology has been enormously beneficial as well for aiding in our musicianship development, you know, the various software applications that allow us to create and play along with backing tracks that simulate an ensemble experience. This is it's that's amazing, right, and without question, it's a huge benefit. But sometimes I'm just saying sometimes the old-fashioned ways are still the best ways. And when it comes to developing good technique, articulation fingerings and improvisation vocabulary. The study and plane of bebop tunes, bebop heads, still remains the best approach of all. Bottom line if you want to get good at playing jazz piano. There is no better way than studying it historically. And historically speaking, no period of jazz will develop your time feel articulation, fingerings, and improvisational vocabulary better than the Bebop period. So for those of you who may be listening and are new to bebop or bop as it is Often referred to. It is a period of jazz that developed and flourished during the 40s 1940s. The bebop style of jazz features tunes, using fast tempos, challenging melodies, as you'll see today, tons of chord changes, some of them very complex, that move in and out of numerous key centers. Within a single two. There's that CT scan relationship again. This is important, so I want to go through that list again, just so you have a nice little list of the characteristics of bebop, fast tempos, challenging melodies, tons of chord changes some complex, and numerous key centers within a single tune. Bebop is the perfect formula for developing jazz chops no doubt about it, there is no need. Listen carefully, there is no need for you to look any further your internet search is over.
Everything about jazz that you need to know and develop is found within the melodies of bebop tunes. And that is why I refer to bebop tunes as jazz gold. So the educational agenda for today is as follows number one, we will explore Jimmy Giuffre his four brothers and number two we will examine the core changes and harmonic function of four brothers. We will of course play the melody of four brothers and explore proper fingerings. Number four, we will extract five classic patterns from the melody of four brothers to use for discovering and developing our very own jazz vocabulary. And number five, I will be playing well. We will be playing various tempos from 120 to 160, which are found in your play along podcast packet. So if you are a jazz piano skills member, I want you to hit the pause button right now take a few minutes to access download and print your podcast packets, your illustrations, the lead sheets in the play alongs. Your again your membership grants you access to all of the educational podcasts packets for every weekly podcast episode. As I mentioned every week you should be using these podcast packets when listening to the episode, and of course you should be using them when practicing. So if you are listening to this podcast on any of the popular podcast directories such as Apple or Google, Amazon, Spotify, iHeartRadio, Pandora, the list goes on. Then be sure to go directly to jazz piano skills podcast.com. To access and download your podcast package, you will find the active download links within the show notes. And one final but very significant message that I make a point to bring up every week, if you think the various skills that that we're about to discover, learn and play as we examine and explore for brothers. If you're thinking that these skills are over your head, then I would say to you it's no big deal. No worries, sit back, breathe in, breathe out, relax, right continue to listen and grow your jazz piano skills intellectually by just simply listening to this podcast episode. And keep in mind every skill is technically over our heads when first introduced. But this is how we get better, right? We place our selves really literally smack dab in the middle of conversations where we have absolutely no idea what they're talking about. We hear things that we've never heard before. vocabulary that we've never heard before. So we're forced to grow intellectually. I say it all the time all musical growth begins upstairs mentally conceptually before it can come out downstairs physically in your hands. So sit back. Listen to this podcast. Listen now to discover and learn. The play as it always does, will come in time I guarantee. Okay, now that you have your lead sheets in your hands and want to talk you through them quickly, you will see that lead sheets one and two. Present the chord changes and harmonic function for four brothers. To help you truly discover and learn the changes and harmonic function for four brothers. I strongly recommend you using the lead sheet templates found in your illustrations podcast packet. Be sure to check it out and use that tool. lead sheet three has the core or changes along with the melody. Now check out lead sheet for it to includes the chord changes along with the melody, but it also includes the fingerings that I use when playing four brothers spend time, a lot of time playing the head, the melody over and over and over using these fingers and do so at slow temples. I will be modeling this for you here shortly. Okay, so lead sheets five through nine, deal with five patterns that I have extracted from the melody of Four Brothers. Okay, to us, we want to use these patterns as launching pads for developing jazz vocabulary needed for improvising. Wow. So look, we got a lot to get through today. So let's get busy. Okay, the very first thing I want to do is I just want us to listen to the Four Four Brothers, the head of four brothers played by Woody Woody Herman, and his big band. And of course, this tune is called Four Brothers because it's features the four saxophone players. Two monsters, well, they're all monsters, but two of them Zoot Sims and Stan gets Of course, I think everybody in the jazz world are familiar with those names. So let's listen to the thundering herd Woody Herman right as big band playing Jimmy Jeffries, four brothers, sit back, here we go. This is gonna be fun.
Your foot tap, and oh my gosh, that's just, that's just the best. That's the classic. I don't care how many times I hear that. I smile and enjoy that tune so much. And that swings so hard. Now, before we go on, I also want to play Marian McPartland did a version of this as well. So quite a bit different from a big band approach. Right. So Marian McPartland swings on this like none other. So I want to take a few minutes and let you check that out as well. So one of my favorite pianists of all times Marian McPartland plane four brothers check this out.
Do I want to just quit right now? I do. Oh my gosh. So good. Swing so hard. What a great Tim. In fact, I'll tell you what's interesting about this tune and why I picked it. This was the very first song for brothers was the very first song that a piano teacher gave me. When I decided I want to learn to play jazz. I was like 14 years old. And he gave me the melody of four brothers. And I played my struggle through it, but I got through it. And I practiced it. And I fell in love with it from that day forward. And I can remember playing that head and thinking wow, I saw I actually sound like a jazz pianist. And I think you're going to experience that same emotion, that same feeling as you spend time with four brothers as we explore today. And then you spend time with it this week practicing it and going through the lead sheets, I think you'll experience that same emotion. It's a great melody, and there's so many great jazz lessons that are nestled inside of the melody and today we're going to try to reveal some of those gems that are hidden in there. So Okay, the first thing I want to do is I'm going to play the chord changes. One time through I'm going to play the chord changes For four brothers and I want you to grab your lead sheet one and lead sheet two skill, one skill to have it in front of you, as I play it, I want to play it at 140, which, just for the sake of time, today, I would be I would be playing this at a much slower tempo if I was learning for brothers and practicing it, but for the sake of time, I'm going to play it one time through at 140. Now, the reason I'm playing it through just the chord changes is because I want you to use this portion of the podcast to practice listening to four brothers following the chord changes with your eyes following the harmonic function with your eyes. And the goal is that you ultimately want to be able to listen to this one chorus and be able to recite those chord changes as you're listening without the lead sheet in front of you and be able to recite the harmonic function that you're hearing go by without the lead sheet in front of you as well. But for right now, put both of those lead sheets in front of you. I'm going to play the chord changes follow along Four Brothers here we go.
Nice, okay, now a couple of things about for brothers, it's an A A B, a form, okay. So we're really only have 16 measures of music here, right and eight measures a section. And we have an eighth measure bridge letter c. Now, let's look at the A section right for brother starts with a dominant two dominant, and then we have a 251. And a flat goes to the sixth chord but the six is a dominant function instead of the minor. And then we have our two chord followed by the 36251. Very common 36251. Okay, that's basically our a section. Now we get to our bridge, letter C and your lead sheet. And this is what a handy was, in his question was getting at the chord/scale relationships. If you're looking at the skill one, you see the C sharp minor go into F sharp seven, the B major that's clearly a two five and the key of B followed by we have an E minor, A seven D Major which is a 251 in the key of D. And then that's followed by a D minor g7, C major, which is a 251 in the key of C. So we have three different key centers that are flying by in the bridge alone, right. But however, if you look over at the harmonic function side, lead sheet scale two, you'll see that the Roman numeral analysis is done in relationship to the parent key which is the key of A flat. So you want to be able to also see that as Oh, that's a sharp three go into a sharp six, followed by a sharp two and so on. Right, we want our ears to hear this route movement. Now both as I mentioned in the in Andy's question and as in my answer, chord scale relationships and hearing root movement, both of these styles of harmonic analysis, very important, it's not an either or option. It's a both right. Both are very, very important. So you spent some time with skill one, skill two or lead sheet one lead sheet two with with the chord changes and the harmonic function, listen to listen to four brothers and be able to and have the goal of being able to recite those chord changes and also be able to recite the harmonic function as you're listening to four brothers without lead sheets. It's a tall order no doubt about it. Okay, now I want you to grab lead sheet three and lead sheet for skill three skill for right now we have our chord changes with lead sheet three, we have our chord changes with our melody Classic lead sheet that you would see in various fake books that you may have right get the chord changes, you have the melody, lead sheet for scale for has the chord changes in the melody. But you'll notice that my fingerings are written in as well. Now, an assignment that I would encourage you all to do, because we have been spending a lot of time focusing on hand shifting, creating shifts within the musical phrases that we play to aid us with our jazz articulation and mobility. So I would encourage you to circle or to notate in some way on this lead sheet. All the hand shifts, where are they occurring? Where is it happening, right, practice these fingerings. And be aware of where these shifts are taking place. Now, I'm going to play the melody of four brothers, I'm going to do it at 114. Again, I mentioned earlier, I would not be doing I would be learning these fingerings at a much slower tempo, I'm going to play this melody, I'm actually going to try to play it very legato and very much like an etude like an exercise. So I want a nice legato feel I wanted to, I want to use these fingerings. And, and I want to play it at a comfortable tempo, I'm playing it at 140 I again would encourage you to play it much slower. So okay, let's bring the ensemble back in. And let's listen to just the melody of four brothers. With these fingerings as notated in skill, lead sheet four. Okay, here we go.
Makes sense, right, nice and slow, very legato pay attention to fingerings as you're playing lead sheet for, right. So this is you're not trying to play it as as a performance, right? This is like a little Etude to help you develop fingering and hand shifting. So keep everything nice and legato as you play through the melody of four brothers and again, at a very comfortable tempo. Okay, so now grab lead sheets, 5678, and nine. Each one of these lead sheets deals with a very specific section of the melody of four brothers in which I've yanked out of the lead sheet and have placed it on its own in its own lead sheet to help us develop jazz vocabulary. So the very first, the very first pattern that I want to draw your attention to is measure two and measure three of four brothers. And look at this. This is right right away on the B flat minor E flat seven, A flat major F A 251. Look at that. What's the entry point of that B flat minor? Oh, it's the third in what kind of motion is that? It's ascending arpeggio motion to what? To the ninth variable. Important fact don't we practice that right entry points route, third, five, seven. Here we go. Here's a prime example of it. Entry Point third arpeggio up to the ninth. And then we have a descending line on the E flat seven which is arpeggio motion again. And look at the arpeggio motion on the eighth flat major seven on the on the one chord. What's the entry point? Uh huh, third, what's the destination point? Right, the ninth. So look at that. It's going right up the arpeggio again. Third, fifth 579. Again, these Arpeggios are in our grunt work are exercises that we have been doing the last two weeks. So in lead sheet five overscaled five, I've extracted that, that line out of the melody, it's a great melodic idea. You'll see on the lead sheet, I have it in a flat, and I have repeat signs there for you to play at several times, like I'm going to do right now. But then you'll notice it goes to the key of D flat, then it goes to the key G flat, and you notice that note that I put on the lead sheet, continue moving around the circle of fifths. So the idea here is that we want to learn the pattern, we want to learn this melodic motif. And we want to understand it in terms of what's you know, third entry to the ninth and so forth. And then we want to move it through the various keys and move it around the circle of fifths. So I have three keys laid out for you here on this lead sheet. Your job is to continue that through the rest of the keys. All right, so let's listen I'm going to play in the key of A flat, let's listen to this little motif extracted from the melody of four brothers here we go.
Pretty cool, right, good vocabulary. Sounds like a great improvisational wine to use to help serve as a launch pad to help you start developing your own musical ideas based on this shape melodic shape. So now we want to do the same thing. Let's take a look at lead sheet six or skill six. This is going to be our second pattern. And this is again, B flat minor seven E flat seven, A flat major 7251. But this is I'm pulling this from measure seven and measure eight of blue brothers. Blue brothers. Poor bluesy man, four brothers. So seven and eight. I've extracted it from the from the melody four brothers. Here we have it on skill six or leached leads lead sheet six, you're gonna do the same thing, right, I'm gonna play it several times in a flat but the idea here, you'll see Section B I have it transposed in the key of D flat and then transposed again into the key of G flat. And what's our goal to be able to take this pattern to take this idea and move it around in all 12 keys, right pay attention to fingerings All right, when you're practicing, we have to have some chance shifts in there I recommend the fingerings that have notated in the lead sheet so All right, let's bring the ensemble in and let's check out pattern number two skill six lead sheet six here we go.
Awesome, all these patterns today, by the way, are all going to be centered around the 251 progression all of them. So now our third pattern. Now I want you to jump in your lead sheet to let her see the bridge and the opening of the bridge. is a 251 in the key of B. And so what a great line and we're going to take that melodic idea, or we're going to isolate it, we're going to play it in the key of B, you see on the lead sheet, I have it moving around the circle to the key of E, and then to the key of A. And again, your job is to continue the pattern around the rest of the circle. Okay, great training, ear training, great technique, training, fingering training, there are so many skills that you are developing simultaneously, when you do this kind of study, when you do this kind of practicing. So okay, let's bring the ensemble in and let's listen to the first two measures of the bridge, isolate it and get an idea how just how great how great it sounds all on its own. And how what a great motif to use to help us develop our own jazz improvisation vocabulary. Okay, so here we go check it out.
Love it, absolutely love it. Okay, we're going to skip you know, in the bridge, we have a 251 in the key of D, but we're going to skip that motif. You know why we've already done it. That same idea was played in measure seven and eight of the A section. So can you believe that? Wow, repetition. Not a bad thing, right? Not a bad thing at all. So let's now look at measures 21 and 22 of four brothers. It's a 251 in the KSC, some nice scale movement, some nice arpeggio movement, check out that arpeggio on the g7 starts on the third uses arpeggio motion up to the knife. Wow, where have we seen and heard that before? Holy moly. All right. So now let's, let's take that pattern. Let's isolate it. And then you'll see on your lead sheet, skill eight lead sheet eight, pattern four, starting off in the key of C, then moving to the key of F key of B flat and then we move it around the rest of the circle. We're going to play it right now in the key of C several times. In fact, in each key you would be playing this this idea several times not just don't repeat it one time. Repeat it literally a gazillion times. Like how, how much. That's a lot, right? A gazillion, whatever that is repeated that many times, then move on to the next next key. So let's bring the ensemble in and let's listen to measures 21 and 22 of four brothers isolated to use as an improvisational motif. So here we go. Four Brothers measures 2122 Check it out.
All right, we are down to our last melodic idea that we're going to extract from four brothers today. So look at lead sheet nine, skill nine, pattern five. And this comes from measures 2123 measure 23 of four brothers. And it's just a little idea. Great things come in small packages. And this is a great example of that. So we have a little 251 pattern in the key of C, and again, we move it to f we move it to be flat on our lead sheet, you will be moving it around all the keys and you're going to be playing each key a gazillion times, right, of course. So here we go. Let's listen to this measure 23 extracted from Four Brothers and isolated to use as a melodic motif to help us develop our own jazz vocabulary. This is so simple and such a great idea so here we go check it out.
Well, as always, as always, right we've unpacked a ton of information one very short and fast hour again, it's like a marathon. It's like a sprint. I cannot stress enough the importance of practicing and playing bebop heads melodies for developing fingerings technique time articulation. There are no better etudes for developing your jazz playing than bebop tunes. They're the best. So do not skim over studying and learning the chord changes in harmonic function for four brothers right the very first two lead sheets that we looked at today, right before tackling the melody after all, right our chord changes our harmonic function is the foundation that the melody rests upon. So it needs to be solid. Again, use your illustrations podcast packet to help you gain a command of these essential skills. And once you do have a command of the changes and the harmonic function, then begin practicing the melody and of course, slow tempos as as I have mentioned now several times in this podcast episode. Finally, finally, I always love to take apart bebop melodies, just like we did today to find invaluable melodic ideas to convert to jazz improvisation patterns. I then use these patterns to discover learn and play my own jazz vocabulary. In other words, these patterns help me discover me important and they will help you discover you. As always be patient. Developing mature professional jazz, be hands on skills takes a lot of time. So begin structuring your study and your practicing after after the plane demonstrations that are modeled for you today in this podcast episode and I guarantee it that you will begin to see feel and hear your progress. Well I hope you have found this jazz panel skills podcast lesson exploring Jimmy Giuffre is fabulous for brothers and to be I hope you find that to be insightful and of course to be beneficial don't forget if you are a jazz panel skills ensemble member I will see you online Thursday evening at the jazz panel skills masterclass. It's going to be 8 pm Central time to discuss this podcast episode lesson exploring for brothers in greater detail. And of course to answer any questions that you may have about the study of jazz in general jazz piano skills members I'm talking to you directly be sure to use those educational podcast packets, the illustrations, the lead sheets to play alongs for this podcast lesson and of course, you I hope you've been I'm living in the jazz panel skills courses as well to maximize your musical growth. Make sure that you are an active participant in the jazz panel skills community. Get out there, get involved, contribute to the various forums, make some new jazz piano friends, you can always reach me by phone here at the Dallas School of Music. My number is 972-380-8050 my extension is 211 email Dr. Lawrence, firstname.lastname@example.org. Or you can use the nifty little SpeakPipe widget that is found throughout the entire jazz piano skills website. Well, there's my cue. That's it for now. And until next week, enjoy Jimmy Giuffre's Four Brothers. And most of all, have fun as you discover, learn and play jazz piano!
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