Aug. 11, 2020

Gershwin's "I Got Rhythm"


Welcome to JazzPianoSkills; a unique Jazz Piano Program dedicated to introducing aspiring jazz pianists to essential Jazz Piano skills. Each Podcast Episode will help you successfully Discover, Learn, Play a specific Jazz Piano skill.

This Jazz Piano Lesson will help you Discover, Learn, Play the classic jazz standard by George Gershwin, "I Got Rhythm". In this jazz piano lesson you will:

  1. Discover: The classic jazz standard "I Got Rhythm"
  2. Learn: How to methodically practice "I Got Rhythm" 
  3. Play: "I Got Rhythm" using correct chord/scale relationships

JazzPianoSkills Members should use the Educational Podcast Guides to maximum musical growth.

All three Educational Podcast Guides are designed to help you gain a functional command of Gershwin's "I Got Rhythm". The Educational Podcast Guides are invaluable educational tools to have at your side while studying and practicing JazzPianoSkills.

You can listen to this Podcast Episode at JazzPianoSkills and have access to the SpeakPipe Widget that allows you to speak immediately and directly to Dr. Bob Lawrence. Ask your questions, get answers, and interact one-on-one with Dr. Lawrence.

EPISODE OUTLINE:

  1. Discover
    1. Take Gershwin's "I Got Rhythm"
      1. Tune Architecture
        1. Form: AABA
        2. Key: Bb Major
        3. Chord Progression
          1. A Section
          2. B Section
  2. Learn
    1. Chord Changes In Time for Gershwin's "I Got Rhythm"
      1. Two-Handed Voicing Only
      2. Left Hand Voicing Only
  3. Learn the Melody for Gershwin's "I Got Rhythm"
    1. Using your ear - no fakebook
  4. Play
    1. Chord Changes in Left Hand for "I Got Rhythm" with:
      1. With Melody in Right Hand
        1. 'A' Section Only
        2. 'B' Section Only
    2. Improvise over the chord changes for "Take the 'A' Train"
      1. “A” Section
        1. Arpeggio Motion (mapped - no reference to the melody)
        2. Scale Motion  (mapped - no reference to the melody)
      2. “B” Section
        1. Arpeggios Motion (mapped - no reference to the melody)
        2. Scale Motion (mapped - no reference to the melody)
      3. The entire form of "Take the 'A' Train" using
        1. Melody
        2. Chords (Voicings)
      4. The entire form of "Take the 'A' Train" using
        1. Harmonic Function
        2. Chords (Voicings)

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Warm Regards,
Dr. Bob Lawrence
President, The Dallas School of Music
JazzPianoSkills

AMDG

Transcript

Welcome to jazz piano skills. I'm Dr. Bob Lawrence. It's time to discover, learn and play jazz piano in the last four weeks we have done a deep dive into the altered dominant sound. We started with the dominant sharp 11 sound. Then we explored the dominant flat 13 sound, followed by the dominant flat nine flat 13 sound had been last week, we tackled the granddaddy of them all. The fully altered dominant sound, the dominant flat nine, sharp nine, flat five sharp five, what a journey it was. What a fabulous introduction. Did you catch that? I use the word introduction, which implies there is much more to discover. Learn in play when it comes to altered dominant sounds, which we will certainly do in the weeks to come. But not today. No. Today is you got it. tuned Tuesday. It's back. Oh, man, I'm pumped. If you are listening to the jazz piano skills podcast for the first time, you are probably saying to yourself What, what? What the heck is tone Tuesday? Well, let me tell you on tune Tuesday, I select a classic jazz standard. And we thoroughly explore it from top to bottom, we will discover some interesting and historical facts about the tune the composer year influential recordings, musicians and so on, we will learn the tune, we will learn to tune its form is harmonic function, chord scale relationships modes, and we will play the tune by section and in its entirety, using melody of course, where we'll be using arpeggio motion scale motion, and doing a little improvisation along the way. Bottom line. Not only will you discover, learn and play a jazz standard, you will establish for yourself a systematic and methodical way to properly build a jazz repertoire. Bottom line tune Tuesday is pretty darn cool. So today, on tune Tuesday, we will discover, learn and play a tune that every jazz musician must study and have a command of mentally, orally and physically. And I mean, every jazz musician must know this to one could very easily argue that this tune is the most influential jazz standard of all time. I am speaking of none other than George Gershwin's, I got rhythm, famously known as rhythm changes. But before we break apart, I got rhythm. I want to share with you some very big news at jazz piano skills, some huge news. I have mentioned often in previous podcast episodes, that my number one goal at jazz piano skills is to provide you with the very best jazz piano lessons, jazz piano, educational materials, and jazz piano support that is available anywhere today. It is also important to me that I provide all of this educational materials, the lessons the support, that I provide all of it to you at the most economical price point possible. That is why I am thrilled to announce that jazz piano skills has completely restructured how the educational content and services are packaged and priced. Starting this week, jazz piano skills has shifted to a membership format. The membership format allows members to have access to all educational content, the podcast, educational guides, the interactive courses and lessons, the online classes the Thursday evening masterclass, plus the global community, the private forums and the private Facebook group. There are now four membership options for you to choose from. A one month membership, three month membership, a 12 month membership and even a lifetime membership. Wow. How cool is this? Right? I told you big news. Right? But here's the really good news. Okay, a one month membership. A one month membership to jazz piano skills you can go month to month is $50 a month. Now that sounds like a lot but it breaks down to $1.67 a day $1. I can't even believe I'm saying this right. $1.67 per day, a three month membership is $1.17 per day, or $35 a month. And a 12 month membership is 67 cents per day. Okay, that 67 cents per day, or $20 a month for a 12 month membership. Can I please? Can I please hear a huge Wow. Thank you. Seriously, how cool is this? I am thrilled about this restructuring and super excited that all of the jazz piano skills educational content is now packaged and priced in such a way that makes it affordable for everyone to gain access and benefit from the materials and services. Take a second and check it out at jazz piano skills.com. And of course, become a member and gain access to all of it all of the podcast episode. Educational guides, the all the the curriculum, the courses, the lessons, and of course the community as well. Right. It's all there the classes the master classes on Thursday evening as well. So check it out at jazz piano skills, comm become a member and start utilizing all of the educational content that is there to help you maximize your musical growth. Okay, now that the big news has been announced, it's time to get down to business. Let's discover learn and play. I got rhythm. So today, you're going to discover possibly the most influential jazz standard of all time. I got rhythm by George Gershwin. You're going to learn how to methodically begin practicing. I got rhythm and you are going to play I got rhythm using correct chord scale arpeggio relationships. So regardless of where you are in your jazz journey, whether you're a beginner, an intermediate player, an advanced player, or even if you're an experienced professional, you will find this jazz piano skills podcast lesson exploring George Gershwin's I got rhythm to be very beneficial. I got rhythm is a piece composed by George Gershwin. with lyrics by of course, his brother, I record and it was published in 1930. It's coming up here soon to be 100 years. Wow. It became a jazz standard performed by everyone. And I mean, everyone, right? It's chord progression, also known, as I've already mentioned, also known as rhythm changes, is actually the foundation for many, many popular jazz tunes. Duke Ellington's cotton towel, Charlie Christian's haven't come 11 Dizzy Gillespie salt peanuts felonious monks rhythm and named Sonny Rollins. olio. And the list goes on, and on, and on. And with that being said, it is important to know that spending time listening, right, listening to a tune is the first step and perhaps the most important step of all, when, when learning a tune, it is probably the most important step of the entire learning process. It is through active listening, that you will begin formulating your own treatment of the tune. You know, I can't even imagine I cannot even imagine beginning to learn a tune, without first spending a ton of time listening to various artists, and renditions of that tune. Right and listening to musicians and artists perform the tune from various genres right, not just a jazz, there's something to be learned from everyone. And once you have done a sufficient amount of listening, then then it's time to discover the architecture of the tune. And the first step in discovering the architecture is determining the tunes form. Now most jazz standards, especially the society standards, from from the Great American Songbook, right, the George Gershwin's, the cole Porter's the Harold Arlen tunes, and many, many others, they typically use one of two formats, a BA, or a B, A, B, right, four sections, four sections to the tune, each consisting of eight measures. For a total of 32 measures of music, this is pretty much the standard format. Yes, there are other forms. And yes, there are always slight variations to these two form types, the ABA and the ABA B. But, but it's the general rule that it's a b a, or a B, A B. And you have to learn the norms, right, you have to learn these two standard forms the norms, before you can begin identifying the exceptions, I got rhythm uses the classic a be a form. So we are going to be methodical in our approach to learning this tune today by focusing first on the A section, then the B section. And then of course, we'll put them together using the A B, a format. Now that we have identified the form of I got rhythm, we need to determine the key that we are going to play the tune. And I always recommend initially learning to tune in the standard or the most common key in which the tune is performed. And in this case, I got rhythm o even though originally composed in the key of D flat major, it is typically played in the key of B flat major. So that is the key. We will use today when learning this classic standard. Okay, so now we know the form a BA, we now have the key key of B flat major, the architecture of the tune is two thirds complete. Now we need to complete our exploration here of the architecture, we now need the chord progression. So I'm going to walk you through it and we're going to do the A section first eight measures, okay. So here are the chord changes the basic The, the basic core changes that I got rid of. Now again, there are many variations out there, but we have to deal let's deal with the norm first right. And then later, we can look at various various variations to I got rhythm. So here we go. The eighth section of I got rhythm, eight measures of music. The first measure begins with a B flat six, followed by a G minor. So we have this A B flat six, go into a G minor seven. Measure to C minor seven f now Unit seven, measure three, D minor seven, to a G minor seven, measure for C minor seven, to F dominant seven, measure five, back to our B flat six. Now that turns into a B flat dominant. Measure six goes to an E flat dominant. Now, upper half step to E diminished back measures seven, B flat six, to F dominant seven and to B flat six. And if we're going to repeat that a section eight, f seven. So there you have it measures one through eight, two chords in each measure if you noticed, first CT always on counts one and two. And the second chord on three beats three and four. The bridge gets considerably easier. Okay, it's eight measures of the B section. It too is eight measures in length and consists of only four chords, the first chord of the bridge is a D dominant. that lasts for two entire measures, then to G dominant. And again, it lasts for two entire measures, C dominant and you got it two measures for C seven. And then the last two measures of the bridge takes us to the F dominant. And that's it. That's the bridge circle of fifths motion, D seven, the G seven to C seven to F seven. And then we're right back into the A section. Now we are good to go. We have discovered the architecture of I've got rhythm, we know that the form is an a BA we know that the key is B flat and we've established a good harmonic foundation of the tune the chord changes. So now we are ready to learn I got rhythm, the very first thing I want to do is to walk you through a practice outline the practice outline that I use when learning any tool. Okay, so, just gonna walk you through this outline and then we will play through the outline. Okay. So very first thing I like to do is I like to play the chord changes, and I like to play them in time, right. So I like to play them establish a tempo and I like to play them two handed voicings, as if I'm accompanying a vocalist or an instrumental instrumentalist. And I also like to practice the chords using left hand shell voicings. Now I have podcast episodes out there, where I literally walk you through the two handed voicings and the shell voicings that I am going to use today. And if you're a member of jazz piano skills, you have full access to those episodes, and those educational podcast guides that outline the voicings left hand shell voicings as well as the two handed voicings. So after I have my voicings under my hands, then I like to learn the melody. And I like to use my ear to learn the melody. No Fakebook. No lead sheet, right. I like to use my ears to learn the melody. Based upon the renditions that I've listened to remember right I mentioned how important it is to listen to tunes. So I want to learn the melody based upon the various renditions that I've listened to. If you are new to doing this, the first few tunes may take a little while, right, you're getting used to the process, but I promise you, your ears will get on board very quickly and you will start to be able to pick out melodies and play them The more you do it, right, you'll be able to do it with ease. So once I have my, my voicings under my hands, I have my melody under my fingers. Then of course I want to put them together I want to play the changes and the melody together. No dude lane no improvisation and I will repeat that those the the form over and over and over again, playing the chord changes and playing the melody, really bathing in the song really digesting the song harmonically and melodically and once I feel I have a command of the chord changes the voicings, the melody and putting them all together, then I will begin to look at the tune. From an improvisational perspective, I will begin to explore it with various improvisation devices. And the two devices that I use right away arpeggios and scales. In fact, I will take the time to map out arpeggio motion through the chord changes, I will take the time to map out scale motion through the chord changes and we're going to do both of those today. For I got rhythm. Then once I have the entire tune down with my chord changes with my melody, I've mapped out arpeggio motion I've mapped out scale motion, then I can begin to expand it and embellish the melody and the scale motion in the arpeggio motion using various improvisational patterns, lower and upper neighboring tones and closures, chromaticism, cyclical quadruplets, and on and on. So the final step, after all of that, the final step is my analysis, harmonic function analysis. And I do this for ear training development. Probably, that's probably the most important reason as to why I do it. I want my ears to hear the harmonic motion of the piece so that I can replicate it and play it in various keys with ease. And we're going to do that today, as well. So that's my outline. That is the way I approach learning any tune that I want to add to my jazz repertoire. And we are going to follow that outline today. As we discover, learn and play. I got rhythm. Okay, before we dive in just a quick reminder, as a jazz piano skills member, you now have access to the three educational podcast guides that I develop for each jazz piano skills podcast episode. And these three educational guides are designed specifically to maximize your musical growth. The three guides the illustrations, the lead sheets, and the play alongs. For tune Tuesday for today, are structured accordingly. The illustration guide outlines all the chord scale arpeggio relationships for the tune in the standard, or most common key in this case today be flat. And the guide helps you discover the jazz standard conceptually, the image and the graphics are amazing. And as the old saying goes, a picture's worth 1000 words. So be sure to use this illustration guide as you discover, learn and play I got rhythm. And don't ever forget, right? This is so important. Your physical growth as a jazz pianist depends 100% of your mastery depends 100% of your mastery of the jazz piano skill, or in this case, the tune that you're studying, right. So conceptual understanding paves the way for your musical success and this guide will definitely help you solidify the mental imagery of the chord scale arpeggio relationships for I got rhythm. The lead sheets that are available for you to use as a member are our traditional music and jazz notation. They use traditional music and jazz notation to help you learn the jazz standard. I got rhythm physically right. So I should really call this the lead sheet guides because here's what here's what's happening. available to you as a member you get the A section of I got rhythm laid out for you, you got the the chord changes harmonic harmonic chord changes. You also have the mapped out arpeggios that I'm going to demonstrate today you have you have access to the map out scales that I'm going to use today. And you also have this for the B section as well you have the the chord changes, you have the mapped out arpeggios and the scales for the bridge or for the B section. And then you also have I got rhythm laid out that the chord progression for the eight using the a BA format, and then also the A B format using harmonic function Roman numeral notation as well. All at your fingertips. As a member, they are there ready for you to use. And these lead sheets are amazing. And all of the material that I developed for you, basically is just the material I wish I had. When I was searching for a way to successfully discover, learn and play jazz, you'll find these lead sheets to be an amazing asset for you. And finally, the play along guide which are the play along tracks are laid out in a similar way you're gonna have play along tracks for the A section play long tracks for the B section and play long tracks for the A B A or the entire form. Okay, and you're gonna have play along tracks at a temple of at, you're gonna play along tracks at a tempo of 100 and also play along tracks at a temple of 120. So, these play along tracks I cannot stress enough to you how important it is for you to use them. They will help you develop your time your feel. articulation help you practice your melodic development, your chords, your voicings, your improvisation, so be sure to use the play along tracks. They're there as a member, they are there waiting for you and ready for you to use. Again, all of the educational podcast guides are developed to maximize your musical growth. And if you have any questions when using any of them, you can always send me a quick voicemail message using the speakpipe widget and I will respond right back to you with a voicemail response. You can also get help through the jazz piano skills global community or attend to Thursday evening jazz piano skills masterclass that is available to you as a member as well. And that is held every Thursday evening. 8pm Central time and you get your questions answered face to face. So many ways for you to get help and assistance as you discover, learn and play jazz piano. And as I mentioned earlier, my entire goal is just to provide you with the best jazz piano lessons, the jazz, best jazz piano educational materials, and the best jazz piano support that's available anywhere today. Okay, let's learn the A section and play the A section of I got rhythm. So the very first demonstration I want to do we're going to do the A section eight measures of music. We're going to do it at a tempo I'm going to play a tempo of 100. So nice and relaxed. right we're going to do three courses of the A section and I'm going to play two handed voicings only I'm going to learn the chord changes get them under my fingers. We're not going to get into do anything fancy here. I'm going to play the chord changes with nice voicings and just let them settle in under my fingers right as I say I like to like to just get familiar with the chord changes first and I do so using two handed voicings and again, if you want to explore the two hand voicings that I'm using today, there is a podcast earlier podcast this season where I addressed the two handed voicings and again as a member you have access to these. This podcast and the podcast educational guides, which lay out these voicings. So here we go section a three courses nice and relaxed, two handed voicings of I got rhythm. Here we go. Let's check it out. Wow, pretty nice right? See I'm not trying to play fancy when you do this, just play the changes, keep it simple and let them just kind of settle in underneath your hands and get comfortable with the shapes and the sounds of I got rhythm. Now that we've done the two handed voicings, we should do the exact same thing using left handed, left hand shells, right three note shells. So now I'm going to play the A section and I'm just going to use my left hand shells, shell voicings and again, I address these in a previous podcast episode that you can check out at jazz piano skills.com. And as a member again, you have full access to these voicings. So now the A section again, except I'm just going to focus on my left hand playing the changes. And again, keeping it nice and simple, nice and relaxed. Eight measures, Section A Have I got rhythm at 100. So let's bring the ensemble in. Let's check it out and see what we think. Here we go. Nice. You know, it's funny with the voicings I could just sit there and play voicings in time. I think all day long, right, the melodies kind of swimming around in my head as I play, play the voicings and I'm just focusing on swinging and playing with a great feel and a great articulation. It's fun. So I can't encourage you enough, right? Do not bypass these first two steps. Don't rush through them spend time just playing the changes, okay. All right. Next, I'm going to learn the melody. So now I'm going to just play the A section of I got rhythm, playing the melody repeating it several times. And of course, if I was learning this, when I say several times, I'm talking a lot. Today, obviously for the sake of the time of the podcast, I'm just going to do three courses. But keep in mind I would repeat this process. These eight measures playing the melody a ton, right? I joke around with students all the time, go home and play it a million times. I'm joking, but I'm not. So here we go. A section of I got rhythm chord changes with my melody. Okay, let's check it out. Write nice and simple, don't try to get too fancy with the melody, keep it nice and relaxed, play it like you're singing it in your head. Right another reason why I don't want you to use a lead sheet, I don't want you to take in the information through your eyes, and trying to process everything through your eyes. Mathematically, reading music will never come off sounding like you want it to. Instead, you want to listen and play like you're singing it. And it will come off with the feel and the articulation that you're hoping to achieve. So one other side note, play the melody quite a bit, just the melody, you don't even need to play the voicings in the left hand, just play the melody over and over and over again. Once you're comfortable with the melody, then add your left handed your left hand voicings in there, okay. All right. And then finally, we're going to get to our arpeggio and scale motion over these chord changes. And I mentioned earlier that I like to map them out. And I do so you know, now I kind of do it on the fly, I map it on the fly. But when I was learning how to improvise, I would literally take the time to map out arpeggio motion, ascending and descending and map it out in such a way I established kind of a balance between the ascending and descending motion. So that's what I've done today, I've mapped out a little arpeggio improvisation. And I'm going to play that three times through Section A. And again, this is available for you to to download and print out and practice as well. This arpeggio motion so let's check it out. And let's see what we think. Okay, here we go. Wow, Pretty cool, right? It's pretty neat. And as you can see, or as you can hear, and as you as you will see it when you look at the lead sheet, you will see that I'm trying to again establish a nice balance between ascending and descending motion. And as I play it, I tried to play that mapping as if I'm improvising. And I want to play that as with a nice articulation, a nice feel. And when doing so I'm actually seen that my harmonic shapes in a melodic format. So very important. So now that we've done the arpeggio mapped arpeggio motion, let's do the exact same thing using scale motion. So I'm going to take the same ideas, I'm going to take that arpeggio motion and I'm just going to convert it into scale motion, right, I'm going to use the same kind of ascending and descending movement. But instead of arpeggio motion, I'm going to use scale motion. And again, this lead sheet is available for you to download and print out and to use sitting on your piano. So let's bring in the ensemble and let's hear the A section of I got rhythm using some mapped out scale motion ascending and descending scale motion. So here we go. Nice comfortable temple 103 courses three times through. Here we go. Let's check it out. Wow, that is a pretty thorough exploration of our a section right? We worked on our voicings two handed voicings, left hand shells, we've learned the melody. we've mapped out some arpeggio motion, we've mapped out scale motion, pretty darn thorough practicing, right, very methodical. Now we're going to do the exact same thing for the bridge. But before we do, I know I mentioned earlier, the educational podcast guides and if you are a member, you have full access to the illustrations to lead sheets to play alongs. All of it's there for you. But I also want to suggest that you check out the jazz piano skills courses as well that you have access to now as a member, too. Right. So the jazz piano skills courses make up a tremendous jazz curriculum that uses a self paced format. and is and is a sequential process, right? It's a self paced format, curriculum, and sequential and there's you'll find in each course and each lesson detailed instruction and illustrations, in depth educational talks, interactive learning media, traditional guides and worksheets that you can download and use high definition video demonstrations of me playing the jazz piano skills in all 12 keys that are play along tracks and lead sheets for you to utilize. And of course, professional help is one click away, always. And mobile access to all of the courses and the lessons to through your computer or your laptop, through your tablet through your phone through your TV. And yes, even your watch. So now as member as a member of jazz panel skills you have full access to not only to the educational podcast guides, but also to the entire jazz panel skills, curriculum, all the courses and all the lessons. And again, if you have any questions, write, send me a voicemail message using the speakpipe widget that is nestled in in all of the courses all the lessons or attended the Thursday evening masterclass or post your questions out there in the private forum or private Facebook group to get community help. Fantastic. I'm so fired up about this, this new membership format that gives you access to everything. Okay, so now, let's move on to the B section of I got rhythm. So what's the first thing we want to do? We want to play the bridge the B section using two hand voicings. First we want to learn our chord changes. So here we go. Let's bring the ensemble in. I'm going to use my two handed voicings again and just play through the bridge eight measures and I'm going to repeat it several times three times. nice comfortable tempo 100 and I just want to get a nice feel and shapes get a comfort with the shapes and sounds of the bridge. Have I got rhythm. So here we go. Let's bring in the ensemble. Let's check it out. Pretty neat, I told you the bridge was significantly, significantly easier than the A section right, we're dealing with only four chords moving in circle motion. Our D seven goes into our G seven to our C seven and going to our F seven. So after we have a good feel of our two hand voicings, we want to do the same thing and just practice our shells in our left hand. Right. So now let's bring our ensemble back in. And let's listen to the bridge of I got rhythm using shell voicings in the left hand. Okay, so here we go. Let's check it out. Nice hand again. Right I mentioned it earlier, I could sit there and play voicings and just comp and play voicings and let the melody kind of swim around in my head as I'm playing these shell voicings are the two handed voicings, and I could literally do that all day. It's just great fun. Again, I cannot encourage you enough to spend time playing the changes a lot. Okay, so after we have the changes under our fingers, the shapes and sounds, it's time to what? Correct, it's time to learn the melody. So let's play the melody of bridge. Let's repeat it several times, so that we get a really solid understanding conceptually, orally and physically of the melody. So here we go. Let's bring in an ensemble. Let's check it out. Very nice, right. You know what the melody is quite a bit simpler as well, I, I think right the melody of I got rhythm through the entire tune is not difficult. But the bridges is very simple. So now that we have our, our voicings for the bridge, under control, we have our melody under control, it's time to map out some arpeggio motion. So here we go. I've mapped out some arpeggio lines for I got rhythm, the bridge and I'm focusing on trying to establish some nice ascending and descending motion as I outline the chord changes. So let's take lesson Let's check it out, see what we think. Pretty darn cool, right. And again, you have access as a member, you have access to these mapped out arpeggio lines that you can use canopy as your launching point, right? I encourage you to map out your own arpeggios through these chord changes, but you can certainly use what I'm demonstrating today as a model and as a launch point. So now that we've done the arpeggio motion, let's take that exact same approach, but now do it with scale motion. So here's the bridge of I got rhythm, with some mapped out ascending and descending scale motion. So let's bring the ensemble in. And let's check it out. Love it, love it, right. I cannot encourage you enough to spend some time mapping out arpeggio and scale motion, especially if you're beginning to learn how to improvise. The time spent doing so is time well spent. Okay, so now we have thoroughly worked through the A section Have I got rhythm and the B section Have I got rhythm. Let's put it all together. I'm going to play through the entire tune now. chord changes my voicings plan My Melody, embellishing the melody just a little bit, right. But let's play through the entire tune. I'm going to kick it up a little bit. tempo to 120 now and let's play through. I got rhythm. Let's put it all together. Okay. Here's the ensemble and here's I got rhythm. Haha, some, right you know, it's funny I got rhythm is usually played at really smoking temples very fast right? But the sign of a great tune is that you can play man at any temple. And it sounds great and amazed here today you know playing it at 101 20 it swings just so great, right? So no need to try to play it at smoking and burn in tempos. Keep it nice and comfortable, keep it relaxed, relax, especially as you're learning to tune right? Speed is not part of the process when you are trying to learn a tune for the first time. Okay, finally, the very last thing I do, as I mentioned, I like to play through the tune and think of it in terms of harmonic function, the one chord, go into the six chord and so on. And this is what makes rhythm changes. So important to know. It's classic motion 16251 basically in the A section, and circle motion in the B section of the bridge, right. So now I'm going to play through I got rhythm, just playing the chord changes, but I'm actually going to call out the harmonic function as we go through as well. Okay, so here we go check this out 1636511747 sharp four diminished 151512 by three by one, seven, or seven sharp four diminished 15376 to 7162536519747, sharp four diminished 151. See what I mean? That's important stuff right there. That's how you learn a tune, I call it the harmonic DNA of a song. If you know the song using harmonic function Roman numerals right? Then you can actually transfer and play that tune in any key. And not only can you play it in any key, but your ears will now understand in hear those relationships, your ears will hear 1625 not only with regards to I got rhythm, but in the context of other tunes as well. And you will hear circle motion not just in I got rhythm, but in other tunes as well. So spend time always dissecting tune based on harmonic function. Again, invaluable. It's priceless, and it should be done for every tune that you learn. Well, I hope you have found this jazz piano skills podcast lesson this tune Tuesday exploring I got rhythm to be insightful and to be incredibly beneficial. And don't forget if you are a jazz piano skills member, I will see you online Thursday evening at the jazz panel skills masterclass at 8pm Central time to discuss this podcast episode lesson to discuss I got rhythm in greater detail and to answer any questions that you may have about jazz in general or I got rhythm right. So I'll see you Thursday evening 8pm Central. And also if you're a jazz pianist panel skills member Be sure to use the educational podcast guides for this lesson. And the jazz panel skills courses to maximize your musical growth. Likewise, if you're a jazz piano skills member, make sure you participate in the private forums and in the private Facebook group. Get involved make some new jazz piano friends. And if you're not a jazz piano skills member join. We'd love to get to know you. I would love to get to know you and to help you discover, learn and play jazz piano. As always, you can reach me by phone 9723 808058050 extension 211 Let me say that again 972-380-8050 extension 211 or by email Dr. Lawrence at jazz piano skills.com and that's Dr. Lawrence at jazz piano skills.com or by speakpipe found on the jazz panel skills website in the educational podcast guides and in the jazz piano skills courses. So that's it for now. And until next week, enjoy the journey. And most of all, have fun as you discover, learn and play jazz piano