April 7, 2026
I Got Rhythm, Harmonic Analysis
Podcast Packets Illustrations Lead Sheets Play Alongs Forums Jazz Piano Skills Community Summary Dr. Bob Lawrence discusses the challenges of modern music education, emphasizing the importance of structured, foundational practice in jazz piano. He guides listeners through a detailed analysis of Gershwin's 'I Got Rhythm,' highlighting key concepts in harmony, melody, and rhythm, and shares effective study strategies. Keywords Jazz Piano, Music Education, Harmonic Analysis, 'I Got Rhythm', Pr...
Podcast Packets
Illustrations
Lead Sheets
Play Alongs
Forums
Jazz Piano Skills Community
Summary
Dr. Bob Lawrence discusses the challenges of modern music education, emphasizing the importance of structured, foundational practice in jazz piano. He guides listeners through a detailed analysis of Gershwin's 'I Got Rhythm,' highlighting key concepts in harmony, melody, and rhythm, and shares effective study strategies.
Keywords
Jazz Piano, Music Education, Harmonic Analysis, 'I Got Rhythm', Practice Strategies, Music Theory, Improvisation, Jazz Standards
Key Topics
Challenges of modern music education
Importance of foundational skills in jazz
Harmonic analysis of 'I Got Rhythm'
Practice strategies for jazz musicians
Listening skills and musical understanding
Titles
Mastering Jazz Fundamentals: The 'I Got Rhythm' Approach
The Essential Elements of Jazz: Harmony, Melody, Rhythm
Sound Bites
"Music at its core is not complex."
"Listening is a skill that must be practiced."
"Listen in two stages: macro and micro."
Warm Regards,
Dr. Bob Lawrence
President, The Dallas School of Music
JazzPianoSkills
AMDG
00:00 - Introduction to Jazz Piano Skills
01:00 - The Challenge of Modern Music Education
02:57 - The Importance of Structure in Learning
05:54 - Foundational Elements of Music
08:48 - Monthly Tune Study Approach
12:10 - The Seven Facts of Music
15:05 - Listening Skills in Jazz
28:07 - Exploring 'I Got Rhythm'
WEBVTT
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Welcome to Jazz Piano Skills.
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I'm Dr.
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Bob Lawrence.
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It's time to discover, learn, and play jazz piano.
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Well, well, well, here we are, the start of a new month.
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January, complete, February, complete, March, complete.
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It's been a great year so far.
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Stars fell on Alabama, Embraceable You, Sweet Lorraine.
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Great standards, fun to explore, and as always, we learned a ton.
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Of course we did.
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We always do, right?
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Every tune study, harmonic analysis, melodic analysis, improvisation development, solo piano approaches, fantastic.
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We leave no stone unturned.
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We pack a ton into each month, into each tune.
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So new month, new tune, same process.
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And that's important.
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In fact, it's very important because we are living in a time where there is more music education content available than ever before.
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Endless videos, endless tutorials, endless tips, tricks, shortcuts.
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At first glance, right?
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This seems like a very good thing, but there's a problem.
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There's a huge problem.
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And it's a subtle one.
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The modern music learning environment today rewards complexity over clarity.
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Everywhere you turn, there is something new to learn.
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A new concept, a new approach, a new must know idea.
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And you know what?
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As a result, many students find themselves constantly, as I like to put it, chasing information without ever developing a clear sense of direction.
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They're busy, they're engaged, but they're not progressing in a meaningful, structured way.
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Does that sound familiar?
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They are learning about music without actually learning music.
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How ironic is that?
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They are learning about music without actually learning music.
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And that distinction matters.
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At jazz piano skills, we intentionally travel the same path every single month and study the same essential skills every single month in a logical sequential manner, but always with a fresh perspective.
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And that fresh perspective comes from the music itself.
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Each new tune we study brings a new perspective.
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Because that is what real study and real practice looks like.
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A clear process, a defined approach, a structured system.
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One that produces a meaningful return on your time and effort.
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And you know why?
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Because we are not running around chasing information.
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And let's be honest, that's very easy to do today.
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We we're surrounded by it.
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New ideas, new concepts, new approaches, the latest trend, followed by the next, and then the next.
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And over time, it all begins to stack layer upon layer without organization.
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And that's where the problem begins.
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Because music at its core is not complex.
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It's built on three things harmony, melody, rhythm.
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Three.
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Harmony, melody, rhythm.
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That's it.
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Three, which, as you know, produces, gives us our seven facts of music.
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Everything we do as musicians traces back to those three elements: harmony, melody, rhythm.
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So the question becomes if music is built on three essential components, why does learning music today feel so overwhelming?
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And the answer is really quite simple.
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The answer is we now live in a world driven by constant content creation.
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And content, by its very nature, must continually introduce something new, something different, something uh attention grabbing.
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But it's unfortunate because learning does not work that way.
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Learning requires structure, sequence, repetition, depth, not constant novelty.
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So what happens?
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Students begin to equate new information with progress.
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And that is a huge mistake.
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When in reality, progress in music is not found in what you add next, it is found in how deeply you understand what is already essential.
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And that's the whole point of jazz piano skills, right?
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Music is not found in what you add next, it is found in how deeply you understand essential jazz skills.
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So if you ever feel like you are spinning your wills, like you are learning a lot, running in place, but not really moving forward, right?
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Then I would encourage you to take a step back.
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Return to the foundation.
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Harmony, melody, rhythm.
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Strengthen those.
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And organize your practice around harmony, melody, and rhythm.
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Maybe that means, I don't know, just maybe that means a harmonic analysis each month of a tune.
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Then I think maybe it'd be a good idea to follow it up with a melodic analysis.
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And then maybe after that, you might want to do improvisation development that is rhythm-centric.
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I don't know.
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I think that's would be a good idea.
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That's a powerful approach.
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Because real growth in music does not come from chasing more information.
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I have stated this many times.
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It comes from developing a deeper understanding of what has already been there.
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And yes, and yes, that requires some good old-fashioned work.
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I call it grunt work.
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And the truth is this if you're not willing to do that work, you will find yourself chasing distractions, chasing information, chasing ideas, chasing trends, moving from one approach to the next.
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I see it all the time.
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Expending a lot of energy without building anything of real substance.
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So here we are.
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A new month, a new tune.
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But the same reliable, time-tested approach that accomplished jazz musicians have used for years to develop their skills, to develop their play.
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This month we begin a four-week deep dive into the timeless standard by George Kershwin, a jazz icon, a jazz classic called I Got Rhythm.
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And of course, here is how our study this month will unfold.
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Week one, harmonic, uh, harmonic analysis.
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We'll look at form, harmonic function, unique changes, voicings.
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Week two, melodic design or melodic analysis.
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We'll do some ear training, transcribing the melody.
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We will look at phrasing and target notes within those phrases and various treatments of the tune.
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Week three, we'll turn our attention to improvisation development, chord scale relationships, melodic pathways, motif development, and rhythmic vocabulary.
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In week four, we'll we'll spend some time with solo piano approaches, exploring stride, strum, slide approaches, bass lines, harmonic additions and substitutions, orchestration, and more.
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You know what I love about our monthly tune studies here at Jazz Piano Skills is that we're not just learning tunes, we're developing the skills required to play them confidently, musically, creatively.
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Whether you are comping or improvising, whether you're playing with a group, or whether you're just sitting at home playing the piano by yourself, telling your own story.
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And just as important as what we study, I stress this all the time, is how we study.
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Not just what we study, but how we study.
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And again, at Jazz Piano Skills, we don't guess.
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We follow a process, we have a clear agenda, a weekly cadence, a weekly rhythm, a structure that keeps us moving forward with clarity and purpose.
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You know, and here's what that looks like Tuesday.
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Every Tuesday, a new podcast episode is launched and it launches the next phase of our study.
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Thursday, we have a masterclass.
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We all gather and meet.
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Uh, Thursday evening, you know, every session is recorded and available if you can't attend the live masterclass.
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But that occurs every Thursday evening, Saturday, I uh or Sunday, sometime over the weekend, I release a blog which is a recap that reinforces uh the week's work.
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This structure matters, this consistency matters because great jazz musicians, great jazz pianists are not built through random practice, right?
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They're built through intentional study, and that's what we do.
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Intentional study begins with thinking correctly about music.
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If your thinking is unclear, your progress will be unclear.
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And often the most difficult part of that problem is that you don't even realize it.
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That's why in every podcast episode, I take time to establish what I call the seven facts of music.
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In fact, I just did an entire podcast about the seven facts last week.
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These are not options, they are foundational truths that keep your thinking clear, organized, and functional.
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They act as guardrails, quite honestly, ensuring that your understanding of music stays grounded and consistent, and it guides your practicing.
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So, as I do every episode, what are these seven facts?
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Fact number one, music is the production of sound and silence.
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Sound, of course, being, I'm talking about the primary sounds, major, dominant, minor, half diminished, diminished.
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Fact number two, when sound is produced, we produce it one of two ways, harmonically and melodically.
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Fact number three, harmonic sounds, harmonic shapes are what we call chords or voicings.
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Fact number four, melodic shapes, sounds are what we call the scales, the arpeggioles, our melodies.
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Fact number five, when we play our scales and arpeggioles, we are moving in one of two directions.
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That's it, up or down.
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Fact number six, we enhance those shapes, those scales, those arpeggies with tension, or what is referred to as chromaticism, or notes outside of the key.
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And then finally, fact number seven, to bring it all to life, we apply rhythm.
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When you truly understand these principles, music stops feeling mysterious and starts feeling logical, manageable, and most importantly, creative.
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So here we are, again, a new month, a new tune, a clear proven path forward.
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It's time to roll up our sleeves, focus, and get to work.
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It's time to discover, learn, and play jazz piano.
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It's time to discover George Gershwin's I Got Rhythm.
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It's time to learn form, chord changes, harmonic function, block voicings, shell voicings, two-handed voicings.
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And it's time to play I Got Rhythm using those voicings and to lock in on common harmonic progressions for developing our ears, ear training.
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So, as I always like to say, regardless of where you are in your jazz journey, a beginner, an intermediate player, an advanced player, or even if you are a seasoned and experienced professional, you're going to find this lesson exploring I got rhythm to be both accessible and beneficial.
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Now, before we get started, I want to take a moment, as I always do, to welcome all of you first-time listeners to Jazz Piano Skills.
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If you're new to the podcast, if you're new to jazz piano skills, welcome.
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I encourage you to explore becoming a member.
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Membership gives you access to a structured, comprehensive learning environment designed to support your development at every level.
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As a member, you'll have access to the complete podcast episodes, including the demonstrations and the lesson content.
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You will have access to the downloadable podcast packets with illustrations, lead sheets, and play-alongs.
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You'll have access to a library of courses designed to be sequential, practical, and sound based.
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You'll have access to our weekly masterclasses along with full audio and video recordings of the class.
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And you'll have access to our private jazz piano skills community for discussion, questions, and support.
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And finally, as a jazz pianel skills member, you'll have direct access to me for guidance whenever you need it.
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Now, all of these resources are designed with one goal in mind to help you discover, learn, and play jazz piano in a very clear, structured, and meaningful way.
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So check it all out at jazzpianoskills.com.
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And if you have any questions, let me know.
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I'm always happy to help.
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And one final note: if you are not already receiving the Jazz Pianel Skills weekly blog post, I encourage you to join the email list.
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You can do so at the Jazz Panel Skills website.
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Every weekend, I published a written summary of the week's lesson designed to reinforce what you've learned and to help you stay organized and focused in your study.
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All right.
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So before we turn our attention to our study for today and our study for the for the week, it's time for the question of the week.
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And this week's question comes from Carlotta Maxwell, living in Houston, Texas.
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And uh Carlotta is a jazz panel skills member.
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She's a Dallas School of Music student.
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I have the honor of working with Carlotta every single week, private lessons, uh, and it's a thrill.
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So I'm happy to uh Carlotta always has great questions, but this one is uh wonderful, so I thought I would uh spotlight it today with a question of the week.
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And Carlotta's question is simply this I'm always hearing jazz educators say that I need to spend a lot of time listening to jazz, but no one ever explains what I should actually be listening for.
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What am I supposed to be paying attention to?
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Carlotta, leave it to you to ask an obvious and perfect question.
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I could not agree with you more.
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Jazz educators are very good at telling us what we should be doing, but often we fall silent when it comes to how to do it.
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And this listening question is a perfect example.
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We talk about listening all the time, but nobody really ever dives into well, what am what are we listening for?
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So Carlotta presented me with this question.
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She also gave me very specific instructions on how to answer it.
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I I guess I have to have a bullet point here of like 10 things to be listening for.
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I'm gonna try to come close to that, Carlotta.
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I'll see.
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I'll do my very best to um meet the demands here.
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So, okay, so it's a fantastic question because again, jazz educators are very good at telling us what to do, but we we often kind of neglect the how-to.
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Okay, so and again, listening is the perfect example.
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So here's the here's the answer to the the best of my abilities.
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And and I'll start as I always like to do.
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Let's simplify this.
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Okay, so when you listen to jazz, the very first thing I would say to you is you're not listening for everything all at once.
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I think that's the mistake that everyone makes.
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You are listening, you're actually listening in in two stages.
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Think of it as a macro level of listening and then also a micro level of listening.
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So let's deal with the macro level of listening first.
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Before you analyze anything, before you think about notes, chords, improvisation, uh, I think your very first job in listening, Carlotta, is to orient yourself.
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In other words, understand the musical environment you are hearing.
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Uh think of it this way.
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Here's a a little analogy.
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Before you study a city, you need to know where you are, what what kind of place it is, what's happening around you.
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So, musically speaking, you do the same thing.
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You you ask, you focus on style, you know, and you ask your ask questions like, is this a swing piece?
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Is this a bebop, hardbob, cool jazz, modal, fusion?
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What style of music am I listening to?
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Because style dictates language, phrasing, rhythm, harmony, everything.
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So the very first thing I would say to you is listening, uh, identify, listen to and identify the style of music that you are taking in.
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The next thing I would turn my attention to is I I would ask uh while listening, what is the form?
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Can I identify the form of this piece?
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Are we talking about traditional jazz form, A B A, A, B, A, B?
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Is it a blues form?
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Is it rhythm changes like we're going to study today?
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Right.
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So I turn my attention to form in listening right away because this tells you how the music unfolds.
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Right.
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And this is the very first thing we do in our harmonic analysis every month is we look at the the form of the piece.
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So listen for form.
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Then the next thing I would listen to, again, macro level, uh, I would be listening for tempo.
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You know, it ballad?
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Is it medium, medium tempo?
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Is it up tempo?
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I'd lock in on the tempo of the piece.
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And then with tempo, I'd lock in on time.
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Can I identify what I'm listening to?
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Is this is this in four, four time, three, four time, five, four, six, eight?
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What's the meter?
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What's right?
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And then uh I would continue my macro listening.
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I would I I try to I identify the ensemble.
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Am I listening to a trio?
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Is this a quartet?
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What am I hearing?
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Is this a big band?
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What type of ensemble, what type of group am I listening to right now?
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And then after I identify the group, then I like to identify the instrumentation.
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What instruments are present, right?
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Then after I identify instruments, piano, bass, guitar, I'm hearing, you know, saxophone.
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After I identify instruments, I always like to see if I can identify players.
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You know, is this Red Garland that I'm listening to?
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Is this Oscar Peterson?
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Is this Chick Korea?
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Right.
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Every player has a style, and if I'm listening to a group, I always try to, it's kind of almost like a game I play.
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I try to identify the player, who's the bassist, who's the who's the drummer, who's the pianist based on what I'm hearing.
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So this whole macro level of listening, I think is so important, you know, to uh to be able to identify style, form, tempo, time, ensemble, instrumentation, player, this kind of stuff.
00:22:36.079 --> 00:22:48.720
I call it a macro level of listening, um, but it it pays huge rewards also with regards to your own personal development as a player, that type of listening.
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Now if you skip this step and jump straight into details, you're you are actually listening without context.
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And listening without context um more times than not uh makes no sense.
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Nothing will make sense without the context.
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So again, g this macro level listening is I think where you want to begin.
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Then you can turn your attention to micro listening, which is another way of saying the details.
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