This JazzPianoSkills Podcast Episode explores a Key of B Major Harmonic Workout (Block Chords, Traditional and Contemporary Shells, Two-Handed Voicings) + Rhythmic Comping Patterns
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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 a Key of Gb Major Melodic Workout. In this Jazz Piano Lesson, you will:
A Key of B Major Harmonic Workout
How to "think" within the Key of B Major, Harmonically
Block Chords, Traditional and Contemporary Shells, Two-Handed Voicings using common harmonic motion AND various Rhythmic Comping Patterns
For maximum musical growth, use the Jazz Piano Podcast Packets for this Jazz Piano Lesson. All three Podcast Packets are designed to help you gain insight and command of a specific Jazz Piano Skill. The Podcast Packets are invaluable educational tools to have at your fingertips while doing a Key of B Major Harmonic Workout.
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Welcome to jazz piano skills. I'm Dr. Bob Lawrence. It's time to discover, learn and play jazz piano. Today you are going to discover a key of B major harmonic workout. And you're going to learn how to think within the key of B major harmonically. And you're going to play a central jazz piano voicings, Bach chords traditional and contemporary shows two handed shapes using common motion. And on top of all that, you are going to play various rhythmic comping patterns focusing on 16th Note pairs. So as I always like to say, regardless of where you are in your jazz journey, a beginner intermediate player, an advanced player, even if you consider yourself a seasoned and experienced professional, you're gonna find this jazz panel skills podcast lesson, exploring a key of B major harmonic workout to be very beneficial. But before we jump into the key of D major, I want to as I do at the beginning of every jazz panel skills podcast episode, I want to welcome all of you new listeners. And if you are indeed new to jazz piano skills, I want to welcome you I want to personally invite you to become a jazz piano skills member. All you have to do to become a member is just simply visit jazz piano skills.com Once you arrive on the homepage, you can begin to explore the abundance of jazz educational resources, materials and services that are available for you to help you significantly improve your jazz piano skills. For example, as a jazz panel skills member you have access to all of the educational podcast packets, the illustrations, the lead sheets and the play alongs that are available for every weekly podcast episode. Now these are invaluable educational tools that you want to have in your hands as you listen to this podcast episode. And you certainly want to have sitting on your piano as you are practicing. The the sequential jazz piano curriculum, which is loaded with comprehensive courses is also available to all jazz piano skills members, the curriculum the courses, all of them use a self paced format their educational talks, interactive media, video demonstrations in all 12 keys the jazz piano skills being taught there are play alongs and much much more. Also, as a jazz piano skills member you have a reserved seat as I like to say to the online weekly master classes, which are in essence a one hour online lesson with me each and every week. As a jazz piano skills member you also have access to the online interactive Fakebook which holds standards jazz standards from the Great American Songbook, you can enjoy the chord changes or lead sheets, harmonic lead sheets, functional lead sheets, play along files, historical insights, inspirational recordings, and much more. It's an ever growing collection of tunes that you should absolutely study that you should absolutely discover, learn and play. You also has a jazz piano skills member have access to the private online jazz piano skills community, which hosts a variety of engaging forums, podcast specific forums, core specific forums and of course there are just general jazz piano forums for you to enjoy as well. You have access to all of the forums and you will have the ability to contribute to them as well, which I strongly encourage you to do. Right. Share, engage grow. It's fantastic. And last but certainly not least as a jazz panel skills member you have access to unlimited, private, personal and professional educational support provided by me whenever and as often as you need it again. Take a few moments minutes visit jazz panel skills.com To learn more about all these wonderful educational opportunities that await you and how to easily activate your
membership. Now there are several membership plans to choose from. And I'm quite certain that there is one that is perfect for you. But nevertheless, if you get there, if you're looking at the various membership plans, and you have some questions, please do not hesitate to reach out to me, let me know. I'm always happy to spend some time time with you answer any questions that you may have, and help you in any way that I can. Okay, let's discover learn to play jazz piano. Let's get after the key of B major harmonically. Let's tackle this harmonic workout. Here we go. All right, as all of you regular listeners know, I go through this little routine every time
it's beginner Airmont, that every time we begin our exploration of a new key, and of course, yes, I'm going to go through it again. Today, right now, simply because
I love doing it. And it's fun. So are you ready? You regular listeners can can say it along with me, okay? The key of C major
is over the key of F major over key a B flat major, long gone. Give E flat major over key of A flat major over key of D flat major
key A G flat major over.
All right, they're all over. Because now we focus on the key of D major. Now I don't know about you.
But I always always feel good about moving on.
Moving on, even, even if I know I do not have a complete handle on the skills, right.
It's time to move on. And I have said many times throughout this journey, it's a big deal. It's a very big deal to keep forging ahead, no matter what no matter how well you think you have mastered? Or how well, you may think that you have not mastered the essential jazz piano skills in the previous keys, or how shaky you may believe your jazz piano skills are in the previous case, it's irrelevant. We must always be moving forward. Forward motion is the name of the game. Without question, it is the key to developing our jazz panel skills and becoming an accomplished jazz pianist. Now, I've mentioned this point many times and I want to bring it to your attention again, you know why? Because that's what good teaching does. If you are truly serious about wanting to improve your jazz piano playing, which I know you do, then your goal should be to experience as much of the data as possible. In other words, you have to have a plan in place that allows you to cycle through essential jazz piano skills in all 12 keys. Your jazz journey must always be experiencing forward motion. As I like to say you cannot allow grass to grow under your feet. Now you've heard me say this before too. And I'm going to say it again. The number one reason why people find it difficult to improve their jazz playing is that they always practice the same thing.
In the same keys
in the same way over and over and over and over again. In essence they are simply running in place, right?
They never push forward. They never move through the keys as we have set out to do since the beginning of this year. Right 12 months 12 keys, essential jazz panel skills, voicings scales, arpeggios, chord scale relationships, improvisation rhythms, right, such a complete, thorough, methodical plan. Great approach, and within a good timeframe a year. So today, we begin tackling the key of B major. We exercise forward motion, we move on to B major. So as I have stressed over and over once we move on, we move on. In other words, we do not try to sneak back to the previous keys. It's a huge temptation. I know. Right? We're all guilty of it, but I'm just saying don't do it. Don't sneak back to just check out how well you remember the voicings or the scales or the arpeggios in the previous keys. It's over. It's time to move on.
In the books on the key of G flat major are closed. And on the key of B major, we go. And as we have done with previous keys that we have explored this year, C, F, B flat, E flat, A flat, D flat, G flat, we begin harmonically. And we're going to explore the seven chords, the key of D major B major seven, C sharp minor seven, D sharp minor seven, E major seven, F sharp, dominant seven, G sharp minor seven, and a sharp half diminished, using for specific approaches to voicings to voicing each chord, right, our blocks, our traditional shells, our contemporary shells, and of course, our two handed shapes. And we will then as we did in the Keys have F, B flat, E flat, A flat, D flat, and G flat, apply those voicings to various rhythmic patterns, which become, as you know, increasingly more and more challenging each month. And I want to remind you that you can take the various rhythmic patterns that we have studied in the previous keys, right, you could take those patterns and nothing wrong with taking those patterns and using them with the voicings that you were about to get under your fingers for the key of B major. Right. That's not only okay, but it's a great idea. And you should absolutely be carrying these various rhythmic comping patterns forward throughout the year as we move through all 12 keys. A couple of weeks ago, I talked about improvisational vocabulary. And I want to revisit my thoughts today regarding that as I did last month, because honestly, we need to hear it again. We need to hear this over and over again. As an experienced teacher, I've come to realize that it takes repeating a point many times before student actually hears it. Okay. So, listen very carefully. When we jazz educators talk about developing improvisational vocabulary. And whenever this topic comes up, it is always, always always always discussed from a melodic point of view. Right. In other words, the expression improvisation vocabulary has become synonymous with melodic playing, which is only a third of the entire picture.
In addition to placing emphasis on melodic development, we need to spend time discussing and focusing harmonic development and rhythmic development
when the topic of improvisation vocabulary comes up. And that is precisely what all of the harmonic workouts that we have been studying. That's what these workouts are all about harmonic and rhythmic development. So when studying a solo, a transcription, we do so
if we do it correctly, in such a way that the ideas and the approaches to melodic development displayed by the artists serve as a launching pad or gateway to the discovery of our own melodic creativity. Now, as I said, a couple of weeks ago, we we don't study a Bill Evans transcription and hopes to become an inferior replica of Bill Evans, silly. We study a Bill Evans transcription so that Bill Evans can introduce us to our own creative reservoir. If you have not given time to think about this, then I strongly encourage you to do so. And this is precisely why, you know, last week I had Josh Walsh on and we announced the new segment that we're going to have periodically on jazz piano skills, where we actually study transcriptions and we do so from this point, from this point of view, right. So I want you to think about this. And when we focus on harmonic development, voicings and rhythmic development time, we should be doing so in the spirit of discovering our very own and unique form of musical expression. And again, this is this is exactly what all of these harmonic and melodic workouts again are all about them. The voicings I share with you are to help you discover sounds, harmony, that you are drawn to, and the rhythms that I introduce are done so to help you develop a stronger internal sense of what I like to call expressive time. Okay.
I know this is certainly a lot the process and digest so think about it. And of course, if you have questions, let me know. Okay, so today we tackle the key of D major, and the educational agenda for today as a
as follows number one, we began our key of D major harmonic workout for the month of August number two, we're going to play essential harmonic voicings that you need to discover learn and play block shapes, traditional shells, contemporary shells, and two handed shapes. In number three, we are going to utilize a very relaxed Basa groove of 85. Number four, we are going to explore 12. comping rhythms focusing primarily on 16th Note pairs. And number five, we are going to apply our rhythmic comping patterns to the classic 251 progression in the key of B major. Now, if you are a jazz piano skills member, I want you to take a few minutes right now to download and print your podcast packets, the illustrations, the lead sheets and the play along your again your membership grants you access to all of the educational podcast packets for every weekly podcast episode. And as I mentioned earlier, you should absolutely be using these podcast packets when listening to the episode. And of course, you should be using them when practicing as well. Now if you are listening to this podcast episode, are on any of the popular podcast directories right there are many like Apple, Google, Amazon, Spotify, iHeartRadio, Pandora and on and on and on. Then be sure to go directly to jazz piano scales podcast.com to download the podcast packets, and you will find the act of download links within the show notes. And one final but extremely important note. I bring this up this little disclaimer every single week that if you're thinking in the back of your mind right now, if you're listening and you're thinking that the key A B, major harmonic workout, and the various skills that we are about to discover, learn and play if you are thinking that these skills are over your head that I would say to you stop it. Just stop. No worries. Please continue to listen continue to grow your jazz panel skills intellectually by listening to by just simply listening. In fact, every new skill is over our heads when when first introduced. And this is exactly why exactly why the very first step in improving our jazz piano skills is always to just simply sit back and listen. We want to place ourselves intentionally we want to place ourselves smack dab in the middle of conversations where we are hearing things that we've never heard before and we are forced to grow intellectually. You know, I say it all the time all musical growth begins upstairs mentally or conceptually. Before it can come out downstairs physically in your hands. So no worries, sit back, relax. Listen to this Podcast, episode lesson now to discover learn and play well, to discover learn, the play will come in time. It always does. I guarantee it. Okay, the very first thing I want to address is the very last page of your lead sheets packet. Right it's labeled skill 17. The title on the page is copying rhythms. Now you will notice there are 12 rhythmic patterns as there always are right labeled letter A through letter L. And you will also notice that these rhythmic patterns focus primarily on 16th Note pairs now I do draw from previous rhythmic rhythms that have been introduced to you and other keys. That's why we just keep ratcheting it up each and every month. But you also notice that each of these rhythmic patterns is played over the 251 progression, which is exactly what we're going to do today right now. Do not bypass.
I know some of you do it, but don't do it right. Do not bypass gills one through 16 found in your lead sheets packet. Right all four voicing types should be practiced first, without rhythm and as outlined in each skill in each lead sheet before tackling skill 17 Write all Also be sure to use the play alongs that are included in your podcast package. Now obviously, I do not have time in this podcast episode to play
through all 16 exercises, and the 12 rhythmic patterns, so I'm just going to trust that you do not get the card ahead of the horse that you take the time to practice skills one through 16 As outlined, to make sure that you have a handle on each of the four voicing types as applied to the chords found in the key of B major, right your B major seven C sharp minor seven, D sharp minor seven, E major seven, F sharp, dominant seven G sharp minor seven, a sharp half diminished. Then you can turn your attention to developing your comping skills, your rhythms, using the voicings as you play the 251 progression in the key of B major, C sharp minor, the F sharp seven and the B major. Just one real quick side note.
It's D sharp minor seven, not E flat minor seven
is G sharp minor seven, not a flat minor seven.
Right, we're in the key of D major. So we're going to think in the key of D major. So do not,
do not just try to
flip over and harmonically and think of, you know C sharp minor as D flat minor or D sharp minor is E flat minor, we're in the key of B major. So think of the chords in relationship to the key. B major is a sharp key, no flats. Okay? Just wanted to get that off my chest. All right. So let's dig in. Okay.
251 progression, right through all through all 12 rhythmic patterns today. So if you look at skill one, rhythmic pattern A right you'll see the 251 progression, right simple 251 progression that these rhythms are applied to. Now I'm going to play through each rhythm, right, this is for a throughout each each rhythm, I'm going to play through six times, right the first time through, I'm just going to play simple voicings, the last time through, I'm going to play simple voicings. But the second, third, fourth and fifth time, I will play those rhythmic patterns. I'll repeat them four times. So if you're wanting to practice and play along with me, you certainly have the time to do so. Okay. In fact, you can use even if you don't want to use voicings, you can use just a single note to begin playing these rhythms along with me. Okay, just a single note. Then once you have a command of the rhythm, then you can apply your voice is now today I'm going to use two handed shapes to play all of these rhythms. Right pattern A through pattern L, two handed shapes. And again, you could use a single note or you can use any voicing type that you prefer. All right. So with that being said, let's take a look at letter A.
Letter A starts with a classic eighth note connected to 2/16 Note pairs. This is a classic rhythm. And we're going to be using it extensively throughout all 12 rhythmic lines today. Eighth followed by 2/16 notes, a pair of 16th notes. So I have the same rhythm being placed on count one of measure one measure to measure three just repeated three times so you can get a feel for this rhythmic motif. Okay, so I want to bring the ensemble and let's, let's play it. Let's listen to it. See what we think. Let's check it out. Here we go.
Not too bad, right? Not too bad at all. Now, again, just we're going to be using a relaxed Basa groove of 85 today for all 12 rhythmic lines Basa rhythm, about the groove of 85. Okay, so now let's look at letter B. Now that pattern is flipped the 2/16 notes are on the front side of the beat, followed by the eighth note. And once again, I play the same rhythmic idea on count one of measure one measure to measure three and measure four is exactly the same as letter A as well. Again, I'm just wanting to compare and contrast this rhythmic motif both of these that are very common, the eighth note followed by 2/16 notes, or 2/16 notes followed by an eighth note just flipped flopped, okay, so let's bring the ensemble back in. And let's check this out here we go.
Again, not too bad, right, I would spend time with letter A, I would spend time with letter letter B, a lot to get a feel for the eighth followed by 2/16 notes or two sixteenths followed by an eighth to really digest these both of these rhythmic motifs before moving on to letter C. Threw out once you feel you have a command of a&b, then let's take a look at see. So now I start sprinkling these rhythms in with other rhythmic patterns that we have studied. So no measure one not too bad a couple of couple quarter notes on counts one and two, followed by that pair of sixteenths, eighth eighth combination. Second measure we, we have an eighth note fallen on the backside of the beat on count one. Right we have the same thing happening in measure three. So you know there's some, there's a little some tricky counting here, we've got some tied notes and measure, measure three there as well. So let's bring the ensemble in and let's check it out. Again, nice relaxed Basa groove of 85 here we go.
Very nice, once again, right I'm playing each each line we're repeating that six times first time through just playing the 251 the last time through playing just the 251 and then times
234 And five, those four times I'm playing the rhythmic pattern. So again, if you want to practice along with me, it's fantastic. It's a great way to do it. Okay. So now let's look at letter D. Oh man, are you kidding me quarter note triplets.
We can't get rid of these guys. Right. So we have our quarter note triplets. In letter D and measure one and measure two. We have our, our eighth followed by our 2/16 pairs. In measure and measure one, we have two sixteenths followed by an eighth and measure two, we have eight notes falling in the backside of count one and count two and measures three and four. Got a lot going on here. I'm anxious to hear how this sounds. So let's bring the ensemble in. And let's check it out here we go.
Quarter note triplet.
look what's coming next right? Oh my gosh, are you kidding me. Now we have the eighth note triplets. Right now we have eighth note triplets to deal with and measure one and measure two of of of E right and followed by our eighth to 16th Note pairs and then in measure to flip flops to where we have our eighth note triplets followed by a pair of sixteenths with our eighth motif and then again, what do we got, we have eighth notes on the backside of count one and two. Man, I just thought it was gonna get easier after those quarter note triplets but not so now we got the eighth note triplets to deal with. So let's bring the ensemble and let's have a little fun let's check this one out and see what it sounds like here we go.
Not bad right now. I make a big deal out of the quarter note triplet and the eighth note triplets. You know we focused on those primarily last month as we explore the key of G flat just one of the bring those forward and incorporate those in here with our 16th Note pairs get you used to get you used to being able to slide in and out of these various rhythms because you know what you need to be able to do it. If you're gonna play great rhythmic copying ideas. You need to be comfortable with these rhythmic ideas. So anyway, let's take a look at letter F. Again we have eighth notes that are falling on the backside of count one and count three and in measure one. Then we have our eight to 16th pairs, a pair of sixteenths and measure to follow and measure three we got the 16th pairs followed with the eighth note and measure three and again, eighth notes followed by
Excited count three and count four. Wow, same type of same type of idea in measure four of this line as well. So let's bring the ensemble and let's have a little fun and play letter F here we go.
All right, we're halfway home, right, we've looked at six rhythmic lines exploring our 16th Note pairs, you know, with the eighth note being in front of those 16th Note pairs or an eighth note being on the backside of those 16th Note pairs. And we're gonna continue to pile on that for the next six, six lines as well. So take a look at letter G, letter G, look at that counts one and two, we we have our familiar eighth quarter eighth pattern that we have dealt with.
Look at measure two, we have the a followed by a dotted quarter note, which is actually tied then to twin half No. Then we have some more of our 16th Note pairs and measure three and measure four as well. Hey, but look at measure three, we got quarter notes, how nice is that? Right, some quarter and and and measure for some quarter notes.
Fantastic. So let's bring the ensemble in let's have a little fun. And let's play letter G here we go.
Onward to letter H. Wow, look at this. We have that little eighth to 16th Note motif happening on counts one, two, and three of measure one followed by some eighth notes on the end of one and of two and measure two. And we have a measure for same thing eighth notes on the end of one and a two. But we have some traditional classic eighth note pairs in there as well to deal with so I think the big challenge here in letter H of course is having our eighth 16th Note pairs. That little motif repeated three times in a row. Okay? Don't rush it. Don't rush it. So here we go. Let's listen to the ensembles. Bring the ensemble and let's check it out and see what we think. Here we go.
All right, not bad. Not bad at all. So now look at let her I want to let her I, I'm wanting to make sure that you hear and feel the difference between eighth note triplets, and the eighth note followed by 2/16 notes. Alright, it's easy to play those rhythms almost the same and they're not, right. So to try to illuminate the difference between these two rhythmic motifs, I've placed them side by side. So you can see in letter I, you have I have an eighth note triplet on count one followed by my eighth note 16th Note pair, then a measure to eighth note triplet again, followed by an eighth 16th Note pair again, right, so I'm side by side comparison, then measure 3/8 note triplets measure for the eighth note 16th Note pairs. All right, so let's pay careful attention and listen to these, both of these rhythmic motifs side by side. All right, here we go. Let's check it out.
Not bad, right? You hear the difference? There's slight difference there. But it is there, it's easy. I find with students, it's easy for them to start playing the eighth note followed by to 16th note to 16th notes to almost start to play those sounding almost like eighth note triplets. And we have to be careful not to do that. Okay, a letter J. Now, this is another challenge, right? We have right there and counts one and two of measure one you have the 16th note pair followed by eighth note, then the eighth note followed by 2/16. The 16th Note pair, right. So you have those two rhythmic motifs that we're focusing on today. We have those back to back side by side again. Okay. And we do we do the same thing in measure three, right, same thing and measure three measure to measure four again, we have some eighth notes falling on the back sides back backside of count one and backside of count two. All right, so let's listen to how these two rhythmic motifs sound when placed side by side as well. So here we go. letter J. Let's bring the ensemble end. Let's take a listen. Check it out.
Nice write. Very interesting, it's a great rhythmic. It's a great rhythmic motif. Especially when you place both of these side by side, you get some interesting patterns for sure. Now, look at letter k, right, we have our dotted quarter, followed by our eighth combination that we've dealt with in previous lessons. And then a measure to measure to replacing those two motif motifs side by side again, this time, the eighth followed by 216, then two sixteenths followed with the eighth, side by side and measure two. All right, measure three, we have to deal with that dotted quarter eighth combination again. And then we have another eighth note coming in on the backside of count two and measure four. So this should be fun, right? Let's bring the ensemble in let's play letter K and see what we think here we go.
Nice, very nice.
Well, we've done it right. Here we are, we're at the very last rhythmic line for today letter L. If you take a look at a letter L we have a lot going on in this line, right, we have our eighth two sixteenths, side by side counts one and two of measure one followed by a pair of eighth notes. Then we have our 2/16 eighths motif side by side and measure two followed by a pair of eighth notes. Then we have eighth notes on the backside of count one count to count three and measure four, we have a tied note on count four going into one and two of measure four, followed by a pair of eighth notes.
Very neat. Very, very cool. And hopefully as you're going through these rhythms as we have discussed in master classes, hopefully you're being able to visually visually look at these rhythmic lines and subdivide that measure where you're seeing counts one and two on one side of the measure counts three and four on the other side of the measure which will help you tremendously play these rhythmic patterns accurately. Okay, so let's play the last rhythm of today. Let her out. Let's bring the ensemble and let's check it out and see what we think. Here we go.
Well, as always, we've done it right we've, we've unpacked an amazing amount of information in one very short very fast hour. Right? Again, do not underestimate the importance of being able to play these rhythmic patterns in time. Using correct jazz voicings. Always, as always be honest with yourself if you are unable to play these rhythmic patterns, using quite honestly, these are common rhythmic motifs and rhythmic patterns that we explore today, then, then you really you have no business trying to tackle more challenging rhythms that include more intricate ideas and advanced syncopation. Right. So I would encourage you, if you are having difficulty, revisit the rhythmic patterns that we have explored an F and B flat, E flat, A flat, D flat, G flat, bring some of those forward and continue to work on those right. And in fact,
the rhythmic patterns that we use today why playing are for voicing types? Right? These patterns really, ultimately are about helping you develop your ability to track and feel time. So often when students struggle with playing jazz, is because of their inability to successfully track time. In other words, being able to always know where count one is, to know count two is where's count three, count four, and a do not guess right not guess, because the reality is
with time, you ever greater chance at winning the lottery or being struck by lightning, or, or as I like to say leaping tall buildings in a single bound than you do at correctly guessing time when trying to play jazz. It's just that's the truth.
So embrace these rhythmic patterns, be patient with yourself and brace them. And don't be afraid to go back as I just mentioned earlier to go back and visit the rhythmic patterns in F B flat, E flat, A flat, D flat and G flat as well. Okay, now next week, we jump into a key of B major melodic workout and of course, I will introduce some rhythmic twist for that workout as well. So as I have been stressing every month hang in there right hang in there with me this year, you are going to experience a ton of jazz piano growth and you will love where you are musically by the end of the year. All right, you will feel the difference and most importantly, you will hear the difference in your plan and speaking of importance, be patient. Developing mature professional jazz piano skills takes time. So begin structuring your practicing after the plane demonstrations that I modeled for you today in this podcast episode I promise you you will begin to see feel and hear your progress I guarantee it. Well I hope you have found this jazz panel skills podcast lesson exploring a key of B major harmonic workout to be insightful and of course, beneficial. Don't forget if you are a jazz piano skills ensemble member I will see you online Thursday. Wait a minute, not this Thursday. Class this Thursday is canceled. I'm going to scoot away with a little family vacation before school starts. So no class this Thursday. The following Thursday, the master class will resume we will discuss this episode as well as the key of B major melodic workout episode next week. We will discuss both of those episodes in the master class next week. Okay. All right. So be sure to check out and use your educational podcast packets, the illustrations, your lead sheets, your play alongs for this podcast lesson and of course, I mentioned earlier the jazz panel skills curriculum, the courses, check those out as well they will maximize your musical growth. Also, make sure that you are an active participant in the jazz piano skills online community. Get out there, get involved contribute to the various forums, make some new jazz piano friends always, always a great thing to do. Now you can reach me by phone anytime 972-380-8050 my extension here at the Dallas school music is 211 You can also reach out to me by email that's Dr. Lawrence firstname.lastname@example.org. Or you can use the nifty little SpeakPipe widget that is found throughout the jazz piano skills website.
Well, there's my cue. That's it for now. And until next week, enjoy the key of B major harmonic organ. And most of all, have fun as you discover, learn and play, jazz piano