This JazzPianoSkills Podcast Episode explores a Key of C Major Harmonic Workout (Block Chords, Traditional and Contemporary Shells, Two-Handed Voicings)
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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, play a Key of C Major Harmonic Workout. In this Jazz Piano Lesson you will:
A Key of C Major Harmonic Workout
How to "think" within the Key of C Major, Harmonically
Block Chords, Traditional and Contemporary Shells, Two-Handed Voicings using common harmonic motion
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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're going to discover a key of C major harmonic Orko. And you're going to learn how to think within the key of C major harmonically. And you're gonna play block chords, traditional shells, contemporary shells, two-handed voicings, using common harmonic motion within the key of C major. So as I always like to say, regardless of where you are in your jazz journey, beginner and intermediate player and advanced player even if you consider yourself a seasoned and experienced professional, you are going to find this jazz piano skills podcast lesson, exploring a key of C major harmonic workout to be very beneficial. If you are new to jazz piano skills. If you are a first-time jazz piano skills podcast listener, then I want to take just a couple of minutes as I do at the beginning of every podcast episode to personally invite you to become a jazz piano skills member, all you have to do is visit jazz piano skills.com To learn more about all of the abundance of jazz educational resources, materials and services that are available, and waiting for you to help you develop into an accomplished jazz pianist. So for example, as a jazz panel skills member, you have access to all of the educational podcast packets, the illustrations, the lead sheets, the playlists that I developed and I produce for every single weekly podcast episode. These are invaluable tools that you want to have at your fingertips to study away from the instrument, as well as to have at your fingertips while studying and practicing at the instrument invaluable tools. Also, as a jazz piano skills member, you have access to the online sequential jazz piano curriculum which is loaded with comprehensive courses. Using all the courses using a self-paced format. There are educational talks to enjoy interactive media. There are video demonstrations in all 12 keys of the jazz panel skills that's being taught within the course. Of course, there are play alongs and much much more to enjoy and to benefit from using. Also as a jazz panel skills member, you have a reserved seat in the weekly online masterclasses, which are as I always say, in essence, they are a one-hour online lesson with me each and every week. And also as a jazz panel skills member, you have access to the private jazz piano community which this community hosts a variety of engaging forums, podcast-specific forums, course-specific forums, and of course, general jazz piano forums as well. And last but certainly not least, as the jazz panel skills member. You can enjoy unlimited private, personal and professional educational support whenever and as often as you need it. Again, just visit jazz piano skills.com. To learn more about all of the educational opportunities that await you, and how to easily activate your membership. There are several membership plans to choose from, and I'm confident there is one that fits you perfectly. If you have any questions at all, please do not hesitate to reach out to me, let me know I'm always happy to spend some time with you. And to help you in any way that I can. Okay, let's discover learn and play jazz piano Let's get after this key of C major harmonic workout. Before I forget, I want to wish everyone Happy New Year. Wow,
can you believe it? I hope you are excited about 2022 And I hope toward the top of your New Year's resolution list is the goal of significantly improving your jazz piano skills. I want you to know that near the top of my New Year's resolution list is my community meant to provide you with exceptional educational content throughout the entire year. And I'm telling you right now, right now, it is going to be a fantastic year. The podcast episode lineup for 2022 is phenomenal. Now, I'm not going to lie. What I have planned for you in 2022 is going to take some serious grunt work on your end. But if you stay the course, hang in there with me throughout 2022. By this time next year, you will be thrilled with just how much you have improved. So much so that you'll be able to mark the improved jazz piano skills item on your New Year's resolution list, you'll be able to mark that item as accomplished. So Happy New Year, here we go. 2022 Ready or not? Right. Here we go. You know, last week, we wrapped up 2021 with a look at the great Sonny Rollins standard St. Thomas. And we did so in all 12 keys. And just to refresh your memory as to why we did this. It was to help each of us gain an accurate assessment of our ability to think within a key to think within all 12 keys to be precise. And I believe I stated in last week's podcast episode that the bottom line is simply this your success as a jazz pianist depends 100% upon your ability to comfortably think within keys and apply various jazz piano skills to the keys. Now if you are unable to think within keys, and easily apply essential jazz piano skills like voicing scales arpeggios last week, I demonstrated everything using two-handed voicings as the skill. But if you are on able to think within keys and easily apply essential jazz piano skills, then you will not let me repeat you will not become an accomplished jazz pianist. Not I'm simply speaking truthfully, no sugarcoating. Now I picked St. Thomas for a couple of reasons. The melody which we learn by ear right, the melody is 100% diatonic. In other words, it uses only the notes of the scale. That's it. And the root movement of the chord progression is 99.9% diatonic as well. The only exception is the sharp four diminished chord toward the end of the into the melody. So hopefully, after you have wrestled with St. Thomas from last week, and as you listen to the first podcast episode of the year, now right now, you have a pretty solid, hopefully a pretty accurate understanding of how well you think within keys. Really, the whole point of last week's podcast episode was to prep you for the new series I am launching today with the start of the new year. See how that works. New New year, new podcast series Pretty cool. So without further ado, the new jazz panel skills podcast series that I am extremely excited to introduce to you is the new workout series. You heard that correctly right workout. It's time for us to get serious about the jazz piano skills we have explored over the past three years and begin placing them within the context of keys. So throughout this New Year, I am going to present to you
a harmonic and a melodic workout for each of the 12 keys. And of course, what better way to begin then with the key of C major right? Probably the key that we're most all of us are the most familiar with. So the educational agenda for today is as follows number one We are going to explore the key of C major harmonically. In number two, we are going to play essential harmonic shapes that you need to discover learn and play block shapes, traditional shells, contemporary shells, and two-handed voicings. Number three, we are going to play to absolutely essential harmonic progressions using the various harmonic shapes that I just mentioned. Those progressions, of course, being the iconic 251 progression, and right behind it, the 36251 progression. And number four, in total, I am going to introduce to you today 16 Key specific harmonic exercises that you can and should be using to help you gain a mastery or harmonic mastery of the key of C major. Now, if you're a jazz piano skills member, I want you to take a few minutes right now hit the pause button, take a few minutes download and print, the podcast packets, the illustrations, and the lead sheets. They are hefty this week. There's a lot of material included in the illustrations in the lead sheets that I want you to have in your hands as you listen to this podcast episode. And of course, you should be using them when practicing as well. So if you're listening to this podcast on any other popular podcast directory, such as Apple or Google, Amazon, Spotify, I Heart Radio Pandora, on and on and on, then be sure to go directly to jazz piano skills podcast.com to download to access and download the podcast packets and you will find the active download links within the show notes. So hit the pause button. Take a couple minutes and get your hands on the podcast packets. One final, but extremely important note that I always mentioned and mentioned in every podcast episode, if you are in some way listening right now and if you are thinking in your head, you're thinking man key of C major harmonic workout. If you're thinking that what we're about to explore within this harmonic workout the various skills that we are about to discover, learn and play. If you're thinking that these skills are in some ways over your head or if you are even if you feel like they're all the way over your head, then I would say to you okay, so what? I say it every week, right? So what this is how we grow right continue to listen, continue to grow your jazz piano skills intellectually. By listening to this podcast episode, the fact is this. All skills are over our heads. When first introduced, I can't even begin to tell you how many presentations and lectures I've listened to were like, Man, I have no idea what they're talking about. But I hung in there. And this is precisely the first step that we need to take in order to improve our musicianship. Listening, right. All musical growth begins upstairs mentally, before it can come out downstairs physically in your hands. So hang in there. Listen to this podcast lesson now to discover and learn the play as always, will come in time I guarantee it.
Okay, so I want you to grab lead sheet. Number one, it says upper left-hand corner exercise one, right you'll see that it's called root and inverted blocks. This skill right here is absolutely the foundation of understanding a key. You see on the lead sheet we have the seven chords of the key of C major laid out here C major seven D minor seven E minor seven, F major seven G dominant seven, a minor seven, and B half diminished, or B minor seven, flat five. And you notice I have the block shapes for block shapes for each one of those chords laid out in the left hand and in the right hand. So for instance, the very first two measures you have C major seven laid out root position, then C major seven, first inversion, C major seven second inversion, C Major 7/3 inversion, right? And you notice the same format is used for D minor seven, E minor seven, and so on for all seven chords at the key of C major. So the idea is that I want you to begin practicing these blocks in both hands. Now, this is not necessarily how you're going to play the chords in context and within a standard or a tune that you're playing, but this is just as much Believe it or not. A preparation for improvisational development is as it is for gaining a mastery or command of thinking within a key. These blocks, these shapes are vitally important. Okay, so I have them laid out in both hands, you should practice hands separately, of course, left hand by itself right hand by itself, then put the two hands together. So what I want to do is just kind of model this for you. I'm going to bring the ensemble in, I'm going to play I'm literally going to blow through this entire exercise, I'm going to go write down the entire sheet you can follow along I'm going to play the root position and three inverted shapes for each of the seven chords. I'm going to go through it twice. As you can see on the lead sheet in front of you, you can see those repeat signs for each section. In other words, what I'm trying to communicate there is that you should isolate, isolate each one of those sections and tons of repetition as you get them under your fingers and in your ears. Okay, but for the sake of time, I'm going to play through both of these. I'm going to play through the exercise all the way down twice, repeating the entire exercise twice so you can kind of get a feel. Now the temple I'm going to be using throughout the day, very comfy, very relaxed. At five. This is not a speed contest right? As we get as we do our workout. And we explored the key of C major harmonically This is about digesting the shapes in the sounds of C Major This is not about a speed race. Okay, so Alright, so here we go. Let's bring the ensemble and follow along with your lead sheet exercise one route in inverted blocks here we go check it out.
Nice right now I want to stress you know, so oftentimes, we tend to look at a fundamental exercise as being remedial. And it's simply not the case, right? I can't begin to tell you how many times students and quite honestly even some, even some pretty accomplished musicians when asked to do some basic skills, such as playing the blocks and inverted shapes can sometimes struggle right. So what I'm saying what I'm trying to stress is do not blow past these introductory type exercises within a key as don't write them off as being too simple. Because the reality is they're not. Okay. So now I want you to grab exercise to exercise three exercise for an exercise five from your lead sheet packet. And now you'll see that I've taken these same blocked shapes, but I've isolated each shape the root position, the first inversion, the second inversion, and the third inversion. So exercise two deals with just the chords of the key of C major in root position ascending from C major up the B half diminished and then descending right next, and then I do the same thing if you look at exercise, three ascending and descending motion with these blocks shapes, but now in first inversion, then exercise four, same format, ascending and descending through the chords of C major. But now in second inversion, and then exercise five, again, same format, ascending and descending. But now the chords are in third inversion. So what I want to do, I'm going to bring the ensemble and I'm going to combine all four again, just for the sake of time, I'm going to combine all four of these exercises into one for you, this is not how I would suggest doing it, I would suggest isolating each of these groups and getting them under your hands and in your ears that way, but for the sake of time, I want you to hear all of these exercises. So I'm going to play through each exercise one time, I'll play through all the chords of C major and root position, then repeat and play them all in first inversion, then repeat, second inversion, then repeat third inversion. So here we go. Let's bring the ensemble and let's check it out and see what these exercises sound like here we go.
Good again, right. It may seem like it's pretty fundamental, pretty simple, pretty easy stuff. Until of course, you have to put your hands on them. And play actually play the exercises in time, ascending and descending. It's always easy until we have to do it. So what I'm trying to say is do it. Okay. Now, let's go on to exercise number or exercise number six. Okay, now we start getting into our traditional shells and our workout, right, we've done these block shapes and root position and in three inversions. Now we're going to start playing our traditional shell voicings and this is one of the reasons why these block shapes are so important because as you start leaving notes out, like these traditional shells, there's no route involved in the shells, it's gone. So once you start leaving the root out and you start leaving some other notes out and you play the shell, it becomes a little bit more abstract. And so it becomes very important that you truly know the key in order for these shapes to start making visual sense, as well as oral sense as well. So as you'll see there in exercise six, I have two options laid out for each chord of this key of C major. So you'll see 379735 voicings for each of the chords for C major for D minor, E minor, and so on. So this exercise is just a one measure each again, nice and relaxed at 85. This exercise is intended to just help you get your hands on these two primary shapes, traditional shells, the 379 and the 735 shell. So let's bring the ensemble in. I'm going to play through this exercise. And let's see what you think you'll hear the beauty of these traditional shells here we go check it out.
See now you can. Now you can see what I'm talking about, that these shapes become much more abstract. When we start playing shells, the absence of the route, as well as other notes just makes it a little bit more difficult to easily grab on to a couple of things I want to point out number one, I play through the exercise twice, I'm going to do that for most of the exercises from here on out. But I also want to draw your attention to letter C there on your lead sheet, the E minor seven, notice I have an F sharp in there, I'm treating that E minor seven, of having that F sharp in there as kind of like I'm using the Lydian mode of C major. And in really, the F sharp I'm treating that as a nine. The F natural to me just does not sound pleasant. And the ear, the ear, as many of my students will attest to I say all the time, the ear Trump's theory, always. Right. So if it sounds good, it is good. If it sounds bad, it is bad. Right? So you have to start trusting our ears so that F sharp, I can explain the presence of that F sharp, theoretically speaking, but I can also just strip it down to my ear is telling me that the F sharp sounds better. So I just wanted to draw your attention that that's not a typo in the lead sheet that F sharp is intended to be in there. Okay, so now draw your attention to exercise seven. So grab that lead sheet. Okay. Now I'm going to actually play those shells. But now instead of playing both the 379 and the 735 shells side by side, I'm going to just play the 379 shells for each of the seven chords of the key of C. And let me say that again, we're going to stick with just the 379 shells. So it's going to be C Major 379 D minor 379. E minor 379. F Major 379. Okay, sounds easy. Think again, it's not so easy. We're sticking with the same shape all the way through all the chords of the key of C. So here we go. Let's bring the ensemble and let's check it out.
Well if we isolate the 379 voicing, we should isolate the 735 voicing. So if you look at lead sheet, the next lead sheet exercise eight again the exercise numbers in the upper left hand corner of the lead sheet. Now I'm going to isolate the 735 voicing and play through all seven chords of the key of C using the 735 shell only. So once again, let's bring the ensemble in, and let's check out these 7355 voicings for all seven chords of the key of C major here we go.
Okay so so far with our key of C major harmonic workout, we've taken a look at the block chords, the block shapes, and root position first, second and third inversion. We then explored traditional three-note left-hand shells, the 379 shape and the 735 shape. Applying both of those shapes to each of the chords in the key of C major. Now we're going to turn our attention to the contemporary shells or the chordal shells or the fourth the shells. So now, again, the reason these shells are titled as such is because the interval, the interval, the primary interval used to construct each of these shapes is the interval of a fourth. So if you're looking at your lead sheets, exercise nine, contemporary shell voicings and again, like the traditional shells, I'm presenting to you two options that you need to get under your fingers. And I have the numeric construction of those shapes underneath each one of the voicings. So for instance, you see on the C major seven, you see the 369 is one of our shapes. And then the other option for C major seven is 736. Okay, and I do that same, I utilize that same format for all seven chords here in the key of C major. So now what I want to do is bring the ensemble back in and I want to play our two primary voicing options using contemporary shells for each of the chords in the key of C major. Okay, so let's check this out and see what we think. Here we go.
Very cool. Now grab exercise 10 An exercise 11, I want you to put them side by side, we're going to do some isolation here. But the isolation is going to be based on geographical location Not, not based on the construction of the voicing. So as you as you look at exercise 10, the idea is how do I move from C major seven, the D minor seven to E minor seven, F major seven, and so on? How do I move from each one of those harmonic sounds to the next harmonic sound, using these contemporary shells, and doing so utilizing minimal motion, minimal motion. So you're gonna see some replication here, and there should be some light bulb moments for you where you see that the same shape is used to represent or to support the sound that is being played. So for instance, the C major on exercise 10, a C major, I'm using the 369 voicing, then I go to that B, I'm sorry, the D minor in the B section there, I go to that D minor using a 147. Then in the C section with the E minor, I use a 147 for that. But notice the 147 for my E minor are the exact same notes as my 3694. My C major. Wow. Right. So now reading becomes a little bit more abstract, because we're using some of the same shapes to support different sounds within the key of C major, different chords. Alright, so now all of this should absolutely be pointing you back right to the very basic block chords. And they're inverted shapes, because the better you understand those fundamental shapes, the easier these abstract shapes become, alright, the foggy are the fundamentals, the harder these abstract shapes are to get under your fingers. So now I want to bring the ensemble back in and let's listen to these contemporary quarter voicings using minimum motion to move from one chord to the next chord with in the key of C major. So here we go check it out.
Pretty cool, right? It's good stuff. So now, exercise 11 Grab that lead sheet, we're going to do the same thing. But instead of starting with our C major using a 369 shape, we're going to use the other option which is the 736 voicing. And we're going to utilize the same approach where we're going to get from our C major D minor, E minor F major using minimum motion, minimum motion and we're going to discover the same thing that we just discovered with the previous exercise and that is some of the exact same shapes are utilized to play different sounds within the key different chords. So follow along exercise love and get that lead sheet in front of you follow Along here we go check it out let's see what we think here we go.
Okay, I just want to take a couple seconds right here to recap our workout. It's, there's a lot of work I told you right grunt work. So we started with our black voicings root position first, second third inversion, we went to our traditional three-note shells or 379 and 735 shells, we explored those, then we move to our contemporary voicings that are built using the primary interval of a fourth. And then we explored using those quarters shapes, playing all seven chords within the key with the goal of utilizing minimum motion to go from one chord to the next chords and next chord. So hey, we're about halfway through our workout. Alright, so now we move on to plain two-handed voicings, these are five-note shapes. So grab Exercise 12 Exercise 12. These are two-handed voicings, I use five-note shapes. When I play two-handed voicings I played two in the left, I play three in the right for a total of five notes. And again, I'm using numbers below each one of those voicings to indicate the notes within the scale that I'm using to build the voice and to construct the voicing. So I have as I did with the traditional shells and the contemporary shells. With these two-handed voicings, we have two primary options. So what I want to do right now is just bring the ensemble in and play both options for each of the seven chords of the key of C major follow along with your lead sheet. Here we go. Let's check it out.
Great sound right. These are my primary voicings that I use whenever I am playing solo piano or playing in a group context. I these are my fallback, go-to voicings that I am giving you right now in the key of C major, right of course we're going to be doing this for all 12 keys throughout the year. So this is why I'm saying hang in there. It's going to be a great year you're going to learn a ton. So now we're going to do this exact same thing that we did with our contemporary left-hand shells, we're going to do it with our two-handed voicings, I'm going to play the seven chords of the key of C major using two-handed shapes. And again, the objective is to move from one chord to the next chord to the next chord within the key utilizing minimal motion. Okay, so if you're looking at exercise 13 In your lead sheets, just look at how compact the movement is going from one chord to the next quarter the next chord, very streamlined. So let's bring the ensemble in and let's listen to the shapes the chords the sounds of the key of C major using two-handed voicings and minimum motion, here we go check it out.
Very nice, so we want to do the exact same thing again. But now this time instead of starting with our C major starting with our 36951 or 251 shape, this shape we want to start with our other option which is going to be 73695 this one so if you look at your lead sheet, right, this is gonna be lead sheet number four team to hand voicings set to so again the objective is to move through all seven chords the key of C major using our two-handed voicings and utilizing minimum motion to move from one sound to the next sound to the next sound. Okay, so let's bring the ensemble in let's check it out. See what we think here we go.
I told you I was going to be a workout when I say workout I mean workout right? Once again, started with the block shapes, root position three inversions. Traditional shells three-note shells 379735 contemporary shells built upon the interval of a fourth. Then two-handed voicings both options two different options for each of the two-handed voicings as well. So now, we've done a pretty thorough job of looking at the various chords within the key of C and applying the various ways to voice those chords, either as left-handed shells or two-handed voicings. Now what we want to do is drop them into the context of harmonic motion within the key of C. And of course, we're going to start with the iconic the most important progression of all, especially within the world of jazz, and that's the 251 progression. So the very first thing I want to do is I want to play the 251 progression using our block shapes, our root position, and three inversions. So I'm going to play through the exercise, you'll see on your lead sheet exercise 15, you'll see Section A, B, C, and D 251 progression using those block shapes I'm going to play, I'm going to play an exercise right now where I just go from one to the next one to the next one to the next one. Again, you should isolate these, these lines and practice them. But for the sake of time, I'm going to just play through all four possibilities, all four options in one exercise. So let's bring the ensemble and follow along with your lead sheet here we go.
Nice nothing wrong with that, right? Absolutely nothing wrong with using those block shapes underneath your melody playing. Nothing wrong at all. So now we're going to play the 251. And we're going to play the same progression or 251 progression but utilize our traditional three-note shells. So if you look at Section E, and Section F on your lead sheet, you will see the three-note options traditional shells laid out. So I'm going to play each section twice. I'm going to play Section II twice Section F twice using these three-note options and you can see there, the 379 voicings go to the 735 voicings go to the 379 voicings in Section E, and in Section F, the 735 go to go 2379 goes to the 735 pretty nice to know pretty interesting how they alternate back and forth. So here we go. Let's bring the ensemble and let's listen to these traditional shell voicings being played with the 251 progression here we go.
Nice so let's do the same thing with our contemporary shells. Right, we have two ways to approach the 251 using our primary contemporary shell voicings. So let's let's play through each one twice. It's going to be Section G section, Section H on your lead sheet, Section G sex Section H using our contemporary shell. So here we go to five one contemporary quarter voicings let's see what we think here we go check it out.
Nice, I love those sounds. Now, look at Section I and Section J on your lead sheet. These are two-handed voicings. And again, we're going to play section I twice Section J twice. Using our three of our five-note shapes our two-handed voicings to play our 251 progression, so follow along with lychee here we go check it out.
Very cool, what a thorough way to play 251 in the key of C, right using our traditional blocks, traditional shells, contemporary shells, and two-handed voicings. So now let's kind of ratchet it up a little bit, let's let's make it a little more intense here in our workout. So now we're moving to the 36251 progression, and instead of each chord being played for an entire measure, right, we just got done playing the D minor for entire measure than the G dominant for an entire measure. And then the C major seven that we just sat on for it actually two measures. Now it's going to get a little bit more intense because each chord as you can see there, if you've got the lead sheet in front of you exercise 16 each one of our chords is just going to last for two beats. So we have the E minor seven and a minor seven and one measure the D minor seven and the G dominant one measure followed by the C major seven. So we have to move through our harmonic shapes at a little, little quicker clip here, right. But we're going to do the same process that we just did for the 251. We're going to play our 36251 using traditional blocks root position and inverted positions and inverted shapes, followed by our traditional shells, contemporary shells, and two-handed voicings. But first let's start with our traditional blocks. I'm going to play Section A, B, C and D on your lead sheet. I'm going to play them in one exercise, but follow along and you'll hear it as I move through the 36251 progression using these shapes here we go check it out.
See what I mean it's, it's moving at a quicker clip. each chord is only lasting for two counts. So now look at Section E and Section F on your lead sheet. These are traditional shells. So I'm going to play each section twice. I'm going to play through line e Section A twice and then Section F twice. Alright, using traditional shells 36251 Here we go check it out.
All right on to Section G and H on our lead sheet. And you can see there, these are contemporary quarter voicings. So let's tackle this 36251 progression using the shapes. And again, we're trying to move from each chord or three, or six or two to five using minimal motion. So pay attention to that as we go through this exercise, Section G section 836251, using our contemporary quarter voicings, here we go.
Love it, absolutely love it. Okay, and then the last step for our harmonic workout. Look at section I in Section J on your lead sheet. These are two-handed five-note voicings to the left three in the right. And again trying to use minimum motion going from each chord from our E minor to our A minor chord, D minor to G dominant, the C major. So let's bring the ensemble endless listen to Section I, Section J, we're going to play each section twice. Here we go. Let's check it out.
Was that a workout? Or was that a workout it never fails, right? We always unpack a ton of information and each and every podcast episode. But today, today was pretty remarkable. We explored a ton. We explored a ton as we tackle the key of C major harmonic workout. And next week, next week, you got a week, you got a week to hunker down on this and get this under your hands. Right. Because next week, we jump into the key of C major melodic orc out, they go hand in hand. Right? It's an amazing one-two punch for sure. How exciting is this? Right? We're going to go through the harmonic and melodic workout for all 12 keys throughout this year 2022. And now you know why I said earlier that if you hang in there with me this year, you're going to experience a ton of jazz piano growth. You will love where you are musically, a year from now. That's for sure. So once again, I want to encourage you to use the podcast packets, those lead sheets, the illustrations, check those out. Amazing paper practice. I have illustrations in there where I've mapped them out for you to use as examples. And then there's all kinds of templates for you to use to map out these various harmonic shapes that we just explored today in this podcast episode. So be sure to check out use your podcast packets, as you've heard me say over and over and over again. Your conceptual understanding determines your physical development. So the time that you invest in studying and mapping out the harmonic exercises that we just explored. It's time very well spent, in fact the return on your investment. There are no words to adequately express the return on your investment. And as always, I want to encourage you to be patient, right developing mature professional jazz piano skills, such as the harmonic shapes that we explore today takes time. So begin structuring your development you're practicing after the plane demonstrations that I modeled for you in this podcast episode. And you will begin I promise you, you will begin to see and feel and hear your musical progress. Well, I hope you have found this jazz panel skills podcast lesson exploring a key of C major harmonic workout to be insightful, and of course beneficial. Don't forget I will see you Thursday evening online. January six for our first master class, the 2022 year right. So join me Thursday evening. Time I forgot man we've been off for two weeks 8pm Central Time 8pm Central time I will see you online. Also, again, get your podcast packets, the illustrations, the lead sheets, play along use them. And of course, check out the Chas jazz panel skills courses that are online they will maximize your musical growth I guarantee it. And likewise, make sure you are an active participant in the jazz piano skills community. Get out there, get involved and contribute to the various forums. Most importantly, make some new jazz piano friends always a great thing to do. As always, you can reach me by phone 972-380-8050 my extension is 211 by email Dr. Lawrence Dr. Lawrence at jazz piano skills calm or by SpeakPipe found throughout the jazz piano skills website. Well, there is my cue. That's it for now. And until next week, enjoy the key of C major harmonic Orko. And most of all, have fun as you discover, learn and play jazz piano.