This JazzPianoSkills Podcast Episode explores a Key of G Major Melodic Workout (G Major Modes, Inverted Melodic Arpeggios, and Rhythmic Melodic Lines).
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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, playa Key of G Major Melodic Workout. In this Jazz Piano Lesson, you will:
A Key of G Major Melodic Workout
How to "think" within the Key of G Major, Melodically
The Modes of the Key of G Major plus Inverted Melodic Arpeggios from various entry points (Root, 3rd, 5th, 7th).
You will play Melodic lines using various 8th Note Rhythmic Configurations played over the II-V-I Progression.
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Dr. Bob Lawrence
President, The Dallas School of Music
Dr. Bob Lawrence
Welcome to jazz pm skills. I'm Dr. Bob Lawrence. It's time to discover, learn and play jazz piano. And last week we tackle the key of G major focusing on harmonic development. This week, we continue our exploration of the key of G major melodically. So today you are going to discover a key of G major melodic workout, you're going to learn how to think within the key of G major melodically and you are going to play the modes of the key of G major using ascending or descending scale and arpeggio motion, launching from various entry points, the root, third, fifth, seventh. And on top of all that, you are going to play melodic scale and arpeggio fragments over the 251 progression in the key of G major using various rhythms, the rhythms that we have studied throughout the entire year. So as I always like to say regardless of where you are, in your jazz journey, a beginner an intermediate player, an advanced player, even if you're a crusty, old, seasoned, experienced professional, you're gonna find this jazz piano skills podcast lesson exploring a key of G major melodic workout to be very beneficial. But before I dig in, I want to take a few minutes as I do at the beginning of every jazz piano skills podcast episode, I want to welcome all first-time listeners and if you are indeed new to jazz panel skills, and listening for the very first time, welcome. I want to personally invite you to become a jazz panel skills member and all you have to do to become a member is simply visit jazz piano skills.com. And once you arrive at the homepage, you can begin to poke around a little bit and explore all of the jazz educational resources, materials, and services that are available for you waiting for you. Anxious to help you significantly improve your jazz piano skills. For example, as a jazz piano skills member you have access to the weekly educational podcast packets now these are the illustrations the lead sheets in the play alongs that go along with each weekly podcast episode. They're invaluable educational tools that I develop I produce and and publish each and every week. You want to have these materials in your hands as you listen to each jazz panel skills podcast episode to get the most out of it. And you want to have these materials sitting on your piano as well. When practicing you awesome as a jazz piano skills member have access to the online sequential jazz piano curriculum which is loaded with comprehensive courses, all of them all of the courses using a self-paced format. There are educational talks that you can enjoy interactive media to help you accurately assess your conceptual understanding of the jazz panel skill being taught video demonstrations of the jazz panel skill in all 12 keys there are play alongs and much much more. As a jazz piano skills member you also have access or as I like to say a reserved seat in the weekly online master classes, which are in essence, a one-hour online lesson with me each and every week. You'll also as a jazz panel skills member be able to enjoy the online interactive Fakebook which grants you access to jazz standards from the Great American Songbook you'll be able to enjoy the chord changes lead sheets, there are harmonic function, lead sheet, play along files, historical insights, inspirational recordings, and much more. It's an ever-growing collection of tunes that you absolutely should discover, learn and play. And as a jazz piano skills member you have access to the private online jazz piano skills community, which hosts a variety of engaging forums there are podcasts specific forms. There are core-specific forums. And of course, there are just general jazz piano forums for you to enjoy. Now, of course, you have access to all of them, and you will be able to contribute to them as well. Right, which I encourage you to do. The whole purpose of the forums is to allow you to engage, to share, and to grow. 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. So once again, when you have a few moments, visit jazz panel skills.com To learn more about all of the excellent education opportunities that awaits you, and how to easily activate your membership now, there are several membership plans to choose from. And I'm certain there's one that's perfect for you. But nevertheless, once you get there, if you're looking at the membership plans and you have any questions, by all means, do not hesitate to reach out to me. I'm happy to spend time with you answer any questions that you may have help you in any way that I can. All right. Let's discover learn and play jazz piano Let's get after this key of G major melodic workout. With the start of the new year we set out on a very ambitious, a very exciting, and very rewarding journey to travel through each of the 12 keys of music by yours in. Now have a game plan one key a month for 12 months. The agenda for each month to thoroughly explore a key harmonically melodically and rhythmically. So back in January, we started with the key of C major, February key of F major, March, B flat major, April E flat major May, a flat June D flat July, G flat, August B major September, E Major October a major November, D major. And now December, we wrap things up with the key of G major. So, we have been traveling around the circle of fifths counterclockwise Of course and doing a very methodical exploration of each key harmonically. We have been tackling for a very specific approaches to voicing the chords within the key using block shapes with inversions, traditional three-note shells contemporary quarter voicings, and five-note two-handed shapes. melodically we've studied each chords, scales modes and arpeggios using various entry and destination points with us ascending and descending motion. Okay. Now with each harmonic melodic workout, we applied essential rhythmic patterns, starting with fundamental whole half and quarter notes and progressing each month to more complex patterns using various combinations of eighth notes, triplets, and 16th notes and taught dotted patterns and so on. Again, very structured, very organized, very sequential, very methodical, very repetitive, which of course are all characteristics of an excellent study and practice approach that allows us to discover, learn and play jazz successfully. So my my goal with these strategic harmonic melodic and rhythmic workouts, my goal is to help you develop professional jazz piano skills anchored all of it anchored with an internal rock-solid sense of time. Last week, with our key of G harmonic workout I reviewed the various rhythms we studied throughout the entire year. Now we isolated each of the rhythms place them on various beats within the measure, and surrounded them with silence. In other words, we forced ourselves to count to count time, in order to play the rhythm on a specific beat within the measure.
Doing so we, we expose the strength or the weakness of our internal sense of time, which ultimately allows us to properly and consistently articulate our essential rhythms, see everything in music. And I mean, everything in music is held together by time. In fact, just as we are, if we have an irregular heartbeat, we have issues. If our heartbeat is rock solid, life is good. Our time must be rock solid, if we hope to play jazz with any kind of success, so today, we take the very same rhythms, all 36 and we apply various ascending and descending scale and arpeggio fragments to them. Those of you who have been with me for a while, know know what I mean when I speak of scale and arpeggio fragments, but, but for those of you who may not know, a scale and arpeggio fragment is simply an isolated section of the scale or arpeggio launching from a specific note within the sound, the root, the third, fifth, seventh, ninth, etc. Using either ascending or descending motion. So today, I'm going to keep things as simple as possible. And you scale and arpeggio fragments that always begin with the root of A minor chord, the minor sound, and stay there for the duration of the 251 progression. I'll talk more about this when I want to actually begin playing the musical demonstrations. So before we go any further, I want to stress I want to stress as I always do the importance of doing the entire key of G major melodic workout not just simply jumping to the last lead sheet in your podcast packet skill 25 to attack our year in rhythmic review. Why? Because you have to have a functional command of your scales and arpeggios in the key of G major before you can begin to successfully apply rhythm to them. As I like to say you you have to bake a cake before you can decorate the cake so remain disciplined as I know you will remain disciplined and spend time with skills one 324 before tackling skill 25. So you will find in your lead sheets podcast packet, as you did with all of our melodic workouts since the beginning of the year, all 24 skills laid out for you. So let's just do a quick, let's just do a quick review. Skills one through four we're going to explore the modes using ascending root position first, second and third inversion. Now scales five through eight modes again, be ascending This time, however, again using root position first, second and third inversions. Skills nine through 12 are going to utilize arpeggio motion ascending, root position first, second, third inversions. Skills 13 through 16 arpeggios descending, using root position first, second, third inversions. Skill 17. We switch to the 251 progression using ascending scale motion. Again with an entry point on our two chord of being the root third, fifth and seventh scales 18 we stick with the 251 progression using descending scale motion. entry point on the two chord is going to be the root third, fifth and seventh. Now, skill 19. Again sticking with the 251 progression, however, this time ascending arpeggio motion with our entry point being the root, third, fifth and seventh of the two core skill 20 251 arpeggio motion descending entry point again being the root, the third, fifth, and the seventh of our two court scale 21 we expand our harmonic motion to include the three and the six. So now we have a 36251 progression using ascending scale motion scale 22 36251 using descending scale motion, scale, 23 36251, ascending arpeggio motion, and skill 24 36251 using descending arpeggio motion, and we always have our entry points, right always our entry points from the first chord being either the root, the third, the fifth, or the seventh. So after you have thoroughly completed your workout skills, one through 24 Then you can turn your attention to play in skill 25, which is going to challenge you with the year-end review, rhythmic review, using scale and arpeggio fragments. So the educational agenda for today is as follows. Number one, we are going to explore the key of G major melodically. Number two, we will play 36 melodic lines ideas using ascending and descending scale and arpeggio fragments. Number three, all melodic ideas will be applied to the 251 progression in the key of course of G major, A minor seven to D dominant seven to G major seven. For all melodic lines will be played using a very relaxed Basa groove as we did last. Last week with our harmonic workout of 110 Five all melodies, all rhythm rhythmic ideas will be played using a single note in the right in my right hand, with shells in my left hands. Now those shells may be choral voices, you might hear some three-note traditional shells in there or even some blocks in there as well. I'll mix and match them as I wish. Okay, now, finally, each melodic line, we have 36 of them right each melodic line will be repeated two times. Okay. So before we go any further, if you are a jazz piano skills member, I want you to hit the pause button right now take a few minutes to download and print your podcast packets, your illustrations, and your lead sheets. And again, just reminding you as a member, you have access to all the podcast packets, and you should absolutely be using them when listening to this episode. And of course, you should be using them when practicing as well. So if you're listening to this podcast on any of the popular podcast directories, which there are many Apple, Google, Amazon, Spotify, iHeartRadio, Pandora, the list goes on and on. Then be sure to go directly to jazz piano skills podcast.com to access and download your podcast packets, and you will find the download links within the show notes. And one final but really critical message that I bring up every week. And I'm going to bring it up again today. If you are thinking if you're listening and you are thinking that the key of G major melodic workout that we are about to tackle and the various skills found within this workout that we are about to discover, learn, and play. If you are thinking that these skills are over your head, then I would say to you Oh, okay, so what? Sit back, relax, and Continue to Lesson. Continue to grow your jazz piano skills intellectually by simply listening
all skills, all skills or overheads when first introduced and that is that is precisely why the very first step that we need to take to improve our musicianship when being introduced to new concepts is to just simply sit back and listen. So do not shy away from conversations. This discussing you know foreign topics or using unfamiliar terms, because it's by stepping outside of our comfort zone, our musical comfort zone that by stepping outside, it spawns are some significant growth for us. Now, you may have heard me say I say this because I've said it literally, I think a million times within these podcast episodes that all musical growth begins upstairs mentally, conceptually, before it can come out downstairs physically in your hands. So, listen to this podcast, listen now, to discover enlarge, the play, as it always does, will come in time. Okay, so now that we have our lead sheets packet printed out, I want you to go to the very back end of the packet, and you'll find skill 25. And it's called key of G major melodic workout. It's our year-end rhythm review, using scale and arpeggio fragments. So we have four pages here, this this skill 25 consists of four pages, again, three, six lines of various rhythms that we have studied throughout the year. So we're going to group them exactly precisely as we did last week with our harmonic workout. So we're going to take a look at A, B, C, and D, line A, B, C, and D first, and you can see that I start with just a pair of eighth notes, right now, of course, back in the beginning, we use rhythms with whole notes and half notes, and quarter notes. But I'm starting with eighth notes, okay. So look at line A, we have a pair of eighth notes on count four, line B, the eighth notes are placed on count three, line C, the eighth notes are placed on count two, and line D, the eighth notes are placed on count one, you will see that I am starting the melodic idea using the root of our a minor or our two chord, right, a minor the root, my melodic idea, our is using the note A and B for my eighth notes. Now I'm going to stay with with those two notes as my melodic idea. We can do all kinds of creative things. But I'm going to try to keep things with as few moving parts as possible throughout all of these examples. And I'll discuss a little later or as we go through these examples of how you can actually include other variables, if you wish to make things a little more challenging for you. But right now, line A, we're using the notes A and B for our two chord line notes A and B to play over our five chord. And the note notes A and B to play over our one chord. So the challenge here is to see these this pair of eighth notes on count four, to see it as the melodic line consisting of the root and the second, or the root and the ninth, or our two chord, the same two notes on the five chord becoming the fifth and the sixth, or the fifth and 13. And the same two notes over our one chord becoming the ninth, the second or the ninth, to the third, right. So same two notes, but those two notes are functioning very differently within the harmonic structure of the two, the harmonic structure, the five and the harmonic structure the one. So when you play through line A, of course, our focus needs to be placing the eighth notes, the pair of eighth notes precisely on count four. But also to be aware to see those that don't that note A and B in relationship to a minor, that note A and B in relationship to D seven, that note A and B in relationship the G major. So even though the notes change, I want you to see them differently because of the chord that you're applying them to. All right. And we're going to do the same thing for line B, line C and line D. But now, what I do in line each of those lines, you can see, I move in line B the entry point for the minor chord, I move it to the third and then I move it for line C I move it to the fifth and line D I move it to the seventh. So what I'm doing here is keeping the same two notes to be played over the two, the five and the one in each line line A B C and D. However those two notes may be launching from the root of the two. Then the third of the to the fifth of the two chord and then the seventh of the two core Every time you want to see each of those two notes, those two melodic notes, you want to see them in relationship to the chord in which you're playing them, you want to see them in relationship to a minor, then see the same two notes in relationship, the D seven. And the same two notes in relationship to G major, this is huge. This is a big deal to see this and understand this. And also to hear this. So I'm going to bring the ensemble and we're going to play lines A, B, C, and D and one exercise one demonstration here. Not Of course, I would encourage you to practice them each line independently, but for the sake of time, I'm grouping everything today. So I'm going to open up again, using a Basa groove, I'm going to play the first time through, I'm just going to play to five one, then I'll play line a twice than line B twice, line C twice, and then line D twice. And then I'll end with a 251. Okay, so I think once you hear how this is done, the first time through the remaining nine demonstrations will fall in line and make perfect sense for you. Okay, so here we go. Let's bring the ensemble in and let's listen to a B, C, and D.
Very nice, right, so, we're using a scale Fragment A two note scale fragment four lines A, B, C, and D. And we're moving our two-note scale fragment, we're moving the entry points from the root of the two to the third of the two chord to the fifth of the two chord and the seventh of the two chord. Alright, and we keep those two exact same scale notes scale fragments, the same through the entire progression to five one. And we want to be able to see those exact those two same notes being 100% applicable to the two chord 100% applicable to the five chord 100% applicable to the one chord. So there's a lot going on there, I'm trying to keep, like I said, I'm trying to keep as few moving parts as possible right now. But trying to help you solidify rhythm while at the same time illuminate for you the commonality that these notes in relationship to the different chords, even though they stay the same function differently within the harmony and can be simply applied to each one of those chords as well. This is a huge step in your improvisational development to be able to see the commonality of the use ability, the reusability of the notes that you're playing over different courts. Now with that being said, we will deal more with that concept in the years to come. But for the remainder of today I'm going to dial it back even more and just keep the entry point always being the root of the minor court. Okay. So if you take a look at lines e, f and g we have another two-note scale fragment that we're going to use As we explore the dotted quarter eighth combination, in line E, we place that rhythm on counts three and four of each measure. In line app, we shifted to counts one and two. And then in line G, we placed a dotted quarter eighth, on counts one and two, and on counts three, and four. Now with all exercises, they today, you'll see that measure four is always going to be a whole rest. This allows us to assess what we just played, make any adjustments that we need to make, and then tackle it again. Okay, that's intentional. Always arrest at the end for assessment purposes. So now we're going to bring the ensemble back in, I'm going to play 251, again, open up with a four measures a 251, then I'll play line e twice, line f twice, and line G twice, I'm going to play the melody in my right hand using a single note and then back that melody up with a shell in my left hand, maybe a three-note traditional shell, quarter shell, or block block voicing. Okay, so let's bring out something let's take a listen to lines E, F, and G here we go.
Very nice, so now we're on a row. So we're going to stick with our two note scale fragment for lines h, i, and j. Okay, so now we're flipping our dotted quarter eighth rhythm, we're flipping it over. So now we have our eighth dotted quarter pattern to deal with. But we're going to utilize the same format, right, we're going to place that dotted eighth dotted quarter pattern on counts three and four and line H, then we're going to shift the eighth dotted quarter pattern to count one and two in line i. And then we're going to place the eighth dotted quarter pattern on counts one and two, and three and four for letter J. All right, and again, two times through each line with a whole measure of rest at the end of each line. Also, I want to draw your attention to I want you to focus again on when playing the two-note ascending scale fragment of using the notes A and B, I want you to see that A and B as the root to the ninth when playing a minor. I want you to see it as the fifth to the 13th. When playing D seven. I want you to see it as the ninth to the third when playing G major seven. Okay, so a lot going on right we have to focus on our eight dotted quarter rhythm. And then I want you to see the function of those two notes that ascending to note scale fragment in relationship to each chord to to the five and the one. Wow. Okay, so let's bring the ensemble in and let's check out lines h, i, and j. Here we go.
Again, I'm playing each of these rhythmic lines today, using a single note, melodic line playing the note nowadays a single note in my right hand with a shell, either a traditional shell contemporary shell or block voicing in my left hand to support it. Okay, so so far, we have looked at lines A through J. And each of those lines, we've used a to note, US sendings scale fragment, launching from the root of the minor core. The only exception was in line B, C, and D, when we shifted our entry point from the root to the third to the fifth at the summary of the minor chord. But for the remainder of the lines and the remainder of the exercises or demonstrations today, the entry point will remain on the root of the two core. So now let's take a look at wines K, L, M, N N, we are going to begin looking at eighth note triplets. So we're going to expand our fragment from being a two-note scale fragment to now being a three-note arpeggio fragment, we're going to stick with us sending motion. Because we're doing eighth note triplets, we're gonna expand our fragment to include now three notes. So letter K, you can see that we've placed in the eighth note triplets on count four, line L, the eighth note triplets are placed on counts three, and letter M, line m, the eighth note triplets are on now count two of each measure. And in line n, the eighth note triplets are placed on count one of each measure. So again, ascending motion arpeggio motion now instead of scale motion, for each line, K, L, M, and n. So again, I want you to be aware of the relationship of the notes that you're playing to the chord that is being played with it, right. So our A, C, and E, eighth note triplet for our two chord or a minor chord is simply the triad right, the root, third and fifth. But that same, those same three notes A, C, and E, become the fifth, seventh and ninth of our D seventh, and become the ninth 11th, and 13th of our G major seven. Same three notes, three different chords, same rhythmic pattern placed on various beats within the measure, count for count three, count two and count one. So a lot to simulate a lot to process, no doubt, right. So I'm gonna bring the ensemble in first time through, I'm going to play the 251 progression. Then line K twice, line L twice, line m twice, and line N twice. And then I'll end with 251 again, okay, a whole measure of rest at the end of each line as well for assessment purposes. Wow. All right, so let's bring the ensemble in, and let's listen to lines. K, L, M, N, N. Here we go.
Oh. Alright, so now we we move from our eighth note triplet, two quarter note triplet, and so line O and line p are dedicated to this rhythmic idea. So, line Oh, the quarter note triplet is placed on counts three and four, and line P, the quarter note triplets are placed on counts one and two. Okay. So, again, we're sticking with our ascending arpeggio fragment launching from the root of the two chord from our a minor seventh chord. So let's bring the ensemble one and you know the routine by now right to five one up top line Oh will be repeated twice then line P will be repeated twice and 251 on the back end Alright, so here we go. Let's check it out see what we think.
Alright, so now that we have dealt with our eighth note triplets, and our quarter note triplets, now we're going to get into our 16th notes. So we're expanding our fragment again to now be a four-note fragment. But we're gonna go back to scale fragment, but this time descending, so we have descending scale fragment for 16th note patterns are grouping of 4/16 notes and Q, line Q, where the 16th notes are placed on count for wine are the 16th notes will be placed on counts three, Line S, the 6/16 notes are on count two, and then line T 16th notes are on count one of each measure. So we have descending a descending scale fragment launching from the root of our minor chord or a minor seventh. And again, I want you to think of those notes see those notes in relationship to the chord in which you are playing them. Okay. Think of the notes in relationship to the chord that you are playing. All right, so let's bring the ensemble in. And let's listen to lines Q, R, S, and T dealing with 16th notes, grouping of 4/16 notes using descending scale fragment launching from the root of the two chord here we go
just doesn't get easier. So, oh my goodness. So we're gonna stick with descending scale motion as we, as we march on, right. So we're going to look at lines u, v, w and x. And we introduced a new rhythmic motif here now, now we have our eighth beamed eighth note beam together with 2/16 notes, right. But we're going to, we're going to use the same approach that we've been doing, we're going to place that rhythmic motif, that rhythmic idea on count four, Then count three, then count two, then count one on descending scale motion. And again, our entry point is always going to be the root of our minor chord. All right, let's see those notes in relationship to the chord that you are playing. Now. Wow, I'll save that for later. Let's keep it as simple as possible. So here we go ensemble and lines u, v, w and x here we go.
Not too bad, right? Not too bad at all. So, okay, just as we did earlier with the dotted quarter eighth rhythm, we flipped it around to go eighth dotted quarter. We do the same thing here with our eighth beamed with two sixteenths. We're going to flip that as well. So we have two sixteenths notes beamed to an eighth note. So if you look at lines y, and then z, a two and b two. All right. If you look at those four lines, you can see again, we're just taking our 2/16 notes being to an eighth note. Placing that rhythmic idea on count four and then place it on count three count two in count one. Okay, so, again, we're going to stick with a decent Scale fragment launching from the root of our minor chord. So let's bring the ensemble in and let's listen to this rhythmic idea and once again, always be consciously aware of the notes that you're playing in relationship to the sound or the chord that you're applying the notes too. All right, so here we go. Let's check it out and see what we think.
Okay, so if you're wanting to make it a little bit more challenging with all of these rhythms, right, these the scale motion or the arpeggio motion, instead of using the same three notes for the same notes for the two chord, or the five chord or the one chord, you can continue the scale motion upward, right. So for instance, if you're using the first two notes of the scale, for your A minor, you can go to the next two notes of the scale for your D seven, followed by the next two notes as a scale for your G major, right. So you're creating this ascending linear line that's going through going through the G major scale applied over the entire 251 progression. Again, there are various ways in which to spice up these exercises. But for right now, again, like I mentioned earlier, I'm just trying to minimize the number of moving parts here. To keep things as simple as possible, we can always expand the complexity of the application of scale and arpeggio fragments to these rhythms to this progression. But the idea initially, is to try to keep things as simple as possible as you work through conceptually and physically. All of the all of the ideas that are being tackled here simultaneously. Okay, so now, with that being said, we are now on to our dotted eighth 16th rhythm. And that's going to be covered in lines C to D to E two, and F two. And again, each line places the dotted eighth 16th pattern on a different beat within the measure, count for Then count three count to count one, just as we have been doing all throughout this entire podcast episode. So let's bring the ensemble in. Let's listen to our dotted eighth 16th against sticking with now we're actually going to utilize descending arpeggio, a descending arpeggio fragment as opposed to scale fragment. And so anyway, so let's bring the ensemble in. And let's listen to this rhythmic idea. Wind C two D to E two and F two. Here we go. Check it out.
Alright, we are down to the final rhythmic motif to deal with today. And so we're just taking our dotted eighth 16th. And guess what we're going to flip that to now we're going to have a 16th The dotted eighth pattern to deal with and G lines g to h to i Two and J to deal with this rhythmic motif. And once again, we place it on various beats within the measure. And once again, we're using arpeggio Fragment A to note descending arpeggio fragment, once again, be aware of the notes that you're playing in relationship to the chord that you are playing over. Okay, so ensemble Lin, let's check out our 16th dotted eighth pattern and we'll go from there here we go. Check it out.
Wow, just so much to try to cover within less than an hour in a podcast episode. It's always challenging, but I think we we rise to the challenge each and every week. We cover a ton of information. And certainly today, again was was no exception as we tackled our key of G major melodic workout. And, and I cannot stress I just cannot stress enough how important it is that you spend time becoming familiar with all of these rhythmic motifs, all of these rhythmic ideas that we addressed today. And these this idea of scale fragments and arpeggio fragments, launching from what today we launched primarily from the root of the two chord, but as I demonstrated in lines A, B, C, and D, you can launch from the third of the two chord or the fifth of the two chord or the seventh of the two chord, which then has a very profound impact on the sound and the melodic idea as you move it through the 251 progression. So I cannot stress to you enough, right? Thinking through all these rhythms thinking through all these harmonic chord scale fragment relationships. I cannot stress to you how important it is to the development of your improvisational skills, having a command of scale and arpeggio motion. Absolutely 100% essential to your success in becoming an accomplished jazz pianist and applying the ascending and descending arpeggio scale motion to standard chord progressions like like we did today, like the 251 is a big time jazz piano skill that must be strategically studied and practiced, just as we did today, if you're serious about becoming an accomplished jazz pianist, so combined last week's study, the key of G major harmonic workout with this week study the key of G major melodic workout and our year in review of all the rhythmic ideas, rhythmic motifs that we have studied throughout the year. And my goodness, you, you have an incredible combination workouts, that will certainly put you on the way to mastering the key of G major. And not only that, it will continue to solidify a practice blueprint for you that you can then replicate and an all keys. And that's what we've tried to do throughout this entire year of tune of 2022 is help formulate for you a practice blueprint that you can carry from one key to the next key to the next key. In other words, the data may change but the practice approach remains the same. So important. And maybe most importantly, I stress this every podcast episode BE PATIENT Right. Developing mature professional jazz piano skills takes time. It doesn't happen overnight. So begin structuring your practicing after the plane demonstrations that I modeled for you today in this podcast episode and I promise you you will begin to see you'll begin to feel you'll begin to hear your musical progress well i i hope that you have found this jazz panel skills podcast less than exploring a key of G major melodic workout to be insightful and of course to be very beneficial don't forget if you are a jazz panel skills ensemble member I will see you online Thursday evening at the jazz piano skills masterclass, which is going to be 8 pm Central time to discuss this podcast episode lesson exploring our key of G major melodic workout in greater detail and of course to answer any questions that you may have about the study of jazz in general. So be sure to use the educational podcast packets that you have in your hand your illustrations and your lead sheets, also the play alongs for this podcast lesson, you'll find them to be very, very helpful. Also, check out the jazz panel skills courses to maximize your musical growth. And also make sure that you are an active participant in the jazz piano skills, community online community get out there, get involved, contribute to the various forums and make some new jazz piano friends. If you have any questions at all, at any time, you can reach me by phone 972-380-8050 My extension here at the Dallas school music is 211 or you can email me Dr. Lawrence. That's firstname.lastname@example.org. Or you can use the nifty little SpeakPipe widget that is found throughout the jazz piano skills website to reach out to me as well. There is my cue. That's it for now. And until next week, enjoy your key of G major melodic workout and most of all, have fun as you discover, learn, and play jazz piano
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