Our Love Is Here to Stay, Melodic Analysis

Dr. Bob Lawrence (00:33.036)

Welcome to Jazz Piano Skills. I'm Dr. Bob Lawrence. It's time to discover, learn, and play jazz piano. Well, I hope you had a fantastic week, and I hope you've spent a little time at the piano working with the harmony of Our Love Is Here to Stay. Last week, we started our month-long study of this beautiful Gershwin standard by doing what we always do. We started with the harmony. We established the standard key and form, identified the unique chord changes, examined the harmonic function, identified common harmonic motion, and then took all of that conceptual understanding to the piano and physically developed it using our various voicing approaches. In other words, last week we established the harmonic landscape. And today we're going to Place something very important inside that landscape, the melody. Yep, that's right. It's time for Our Love Is Here to Stay, our melodic analysis. And as always, we're going to do much more than just simply learn what notes to play. We're going to work through our entire jazz piano skills melodic analysis process. We're going to hear the melody, find it. We're gonna verify that melody, finger the melody, phrase it, identify its target notes, and we're going to harmonize the melody. And finally, we're going to perform the melody. In other words, as I like to say, we're going to hear it, find it, verify it, finger it, phrase it, target it, harmonize it, perform it. That's quite a lineup. Now, if you've been hanging out with me for a while, that process should sound very familiar. And that's a good thing because remember, consistency isn't repeating the same lesson. Consistency is revealing the same truth through different lessons. The tune changes, but the skills remain. And Our Love Is Here to Stay is simply our musical laboratory this month, giving us another opportunity to develop skills that eventually allow us to sit down with any tune and know what to do. Now

Dr. Bob Lawrence (02:55.8)

There's something else we're going to continue today as well. Last week we began a four-part conversation that I'm calling How Do We Actually Learn Jazz? And in part one, we asked, where does jazz language come from? We talked about the importance of listening to the masters, studying the masters, learning from the masters, while also recognizing that the The purpose of studying the jazz tradition is not simply to collect somebody else's musical answers. The masters show us what is possible. And a great education should develop our ability to discover possibilities of our own. And today we're going to take that conversation just one step further because we're going to ask: Is imitation the same as understanding? That's an Interesting question. And our melodic analysis today of Our Love Is Here to Stay gives us the perfect laboratory for exploring that question because I could I could just simply hand you the completed melody of Our Love Is Here to Stay, tell you which notes to play, show you the fingerings, have you imitate me, and eventually you could probably reproduce the melody pretty darn well. But does your ability to reproduce the melody necessarily mean you understand the melody? And if you do understand it, what should that understanding eventually make you capable of doing? Now we're getting somewhere. So yes, today we're going to learn the melody to Our Love Is Here to Stay. But more importantly, we're going to continue developing a process. For learning melodies, a process that belongs to you, a process you can take to the next tune, and the next tune, and the next tune. That's the goal. Not simply now you know, but now you know what to do. So we have a lot of great work ahead of us today. We're going to listen, we're going to

Dr. Bob Lawrence (05:20.642)

Hunt, we're going to discover, we're going to verify, and of course, we're going to play. So it's time. It's time for us to discover, learn, and play. Our Love Is Here to Stay. Okay, last week we began a four-part conversation. Again, I'm calling it how do we actually learn jazz? And we started with a pretty fundamental question. And that question was. Where does jazz language come from? We talked about the importance of listening to the great jazz musicians who came before us, studying them, singing their phrases, transcribing solos, playing along with their recordings, analyzing what they're doing, taking musical ideas through different keys. And and I made it very clear that all of those activities, those are the standard answers, you know, that everyone gives. when confronted with that question, where does jazz language come from? And and all those answers are valuable, no question about it. But we also challenge the idea that the jazz language exists exclusively outside of ourself, outside of us. And that our primary responsibility as students is simply to collect enough of it, memorize enough of it, and somehow put it inside of us. And that led us to an important conclusion. The masters don't simply give us answers, they give us evidence of possibility. They show us what can happen when musical understanding, physical command, imagination, and creativity come together. And today, I want to take that conversation one step further. Because if studying the masters is an important of learning jazz, and I believe it is, then we need to ask another question, a very simple question, but perhaps a slightly uncomfortable question. Is imitation the same as understanding? Think about that. Because imitation is an incredibly powerful learning tool. We use it from the moment we're born. We learn to speak by listening to other other people speak.

Dr. Bob Lawrence (07:47.532)

We learn physical behaviors by watching other people perform them. And musicians have always learned by listening to and imitating other musicians. So let me be perfectly clear. I'm not suggesting that we should stop imitating. Quite the opposite. Listen, sing, copy, transcribe, play along, imitate articulation, phrasing, imitate feel, sound. There's enormous value in all of it. But here's the question. If I can reproduce something, does that necessarily mean I understand it? Suppose I transcribe a beautiful phrase played played by Oscar Peterson. I listen to it repeatedly, I sing it, I figure out every note, I determine the rhythm, I practice it until I can play it. perfectly along with the recording. All of this probably sounds very familiar. Then I transpose it through all twelve keys, because I've been told to do that. Fantastic. I've done some very valuable musical work. But now take the transcription away, take Oscar away, take the recording away, put a completely different tune in front of me, different key, different tempo, different harmonic environment, different musical situation And ask me to create. What happens? Can I recognize the musical relationships that made Oscar's phrase work? Can I manipulate those relationships? Can I change the rhythm? Can I change the direction? Can I change target? Can I simplify the idea? Can I expand it? Can I use the underlying principle in an entirely different musical setting? And perhaps maybe even most importantly, can I create something? Because if I can't, then perhaps what I've developed is primarily the ability to reproduce. And reproduction, what valuable, is not necessarily the same thing as understanding. Now, I want to be very careful here, okay?

Dr. Bob Lawrence (10:13.038)

Because this is where music education can become unnecessarily argumentative. We don't need to choose between imitation or understanding. That's a false choice. We need both. Imitation can be an extraordinary doorway into understanding. But a doorway is not the destination. At some point, the student, you, me. We have to walk through it. And that is the responsibility of education. Education has to help the student move from I can play it to I understand it. And then eventually from I understand it to I can do something with it. That final step is huge because understanding should produce possibilities. If I understand a musical idea, I should be able to recognize it when it appears in another tune. I should be able to hear it in another key. I should be able to manipulate it. I should be able to simplify it. I should be able to develop it physically. I should eventually be able to use it, use the principle without needing the original example sitting in front of me. In other words, understanding should transfer. And transfer may be one of the clearest indications that learning has actually occurred. Now, this is precisely why today's melodic analysis is such a wonderful musical laboratory for this conversation, because I could, again, I could simply give you the melody to Our Love Is Here to Stay. Put it on the lead sheet, show you every note, show you the rhythm, show you the fingering, and say, here you go. Learn this. And eventually you could, as I mentioned earlier, you could probably reproduce the melody quite accurately and do a very good job. But that's not that's not where we're going to begin. Instead, I'm going to ask you to listen. I'm going to give you some guide tones, and ask you to find the melody, then we'll verify what you heard, we'll determine how to finger it, we'll examine the melody.

Dr. Bob Lawrence (12:39.372)

How the melody is organized into phrases, we'll identify within those phrases specific target notes, we'll harmonize that melody with our voicings that we studied last week, and then we'll place everything into different musical environments and perform it. Think about the difference. We're not simply asking, right, what are the notes? We're wanting to develop a process, right? All of us, we want to We want to hear it. We want to be able to find it. We want to be able to verify it and finger it and phrase it, find the targets, harmonize it, perform it. And here's the important part. That process does not belong to Our Love Is Here to Stay. That process belongs to you. And you can take that process to the next tune and the next tune and the next tune. And eventually you shouldn't need me standing beside you saying, okay, here's what Here's what you do next. You should already know. That's transfer, that's independence, and that's education. Because remember, content can show you what somebody else discovered. Education should develop your ability to discover. So is imitation the same as understanding? No. But imitation can certainly lead us toward understanding. The question is whether our educational process allows the journey to continue from imitation to analysis, from analysis to understanding, from understanding to manipulation, from manipulation to creation, and from creation eventually to personal expression. And perhaps that's why Oscar Peterson sounded like Oscar Peterson. And why Chick Corea sounded like Chick Corea. And why Keith Jarrett sounded like Keith Jarrett. They certainly listened, they certainly studied, they certainly learned from the musicians who came before them, but somewhere along the way, somewhere along the way for each of them, what they received from others became something they could understand, manipulate, develop, and ultimately express as themselves. And that

Dr. Bob Lawrence (15:06.228)

Is the journey we're interested in. So today, as we study the melody of Our Love Is Here to Stay, yes, I want you to learn the melody, absolutely, but I'm much more interested in developing the musician who knows what to do when the next melody isn't already written out for you. Because the ultimate question isn't simply can you play what somebody else played? The ultimate question is What has learning what somebody else played made you capable of doing? Me, that's the question worth asking, and that's the question worth thinking about. All right, before we go any further, let's take a moment. This is the perfect time to review the seven musical facts that serve as the foundation for every jazz piano skills lesson. And remember, these facts do not change from week to week, they're the same, right? The tunes change, the lessons change, the musical application change. changes but these seven musical facts remain constant because they describe the fundamental relationships found with within everything we hear everything we study everything we play so here we go fact number one music is the production of sound and silence sound of course being our primary musical sounds major dominant minor half diminished diminished fact number two sound is produced harmonically and melodically Fact number three, harmonic sound, when we're speaking of harmonic sound, we're speaking about chords, or we often refer to the chords as voicings. Fact number four, melodic sound, when sound is produced melodically, we're talking about arpeggios and scales. Fact number five, harmony and melody, harmonic sound and melodic sound have motion.

Dr. Bob Lawrence (17:07.32)

Harmonic sound has circle motion, diatonic motion, chromatic motion. Melodic sound has ascending and descending motion. Fact number six, movement, that motion is decorated with tension or what we call chromaticism. And finally, fact number seven, to make facts one through six interesting, to make facts one through six come to life, we add rhythm. Now, today, because we're studying melody, the melody of Our Love Is Here to Stay, I want to draw your attention specifically to facts two, four, five, six, and seven. Fact two tells us that sound can be produced harmonically and melodically. Last week our attention was we focused on the harmonic side. Today we shift our attention to the melodic side. In fact Four tells us something incredibly important about melodic sound. Melodic sound equals arpeggios and scales. Now that's huge because when we first look at a melody written on a page, it can appear to be a long collection of individual notes. One note, followed by another note, followed by another, followed by another. And if that's how we choose to process the melody, then once again, we've created a tremendous amount of information that somehow has to be Memorized. But you know what? That's not what we do. What happens when we stop looking at every note as an isolated event and begin recognizing those notes as belonging to familiar scales, familiar arpeggios? Well, then suddenly the melody begins getting smaller, conceptually smaller, physically smaller.

Dr. Bob Lawrence (19:03.704)

We're no longer trying to remember an endless collection of individual notes. We're beginning to recognize musical relationships. And then we have fact number five, which tells us that melody is motion. So now we don't simply ask what note is this? We're beginning to ask, where is this melody going? How is it moving? Not just up and down, but is it moving diatonically, chromatically? Is it outlining a chord? Is it moving through a chord? Is it moving toward a particular target note? When we start asking those types of questions, we're beginning to understand the melody. And then we have fact number six that tells us that movement can be decorated with tension or chromaticism. So when we encounter a note outside of the basic scale, the arpeggio, we don't have to panic. We don't have to treat it as some mysterious note that needs to be individually memorized. We can begin asking, hey, what is that chromaticism doing? Where did that come from? How is it decorating or what's its purpose? What is it targeting? And then of course we arrive at fact number seven. Rhythm gives everything life. And we prove that, we prove this fact pretty dramatically. Just a few weeks ago with Satin Doll, right? We took the same two notes, twelve different rhythmic variations, twelve completely different musical statements. So when we're studying melody, we're not simply studying pitch. We're actually studying pitch organized rhythmically. And that combination is what begins producing a recognizable melodic statement. Now, think about what these seven musical facts are doing for us. If I simply hand you the melody to Our Love Is Here to Stay and say, here, copy this. Again, you may eventually learn to reproduce it. And that's great. But these seven musical facts encourage us to look deeper. Instead of just simply asking what are the notes, we begin asking what scales, what arpeggios, how is the melody moving, what chromaticism, phrases, targets.

Dr. Bob Lawrence (21:22.242)

How is rhythm how is rhythm relating to these pitches? So again, when we start asking these types of questions and answering these types of questions, we are really becoming intimate with the melody. So are these seven musical facts important? Absolutely. They govern everything we do here at Jazz Piano Skills. So we have our seven musical facts. We have one beautiful Gershwin melody to analyze. And another opportunity to discover that although the tune may change, the skills remain. Now, that is making music understandable. All right, before we move on, I want to take just a moment to welcome anyone who may be joining us for the very first time. And if that's you, welcome to Jazz Piano Skills. I am thrilled that you've decided to spend some time with us today. And you've probably already figured out that we're interested in doing a little more than simply showing you something cool to play at the piano. You know, th there's certainly nothing wrong with that, but but if you've been searching for more than content from a content creator, if you've been looking for an educational approach that helps make jazz piano, helps make jazz understandable, that gives you some direction regarding what to study, when to study it, how to practice it, and perhaps most importantly, what should come next, then I think you're going to feel very much at home here at Jazz Piano Skills. Each week we take a very structured approach to developing the skills necessary to play jazz piano. And as a jazz piano skills member, you have access to the complete weekly podcast episodes, including the members only piano lessons along with all of the educational resources that support those lessons. you have access to the, in other words, you have access to the weekly podcast packets, the educational illustrations, the lead sheets, the play-alongs. And you also have access to our interactive jazz piano skills courses, our weekly Thursday evening masterclass, Lisa's listening list, and of course our online jazz piano skills community where you can ask questions, share ideas.

Dr. Bob Lawrence (23:47.998)

interact with other musicians who are working through many of the same musical challenges that you are. And whether you've been playing jazz piano for years or you've just beginning to explore this incredible music, the objective remains the same. We're trying to help you develop a musical process that becomes increasingly your own. A process that eventually allows you to sit down at the piano, encounter something new, and have some confidence that you know what to do next. So if you're joining us for the very first time today, again, welcome. We're glad you're here. And I hope today's study of Our Love Is Here to Stay gives you a pretty good glimpse into how we discover, learn, and play jazz piano. All right, let's take a few minutes for this week's question of the week. And this week's question comes from Daniel living in Melbourne, Australia. And Daniel writes, Doctor Bob, I have a really difficult time remembering melodies. I'll practice the melody of a tune, and in fact, I usually memorize it pretty quickly. But no matter how well I think I know it, when I come back to play that tune next week, next month, or especially next year, for the life of me, I can't remember the melody. Do you have any tips for helping me retain the melody of a tune once I've learned it? Geez, Daniel, I wonder why I selected your question for this week as we are studying the melody of Our Love Is Here to Stay. Right? It's a great question. And I have some good news for you. I have some bad news for you. The good news, I'm not convinced that you have a memory problem. That's the good news. The bad news, I think you may have a learning problem. Now, don't misunderstand me.

Dr. Bob Lawrence (25:53.966)

I don't want to get any hate email. I'm not saying that you're incapable of learning. In fact, just the opposite. I'm suggesting that the way you're learning the melody may be making it unnecessarily difficult for you to remember it. And there's a very important distinction here. There's a difference between memorizing melody and, as I've been talking about since the beginning of this episode, and understanding the melody. Memorizing the melody, understanding the melody, two different things. If you're learning a melody primarily as a sequence of individual notes, again, right? This note followed by this note, followed by this note, this note, then you're asking your memory to retain a rather large collection of individual pieces of information. And you may actually become, you know what, you may actually become pretty good at doing that. You practice the melody repeatedly, you memorize it. As you said, you do it pretty quickly. you play it several times and eventually say, I got it. And you probably do. You probably do have it. you have it memorized today. But then, as you mentioned, Daniel, a week goes by, a month goes by, a year, a year goes by, you sit down at the piano, and suddenly, wait a minute. How does that melody go? And now you're trying to retrieve all those individual notes from memory. That's a pretty fragile system. And just a little side note. You've probably heard musicians and educators say, learn the lyrics. And yes, if the tune has lyrics, not all jazz tunes have lyrics, but if the tune has lyrics, I absolutely think you should learn the lyrics. Learning the lyrics can help you. emotionally connect with the tune. It allows you to step inside the story the composer and the lyricist are telling. And that can have a tremendous impact on how you hear the melody, how you phrase it, and ultimately how you express it. But don't confuse emotional connection with musical understanding. Because guess what? If your approach to learning the lyrics is simply word after word after word after word.

Dr. Bob Lawrence (28:21.102)

You're gonna forget those two. A week from now, a month from now, a year from now, you won't remember them. You may very well find yourself saying, wait a minute, how does that second verse go? So yes, learn the lyrics, absolutely. Use them to connect emotionally with the tune, to understand its story, and to help inform your musical interpretation, but lyrics do not eliminate the need. To understand musical relationships, musical relationships that actually construct the melody. So, what's the alternative? Instead of learning the melody simply as a sequence of notes, begin learning the melody as a collection of musical relationships. And fortunately, we've already talked about those relationships today with our seven musical facts. Is the melody using scale motion? Is it using arpeggio motion? Is it ascending, descending? Is it diatonic? Is it chromatic? Where does the phrase begin? Where does the phrase end? What is the phrase? What are the target notes within the phrase? How does the melody relate to the harmony underneath it? And what rhythmic idea gives those pitches their life? Now, notice what we're doing. We're making the melody conceptually smaller. Instead of trying to remember 40, 50, 60 individual notes, we're beginning to remember a much smaller collection of musical relationships. And Daniel, this is where I want to give you perhaps the most important tip I can give you. Don't simply memorize the melody. Learn how to reconstruct it. That's a completely different objective because eventually you are going to forget something. We all do. You might forget the exact starting note of a phrase. You might forget a little piece of melodic movement. You might sit down after not playing the tune for six months and suddenly draw a complete blank. And that's okay. The question becomes, do I have a way back? Can you hear the phrase? Do you know where it's headed? Do you know its target note? Do you understand the harmony underneath it?

Dr. Bob Lawrence (30:46.872)

Do you recognize whether the melody is moving through a scale, an arpeggio, chromatic decoration? Can you use these relationships to reconstruct what you've forgotten? And that is why our melodic analysis process here at Jazz Piano Skills is so deliberate. I don't simply hand you a complete lead sheet and say, memorize this melody. We hear it, we find it, we verify it, we finger it, we phrase it. We target it, harmonize it, and then we perform it. Every one of those steps give you another way to know the melody. Think about that. If you've heard it, that's a pathway back. If you've physically found it at the piano, that's another pathway. If you understand the fingering, another pathway. If you recognize the phrases, that's another pathway. The target notes, another pathway. If you understand how the melody relates to the harmony, that's a huge pathway. And if you've performed it in different musical settings, ballad, bossa, swing, another pathway. So now when one pathway fails, you've got several others that can help you, can help you find your way back. And here's where this gets really interesting. The ultimate goal isn't necessarily that you remember every single note of every single tune that you've ever learned. Forever. That's not realistic. The goal is to understand a melody well enough that when your memory fails, you know how to reconstruct it. And Daniel, that is a much more powerful musical skill than simply having a good memory. In fact, I would argue that this is one of the differences between memorization.

Dr. Bob Lawrence (32:55.668)

and musicianship. Memorization says I remember the answer. Musicianship says even if I forget the answer, I know how to find it again. That's a pretty significant difference. And there's one more piece to this that I want you to think about. The melody isn't floating independently above the tune. It's connected to the harmony. In fact, one of the ways I like to think about it is this. Melody is simply the liquid representation of the solid, which is harmony. I use that analogy all the time. So the better you understand the harmonic landscape of a tune, which is why we begin with the harmonic understanding every month, the easier it is, the easier it becomes to understand the melodic movement occurring within that landscape. Which again is precisely why last week we study the harmony of Our Love Is Here to Stay before we study the melody. The two aren't separate subjects, they're just different representations of the same musical reality. And when rhythm brings all of that to life, well, now you're making music. So Daniel, my recommendation is simple. The next time you learn a melody, don't Measure your success by asking, can I play it from memory? Instead, ask yourself, do I understand this melody well enough that I could find it again a year from now? Because if the answer to that question becomes yes, then you're no longer depending exclusively on your memory. You're depending on musicianship. Daniel, that's a fantastic question. Thank you for reaching out and sending it my way. And I hope that helps. If further clarification is needed, by all means, please let me know. All right, so now we know why we're approaching the melody this way. Let's talk about exactly what we're going to do today. As always, our melodic analysis is organized around a very deliberate step-by-step process. And today we're going to

Dr. Bob Lawrence (35:21.766)

use our seven lead sheets to unfold that process to help us develop a much deeper understanding of the melody to Our Love Is Here to Stay. And remember, the objective is not simply to get to the end of today's lesson and say, hey, I've memorized the melody. We want to understand the melody well enough that if our memory fails, right? Like Daniel's, if our memory fails next week or next month or next year. we have enough musical understanding to find our way back. So here's our game plan. We have seven lead sheets that we're going to explore. Lead sheet one is what I like to call hear it and find it. It's kind of a fill-in-the-blank process to finding the melody. lead sheet two, we are going to check our work, verify it, make sure that we are in the ballpark with our ear training, with our ability to poke out the melody. So lead sheet two, we will verify our efforts with lead sheet one of the fill in the blank. Lead sheet three will take a look at the fingerings of the melody. a typical way a jazz pianist would approach fingering the melody of Our Love Is Here to Stay so that you can begin developing the right articulation and feel when playing Our Love Is Here to Stay. Lead sheet four gets the gets to gets beneath the surface, as I like to say. And we look at identify the phrases found within that melody so that we can actually begin practicing and studying the melody based on phrases. And then lead sheet five will go beneath the surface even further, and we will identify very specific target notes. within those phrases again to help us thoroughly understand the melody of Our Love Is Here to Stay. Lead sheet six and seven, we pull in our voicings from last week, our block voicings and our traditional and contemporary shell voicings, and we place our melody of Our Love Is Here to Stay on top of this, on top of our voicings so we can hear it all come together. And then finally we're going to perform it.

Dr. Bob Lawrence (37:45.022)

Once we've worked through the seven lead sheets, we're going to take the melody, combine it with those voicings again that we've developed last week, and actually make some music. And we're going to use three different standard grooves. We're going to play it as a ballad, we're going to play it as a bassa, we're going to play it as a swing, three different rhythmic environments. And when it's all said and done, we've basically taken harmony, expressed it melodically, and added rhythm. We get music. And that's what we're ultimately after. So our process today is very straightforward. We want to hear it, find it, verify it, finger it, phrase it, target it, harmonize it, perform it. Got that list memorized now. And notice there's nothing in that process that belongs exclusively to Our Love Is Here to Stay. That's the point. We're using Our Love Is Here to Stay today. Could be it's gonna be another tune next month, but we use these tunes to develop a process that you can use tomorrow with another tune, another melody, another musical situation. Because once again, we're not simply trying to develop your ability to remember an answer. We're developing your ability to find an answer and eventually to know what to do. Next. So seven lead sheets, three grooves, one beautiful Gershwin melody, and one very deliberate educational process. We've got a lot of work to do, so let's get after it. Okay, so before we head to the piano, I want to take just a minute to remind all of you jazz piano skills members, access and download your podcast packets. These are your lead sheets that I just walked through, the illustrations and the play-alongs. Use these materials, print them out, write on them. Circle things, highlight things, right? They are not meant to remain pretty. They're supposed to help you learn. Don't forget about Lisa's listening list located in the Jazz Piano Skills Online Community Forums. it's listening, so important, right? It's it's it's part of the educational process. It's critical. And considering everything we've been discussing today, I want to make

Dr. Bob Lawrence (40:13.068)

make an important distinction. We're certainly not saying don't imitate. We're certainly not saying don't study the masters. Quite the opposite. Listen to as many different recordings of Our Love Is Here to Stay as you possibly can. Listen to the different pianists, vocalists and instrumentalists. Lisa does a great job with a variety of artists. learn how different musicians phrase that melody, how they articulate it and shape it rhythmically. same melody and how it can be expressed so differently because those musicians are giving you evidence of possibility. So study the music, practice the music, but make sure you're also listening to the music. Okay? Okay, if you are not yet a jazz piano skills member, I want to take just a moment to thank you for joining us today. I never take it for granted that you've chosen to spend some time with me. And I hope today's discussion And our exploration of Our Love Is Here to Stay has given you something valuable to think about and more importantly, something valuable to do. Now, in just a moment, our jazz piano skills members and I are going to head to the piano where we're going to work through Our Love Is Here to Stay and begin physically developing everything we've been talking about today. So if you'd like to join us for the complete piano lesson, along with access to the podcast packet. and all of the other jazz piano skills educational resources. I'd love to have you become a jazz piano skills member. But whether you decide to become a member or not, please know that I'm grateful that you've joined me today. Keep listening, keep studying, keep practicing, and most importantly, continue to discover, learn, and play jazz piano. All right, jazz piano skills members, let's get after it. Grab your podcast packets. Here we go.