Strike Up The Band, Oscar Peterson

Welcome to jazz piano skills. I'm Dr. Bob Lawrence. It's time to discover, learn and play jazz piano. Before we get started, I want to wish everyone a Happy New Year. I think I can say with great certainty that everyone I mean, everyone is beyond being thrilled to finally put 2020 in the rearview mirror. So goodbye 2020 Hello 2021 I am so looking forward to this year, and no better way to kick things off than to do so with a transcription Tuesday. For you new listeners. Every week we explore a very specific aspect of playing jazz piano. One week we may be looking at some jazz theory concept. Another week we're tackling technique another week tune study, or like we are about to do today dissect transcription. And what a way to begin today we are going to discover learn and play Oscar Peterson's solo on George Gershwin's strike up the band. If you're unfamiliar with this tune and or Oscar Peterson's rendition of this tune, you are in for a real treat. I want to thank everyone for all of your wonderful, heartfelt condolences last week. For those of you who do not know my mom of 90 years of age died last week on Christmas Eve. It was a tough week. But all of the well wishes thoughts and prayers received from the jazz piano skills community were to say the very least overwhelming, enormously comforting and healing. So thank you from the bottom of my heart. So let's get down to business right away. The very first thing I want to do is to take a couple of minutes right now and listen to Oscar Peterson play strike up the band. This is from the 1952 album, Oscar Peterson plays George Gershwin, with Ray brown on bass and Barney Kessel on guitar. If you are a jazz piano skills member, grab the transcription from your downloadable illustrations packet or your lead sheets packet. I've included I've included the transcription in both of those packets for your convenience. Okay, so grab that because you're gonna want to follow along as you listen to this recording and you listen to Oscar Peterson solo so Alright, so here we go. Check this out. Okay, even know what to say right? Nothing swings harder than that rendition of strike of the band, nothing. So much to unpack here, and we only have an hour to do so. But before we jump into this, govern, learn and play asker solo on strike up the man, I want to take a second right here at the beginning of this jazz piano lesson to personally invite all new first time listeners and old time listeners to join jazz piano skills. Go to jazz piano skills.com select a membership plan, click on the join link and welcome to our jazz piano family. It's that easy. As a jazz piano skills member, you will have instant and full access to all of the educational content all of the resources and support educational content and resources that are continually growing each and every week. Here's what you can immediately access and begin using to maximize your musical growth as a jazz piano skills member. Number one, all of the educational podcast packets, the illustrations packet, the lead sheets packet and the play alongs packet. Number two, all of the interactive courses, which make up a sequential jazz piano curriculum that utilizes a self paced format. Number three, all of the weekly master classes you are welcome to attend. These are live one hour online master classes with me. I host it every week on Thursday evenings. Number four, you have access to the jazz piano skills, private community, access to all of the skills specific forums, and course specific forums. Plus, you have unlimited and personal and professional support 24 seven, I'm available to help you anytime. answer any questions that you have, not only regarding any of the podcast episodes and the content that is covered in those episodes, but any of the content in the courses or any assistance that you need regarding jazz, the study of jazz and jazz piano. I say this every week because it is so vitally important and I simply cannot stress it enough. If you are indeed serious about developing the jazz piano skills needed for you to become an accomplished jazz pianist, then you should absolutely become a jazz piano skills member. And begin taking advantage of all of the educational content and materials, the resources and professional support. There are several membership plans to choose from. So you can definitely find one that's going to be a good fit for you. You can become a member for a month if you just simply want to try it out. There's also a quarterly membership plan an annual membership plan. And yes, there is even a lifetime membership plan. All plans regardless of which one you choose, regardless of which one is right for you all plans grant you full access to all of the educational content, materials, resources and professional support. So check everything out at jazz piano skills.com. If you have any questions, let me know. I'm happy to spend time with you by phone through speakpipe email. To help you determine which jazz piano skills membership plan is best for you. Alright, let's dive in transcription Tuesday, let's dissect Oscar Peterson's amazing soul on George Gershwin's strike up the band. So today you are going to discover Oscar Peterson solo on George Gershwin standard. strike up the band, you're going to learn various ways to extract melodic ideas from a transcription for developing your jazz vocabulary. And you are going to play eight minor chromatic arpeggio exercises modeled after improvisational approaches used by Oscar Peterson so regardless of where you are in your jazz journey, whether you're a beginner an intermediate player, an advanced player or even if you consider yourself an experienced professional, you will find this jazz panel skills podcast lesson exploring Oscar Peterson's solo on Gershwin strike up the band to be very beneficial to begin all jazz piano skills members, all of you members if you haven't done so, already Ready, you need to pause this episode right now. And as always take a few minutes and print, the podcast packets, the illustration packet, the lychee packet, it's always important to have these in front of you all these materials in front of you as we go through the lesson. As the old saying goes, a picture is worth 1000 words, the illustrations and the lease sheets along with the play alongs. All three educational podcast packets that I produce for each jazz panel skills podcast episode. All of them are designed to illuminate various aspects of the essential jazz piano skills that we are about to explore. So take a second right now, pause this podcast and print the educational podcast packets. Okay, now that you have the podcast packets in front of you, I want to walk you through them. And let's begin with the illustrations. There are four detailed illustrations in front of you that are going to help illuminate this amazing soul. Look at an illustration one illustration one is simply an historical recap, if you will, of this recording. And you can see on this illustration details about the recording year, the label the producer musicians and other tunes included on the album. It's always, always great to have a historical appreciation of any tool that you're studying and learning. And in fact, in the old days, when you would purchase an album and I know I'm showing my age, but bear with me here, when you would purchase an album there will always be liner notes included. Right Those were the good old days. Right there included with the album was information about the musicians, the lyrics, there was always a personnel list in other credits to people that the musicians wanted to thank. And also the liner notes will also give insight details about each musical piece each, each one and oftentimes would place these tunes within historical or social context. Good stuff indeed. So think of the first illustration is a throwback to the good old days, and liner notes. Real quick. Just look at the list of tunes on this album. Are you are you kidding me? Look at every tune is a gem. Not just strike up the pan right the man I love fascinating rhythm and he necessarily so somebody loves me, I've got a crush on you and on and on. So if this album is not part of your jazz library, be sure to add it to your collection as soon as possible. It is definitely on my list of jazz albums every jazz pianist should have immediately following this illustration, illustration one you have a complete transcription of Oscar solo note for note, it's pure gold, pure gold. We'll get to that a little later. Okay, illustration two is a breakdown of the chord scale tones versus the non chord scale tones played by Oscar Peterson. In his strike up the band solo. How interesting is this? Check it out. asker plays a total of 474 notes out of those 474 notes 412 our chord scale tones. That means 62 are our notes that fall outside of the scale. Only 62 that percentage 87% of all the notes that Oscar Peterson plays are chord scale tones. Right? I'm saying chord slash scale tones, right? The notes are either chord tone or scale tone. I don't hope that's not confusing. So this is a big Wow. Right? What does this tell you? I think it's pretty obvious. You have to have a command of chord scale relationships if you truly want to develop improvisational skills. Slightly more than 10% of the notes played by Oscar Peterson during his solo are notes that fall outside of the applicable scale. Let me say that again. Approximately 10% and only 10% of the notes played by Oscar Peterson during his solo are notes that fall outside of the applicable scale. And the stats are basically the same for every solo askers Peterson played throughout his entire life. Bottom line, if you do not know your chord scale relationships and you cannot play the major, minor dominant half diminished and diminished scales, the modes as a lot of folks call them, then you are in trouble before you even get started. Immediately following illustration two, you have a complete transcription of Oscar solo with all of the chord scale tones highlighted all the chord tones, all the scale tones highlighted, to say the least, when you look at the transcription with all the chord tones, and all of the scale tones highlighted, it is jaw dropping, we all tend to think that Oscar, and all the grades are somehow using a set of fancy schmancy notes that only they have access to. These fancy schmancy notes are hidden away somewhere and only they have access to this vault. And the secret code, the secret combination that opens it. This is simply not true. And when you extract the chord tones and the scale tones from transcriptions, like you have in your hands right now, you immediately see that the greats like Oscar Peterson. First of all, they're indeed human, you immediately recognize that they too, only have access to the same chords and the same scales that we do. So we can say with great certainty, beyond a shadow of a doubt, that the mystery of what determines great jazz is not solved by determining what notes the jazz giants are applying. Not at all. The mystery is solved by revealing how they approach playing jazz, rhythmically, their phrasing and articulation. I have discussed this in many of my previous podcast episodes. And we will continue to expose this jazz fact in future episodes as well. Okay, now with all of that being said, what about the 10% notes falling outside of the chord scan relationship, grab illustration three. This illustration highlights all of the altered notes, Oscar plays over the dominant sound, flat nine sharp nine sharp 11, flat five sharp five flat 13. Check out the second paragraph. I want you to know that alter tones typically occur on dominant chords. This is not to say that you will not experience alterations applied to other sounds major, minor etc. However, the majority of altered tones are associated with the dominant sound, the dominant chord. And in the case of Oscar Peterson's solo on strike of the band. This is absolutely true. Again, this is a very important revelation that you must experience at some time during your jazz journey your jazz life. Once you do experience this revelation, you can begin designing and developing exercises that help you incorporate the altered dominant sound into your jazz vocabulary. In fact, this was our focus on a previous transcription Tuesday, when we explored red garland solo on another classic Gershwin standard, a foggy day. Today however, we will utilize a different approach to transcription analysis to help us develop jazz improvisation of vocabulary. Okay, finally grab illustration for this illustration is packed with a ton of goodies. So again, there are eight melodic lines, improv improvisational ideas that Oscar plays that are worth your attention. Well there, there are a lot more than eight in his solo, but I am saying what I'm saying here is that there are eight that I want to highlight and draw your attention to. And these eight ideas all are centered around the 251 progression. There are two major 251 progressions, key of E flat in the key of A flat in two minor 251 progressions, C minor key a C minor, C F minor Fascinating, right? Remember our last tune Tuesday when we studied autumn leaves, and discovered that the entire tune is basically a swapping back and forth between a major and a minor 251, a relative minor, right major and a relative minor. While we have the same thing happening here, in strike up the band as well, we have a 251 and E flat major 251 and C minor, we have a 251, and a flat Major, and we have a 251 and F minor. Fascinating. Immediately following this illustration, you'll notice that I've highlighted these 251 relationships within the transcription. These lines that Oscar plays over each of these two, five ones, the two major two, five ones, and the two minor two, five ones are worthy of your time and study. Play these lines as he plays them, and focus on your technique, the articulation in the phrasing. In other words, imitate asker try to sound like Oscar, should you play these lines in different keys, as so many teachers suggest that you do. You can but not necessarily necessary and not necessarily a good use of your practice time. The reality is this, that it is very unlikely that you're going to be able to adopt these lines as is into your jazz vocabulary and then be able to drop kick them into any tune you want, whenever you want. It just simply doesn't work like that. If there are some snippets from these 251 lines that resonate with you orally and physically, then I would suggest extracting those ideas and then use them as a way to begin formulating your musical thoughts, your jazz vocabulary, and it is your jazz vocabulary that you want to begin moving around to different keys. See, that is an entirely different approach. And quite honestly, a much more fruitful a much more beneficial approach to transcription study than what is typically presented to students. Bottom line. Good luck trying to adopt Oscar Peterson ideas and present them as your own. Let me know how that works out for you. Instead, check out the next illustration the next exhibit right behind the highlighted major and minor two five ones. In this illustration, I've highlighted all of Oscar Peterson's use of half step approach meant to target notes, and his use of arpeggio motion when improvising. This will be our focus today. This is the approach we are going to use today to discover, learn and play. Our jazz vocabulary has revealed to us through the study of Oscar Peterson solo on Gershwin's strike up the band. Wow. That was a quick run through of your illustrations packet, which as you can tell is packed with a ton of great information that will help you a ton. As we unpack Oscar solo on strike up the band. Now, let's take a look at your lead sheets packet. There are 11 lead sheets, not including the actual transcription of Oscar solo included in your lead sheets packet that you have now downloaded. The first three lead sheets include the tune itself a simple melodic outline of strike up the band. It's a great tool to use to help you validate your melodic interpretation of the melody. And did you catch what I just said there. It's a way to validate your interpretation of the melody. In other words, learn the melody of the tune first, by using your ears. poke the melody out while sitting at the piano use your ears. The more you do this, when learning a tune, the faster that entire process becomes. In other words, your ears will grow. They'll get better. After you think you have a handle on the melody you can check it. Check it out against the lead sheet that I've included in your packet and validate your interpretation. It's very cool. The second lead sheet in your lead sheets packet presents you with simply the chord changes of the tune, no melody, just the changes. I like using a lead sheet like this when I'm working on my voicings, both my two handed structures and my left hand shells. I like having just the changes in front of me and nothing else to distract me chords only. The third lead sheet in your lead sheets packet is a lead sheet presenting you with the harmonic function of strike up the band, the harmonic DNA if you will. And this is how you really and truly learn to tune Roman numerals harmonic function. In fact, this is how you develop a really good ears as well. Your ears want to hear relationships, in other words, a two chord, go into a five chord, go into a one chord, etc. That means something to your ears, right letters do not see to A to D to G, their letters, function mean something, right, this is something that your ears can identify that your ears can recognize in every tune that you're listened to. So study the harmonic DNA function, the chord function, harmonic function of the DNA of strike of the band. This is time well spent, and will do more for your year development than anything else you can do, I guarantee it. Okay, the next eight lead sheets are the exercises that we are going to do today. These are the exercises that we are going to use to begin incorporating some of Oscar's half step approaches and arpeggio motion into our jazz vocabulary. I strongly encourage you to have these lead sheets sitting on your piano and ready for action. And, just like the illustrations, I want to encourage you to study your lead sheets away from the piano. I have said this a million times to students over the past 30 plus years, my best practicing and yours, too, will be done away from the instrument. This is when you can truly sort everything out conceptually and adequately and properly prepare for the physical work you're going to do once you do approach your instrument once you do sit at the piano. Remember, conceptual understanding drives physical development, you cannot play what you do not know. It's that simple. Study your illustrations packet, study your lead sheets packet, a ton study them. I want to also take a second to provide you with some insight regarding the play alongs that you can and of course you should be using as well when practicing. There are 60 play along tracks included in your play along packet 60 I have included a play along for every major dominant minor half diminished and diminished chord so that you can take what I am going to model today using the C minor sound the C minor chord and replicate it for any core for any sound that you are wanting to practice. Simply invaluable. So use these 60 play along tracks. So all of you jazz piano skills members Listen up, you have access to these amazing educational resources. All three podcast packets, the illustrations, the lead sheets, the play alongs you have access to these, these podcast packets for every podcast episode, every week, of every month of every year. Use them, study them, practice with them. The podcast packets, the illustrations, the lead sheets in the play alongs will maximize your musical and jazz growth. Okay, now that we have gone through all three podcast packets, and we have them in front of us, let's discover learn and play the Oscar Peterson's solo on strike up the band there is a ton to unpack and I know you are more than likely going to have many questions pop up, which of course you should. And that is precisely why I'm committed committed to get Tongue Tied doing this stuff, right. That is precisely what I am committed to providing all jazz piano skills members immediate and personal support. If you're listening to this podcast through the jazz piano skills website, which I hope you are, you can use the extremely convenient speakpipe widget which is nestled directly beneath the podcast player to send me a voicemail message. It's that easy. It's that simple. One click and the two of us are interacting with each other. Send me a voice message with your questions and I will send you one back with answers. Some very cool technology. If you're listening on I Heart Radio, Spotify, apple, amazon music, Pandora or any of the other popular podcast directories, you can simply use the following URL speakpipe.com forward slash jazz piano skills that you are elegant is speakpipe.com. forward slash jazz piano skills. Send me a message. If you are a scaredy cat and are afraid to send me a voicemail message. Then you can post your question in the private jazz piano skills forum and let the jazz panel skills community help you. I'm also in there as well answering questions so use the forums. Or if you want to attend the Thursday evening masterclass, please do so market on your calendars every Thursday evening, every week, join me online 8pm Central time using the zoom link that is posted on the jazz pal skills website and get your questions answered face to face right. So many ways to get help. I provide jazz piano skills members, many ways to get help. So definitely take advantage of the opportunities. As you know my entire goal is to provide you with the very best jazz piano lessons, the very best jazz piano education materials, and the very best jazz piano support that is available anywhere today. Okay, grab the lead sheet titled C minor chromatic arpeggio exercise one, you're going to want to have this in front of you. When studying the illustrations, especially the illustration that highlights all the chromatic and arpeggio motion used by Oscar in his solo, you will immediately begin seeing how we are going to design formulaic exercises that incorporate both of these elements. So that we can begin developing jazz vocabulary for improvising. So with all of the exercises, not just exercise number one that you have in front of you but all of the exercises, you will see that we are going to be very aware of the direction of our melodic idea whether it's ascending or descending. And we are going to be very aware of our entry points, whether it be the root, the third, the fifth, the seventh, I want you to also notice that each exercise uses chromatic motion to move from one primary core tone to the next primary core tone before transitioning into an arpeggio. This idea of using chromaticism to move from one primary core tone to another is taken directly from the Oscar Peterson playbook, which you can now begin to recognize and all the chromaticism used by Oscar in his strike up the band solo. Having a formulaic exercise allows you to easily replicate the exercise for use with other sounds with other chords major dominant minor, half diminished, diminished, if you're practicing is not structured in this way, right? I hate to break the news to you, you are not practicing correctly. Okay, exercise one. You have that in front of you. And you can see we are going to it's just a one measure melodic idea. The first half of the measure consists of chromatic motion, the second half of the measure arpeggio motion, the first half of the measure, we have chromaticism moving from our Root Entry from our C moving chromatically to our next primary core tone, which is E flat, and then the second half of the measure straight arpeggio motion starting on the fifth, going through the seventh to the ninth, up to the 11th so we get this sound Very nice. Again. That's it. chromaticism followed by arpeggio. And that is why I call it minor chromatic arpeggio. So I'm going to bring the ensemble in. And I'm going to play this melodic idea. I'm going to play it ascending with the Root Entry, followed by measures of rest and assess, right, followed by measures of rest and assess. And what I mean by that is, after I play the melodic idea, I get a chance I get an opportunity to process the good, bad and ugly of what I just played, and then make any adjustments that I need to make, and then go right back at it again. So what you're going to hear me do is you're going to hear me play the melodic idea, as is several times, followed by rest and assess right, then you're gonna start hearing me manipulate that shape and that sound a little bit rhythmically. Here, I'm starting to explore a little bit with developing some of my improvisational ideas, some of my vocabulary, right. So I start off by simply playing the melodic idea as written, then I start to deviate a little bit from that. But remaining faithful to that shape. And that sound, I'm only using those notes. I'm not using any other notes when so you start to hear me improvise a little bit with the shape and sound. Know that I'm only manipulating things rhythmically. I'm not changing. I'm not adding any additional notes, or altering the notes in any way, shape, or form. Okay, so let's bring the ensemble and let's check it out. And then we'll talk about it. Here we go. Wow, pretty cool. All right. Very Oscar Peterson like, chromatic motion, followed by arpeggio motion. And again, focusing on what I'm doing with in terms of articulation in feel. Right. A notes no mystery here. Right. chromaticism from the root up to the third followed by the arpeggio all using simple chord scale relationship. Right. So what's what's really important is once we have the idea under our hands is how are we articulating it? How are we phrasing it? Does it sound like a jazz pianist? Right, do I sound like a jazz. So now, what I want to do is go to C minor chromatic arpeggio exercise number two, so grab that lead sheet. And as you can see there, now we've changed our entry point, our entry point now is going to be our third, we're going to move chromatically from our third up to our fifth. And from when we launch when we land on our fifth we have arpeggio again that moves from the fifth to the seventh to the ninth to the 11th. So it's gonna sound now just a little bit different because our entry point has changed. Nice again. Again, I'm going to play that line followed by rep measures of rest and assess that I'm going to start experimenting with that shape and that sound a little bit rhythmically. Again, I'm not adding any additional new notes or altering the notes in any way. I'm focusing on just us sending motion one direction right now with third with the third being my entry point. So let's bring the ensemble and let's check it out and see what we think. Here we go. Very nice, right. So same idea one starting with our route as our entry point the other one with our third as our entry point. Now we're going to do the exact same thing. And we're going to change our entry point now to the fifth. So I'm going to move chromatically from the fifth up to the seventh. And then I'm going to arpeggiate from the ninth through the 11th through the 13th all the way up to the root. So now this sounds like this. Stretching that line out. Nice. Same concept, we've just changed our entry point. We're applying our chromaticism from one primary core tone to the next primary core tone, followed by arpeggio through the remaining chord tones. So let's bring our ensemble back in. And let's check this out. Here we go. Pretty cool, right? So many ideas can be developed improvisational ideas can be discovered when practicing in this way. Right. It's a very formulaic it's very structured, which that I guess that's the irony of it. All right, you have a very formulaic way, a very structured way to practice creativity. Right? It's fascinating. So we're going to continue on with our formulaic ways. And we're going to apply the same process to now our entry point being our seventh. So we're going to start on our B flat, we're going to move chromatically up to our ninth, from our ninth we arpeggio, we are applying arpeggio motion from the ninth to the 11th to the 13th and to the root again. So it's going to sound a little bit different because our entry point again has changed. So it's going to sound like this. Nice again. Very cool. So I'm going to bring the ensemble back in. I'm going to state that melodic idea, followed by rest and assess. Again, you know, assessing the good, bad and ugly of my plane, make any changes I need to make, repeat the process. After I do that several times. I'm going to start to manipulate the shape rhythmically. Again, not adding any additional notes not altering the notes. Trying to see what I can do how creative I can be with that shape with that sound by simply altering it rhythmically. Okay, so here we go. Let's bring the ensemble in. Let's check it out. So what have we done so far, we've taken this idea that we've learned from Oscar of the use of chromaticism from one primary core tone to the next primary core tone. And then his use of arpeggio motion, we've, we've pulled those two things, those two elements together. And we've created a formulaic exercise that allows us to connect primary chord tones from the root to third from the third fifth from the fifth to the seventh chromatically. And then follow that up with an arpeggio using ascending motion, only. Does that make sense? And again, we're just stealing from Oscar, what we have discovered through the analysis of his transcription, I mean, I'm sorry, his solo over Gershwins strike up the band. So now, what goes up must come down, right. So we've we've focused on all ascending motion. Now we're going to repeat the process, but we're going to apply descending motion. So we're going to start with our root again, we're going to start with our C, and we're going to move chromatically down to a then we land on the note G the fifth and descend through the third through the root and end on the 13th. So it's going to sound like this. Nice, you can play down an octave if you want. Either way. So we're going to start with our root descend down through the six leanness to the fifth. And then our arpeggio starts on the fifth, and descends down to the A to the 13th. Okay, so let's bring the ensemble and I'm going to do the exact same approach. I'm going to play the line as written there on your lead sheet exercise number five, going to play the line as written several times with rest and assess in between each time and then begin to explore changing the shape rhythmically to see what ideas I can discover. So here we go. Let's check it out. Absolutely love it. Now, you may be thinking, if you've noticed, I've placed all of these melodic ideas have created separate lead sheets for each one. Some of you may be asking, Hey, couldn't we put all these ideas on one page? Yes, we could have. Is it smart to do it that way? No, it is not. It's not. Right. Again, you want when you practice, you want to have a single objective that you are focusing on. You do not want to have too much data. If you will be filtered in through your eyes, I like to isolate things I like to zero in on things and focus on very specific things that I'm practicing, I do not want too many distractions. So that is why I've placed every one of these melodic ideas. I've given them their own space, their own lead sheet. Okay, C minor chromatic arpeggio exercise number six, grab that lead sheet. Now we start on the third of C minor move chromatically down to the root. And then we ascend, or I'm sorry, descend using arpeggio motion, a, down to f, down to D, down to B flat, so we're moving from the 13th to the 11th, to the to the ninth, to the seventh, okay, or six to four to two, to seven. All right, so it's gonna sound like this. And again, you could play it down an octave. Either way, wherever you want to start. And you may be asking or thinking to, you know, after I come after I play the C. Why don't I go to the B flat? I could, but I like to keep that art. Once I play my chromatic motion, I want to keep arpeggio motion. So the next chord tone, that's a third way is my a. Right, so I'm keeping things consistent with this chromatic arpeggio theme that we're working off of. So let's bring the ensemble in. I'm going to play this idea several times, again, followed by measures of rest and assess. And then I will start to have some fun with it rhythmically. To see what creative ideas I can come up with, again, using only the notes of the shape as written there on your lead sheet. not adding any additional notes or altering notes in any way, shape, or form. So here we go. Let's check it out. Okay, so let's continue on grab lead sheet, C minor chromatic arpeggio exercise seven. So we have entered from the root descending, entered from the third descending. So now we're gonna start on our fifth. So we start our entry point is our fifth we move chromatically down to the third, and then arpeggio motion from the third to the root to the 13th to the 11th. So it's gonna sound like this. Nice, again. Very nice. So now we're going to do the same thing you know the routine by now right? state the melodic idea, measures of rest and assess do that several time several times and then begin to manipulate some the shape rhythmically to see what We can discover. So here we go. Let's check it out. Wow. So much fun. So many ways to discover vocabulary, your vocabulary, that you can then move around to different sounds to different chords, right. So we're using Oscar Peterson's approaches to develop formulaic exercises that will lead us to our creativity to our melodic ideas that we then can move around to different keys. Do you see that? That process there? Okay, so now, let's grab C minor chromatic arpeggio exercise number eight. And we're going to start our entry point now is going to be the seventh, we move chromatically down to the fifth, and then arpeggio motion from the third, down to the 11th. So it's going to sound a little bit different because our entry point of course, is different. So we're going to get this nice again. Very nice. So same process, same drill, right state that the state the melodic idea as written several times with rest and assess, then start to manipulate it rhythmically to see what we can discover. So here we go. Let's check it out. Pretty cool stuff. So much, that we could unpack in so many different ways that we can explore this solo Oscar Peterson's solo on strike up the band. You know, we could have, we could have stayed with those 251 relationships that that I mentioned earlier in the podcast, we could have looked at all the altered dominant sounds as we have done in the past. Today, what we wanted to do is look at some very specific approaches that Oscar Peterson utilized in developing melodic ideas in his own solo, extract those melodic, extract those approaches, and then create formulaic exercises using those elements, that we could then systematically move through a sound and now that we have that formulaic That formulaic exercise in place, we can now take it from C minor to F minor to B flat minor, we can go to C major, F major, B flat, major c half diminished and so forth. Right? That's what's cool about this is once you get a formulaic exercise in place, then you can start replicating that for all the remaining shapes and sounds that we have. It's a very cool way to practice creativity. Whoo, I'm tired. I hope you have found this jazz piano skills podcast lesson. Exploring asker Peterson's solo on George Gershwin. strike up the band to be insightful, and a course beneficial, man what an hour it has been. Don't forget if you are a jazz piano skills member I will see you online Thursday evening at the jazz piano skills masterclass at 8pm Central time to discuss this podcast episode lesson exploring askers strike up the band solo in greater detail, and to answer any questions that you may have about the study of jazz, and jazz piano in general. As a jazz piano skills member, be sure to check out all of the jazz piano skills podcast episodes and the educational podcast packets available for each one. Also, check out the jazz piano skills courses that I mentioned earlier. As well you have full access to those sequential courses, the packets the courses will absolutely maximize your musical growth. And likewise, make sure you become an active participant in the jazz piano skills forums, get involved and make some new jazz piano friends. As always, you can reach me by phone 972-380-8050 extension 211 by email, Dr. Lawrence, Dr. Lawrence at jazz piano skills.com. Or you can use the speakpipe widget and send me a voice message that way. Okay, that's it for now. Happy New Year to all of you. And until next week, enjoy the journey. And most of all, have fun as you discover, learn and play jazz piano