Dominant b9b13 Sound

Welcome to jazz piano skills. I'm Dr. Bob Lawrence. And it's time to discover, learn and play jazz piano. The last couple of weeks have been fantastic. We have been exploring altered dominant sounds, we started with the dominant sharp 11. Then last week we explored the dominant flat 13. Both, both are fantastic sounds that are laced, I mean, literally laced throughout jazz literature. In fact, if you want to truly play jazz, then you must not only gain a command of both of these sounds, but of all the altered dominant sounds. And that is why today, we are going to continue our altered dominant journey with another classic sound, the dominant flat nine, flat 13, which actually may be my favorite, altered, altered dominant sound of all right. It's funny, I say this right every week, is, you know, the reality is I love them all. And my favorite, my favorite always happens to be the one I'm currently practicing. So this week, I'm practicing dominant, altered dominant, flat nine, flat 13. So therefore, it's my favorite altered dominant sound. You may think I'm crazy, but I promise you, the more time you spend with each of the altered dominant sounds, you too, will be saying the exact same thing. I love them. All. Right, I'll even go further. The one that you initially enjoy the least, will end up being one of your favorites. If not your favorite, I promise you, the one you initially enjoy the least, will end up being your favorite. I mentioned in the last two podcast episodes, that you always have to have a balance between macro and micro study. And macro study, of course, is the big picture. Something like learning to write the big picture. And micro study is what I call the under the hood. details like dissecting a sound like we've done the last two weeks, and like we're going to do again today. So today is another micro study. As we look at the dominant flat nine, flat 13 sound from various perspectives. I love this kind of study, we're going to take out our jazz microscope sort of speak, we're going to take it out. And we are going to take a close up look at the dominant flat nine flat 13 sound using various entry and destination points. It's going to be a great workout conceptually, physically and of course, orally, right. Great for the mind, great for the hands and great for our ears. And as I mentioned the last two weeks. I know that when we do a micro study of any kind, many questions will arise. That's normal. That's good, right? No worries. Whenever you have questions during this podcast episode, you can always send me a speakpipe message a voicemail, and I will I will respond to you. I promise I will respond with an answer right away. And so if you are listening to his podcast through the jazz piano skills website, if you look directly below the podcast player, you'll see the the speakpipe widget okay? All you have to do is click on that button labeled start recording and speak. That's it. That's all there is to it. Your message will come to me literally in seconds and I will return your question with an answer. Not in seconds, but close. Right? I try to I try, I try to respond very quickly. So it's awesome technology, I hope you will take advantage of it. And it allows you and me to engage with one another. Right? It allows the two of us to engage with one another quickly. You know, it's interesting, a lot of you have said to me that you enjoy the podcast, some episodes are literally right in your wheelhouse, right where you are, and you find them to be incredibly beneficial, and other episodes may be above your head, right? In other words, well, what are we talking about here. And I always encourage everyone that, you know, never shy away from listening to any conversation, or presentation of jazz piano skills that are beyond where you are either conceptually or physically, you will always walk away with some kind of understanding, and some kind of insight that you did not have prior to participating in that conversation, or that presentation. You have to be introduced, you have to be introduced to advanced jazz piano skills at some time, right? So the problem always is that a lot of times, like I mentioned, you walk away with more questions, and you have answers. So that's why I have this speakpipe widget included with the podcast, so that you can ask your questions, not leave them on ask, you can ask those questions directly to me. And then I will provide you with an answer and some additional insight. Again, it's very cool technology that I hope you will take advantage of and use often. Again, I am always happy to help you discover, learn and play jazz piano. Okay, I made a point last week, and the week before that music is the production of sound. This is what musicians do. We produce sound we produce musical sound, musical sound being a grouping of harmonic or melodic notes that establish a sound type major, dominant, minor half diminished, diminished. Does this make sense? Maybe not at first right. But let me let me try to explain this another way. First, notes by themselves, right? A note. Just notes. Right, just notes. They do not establish a sound type. When I play this note, there's nothing nothing major, dominant, minor, half diminished or diminished about it. It's simply a note. That's it. Therefore, we have to always look at how notes relate to one another. Right? So it's not about a note. It's about a grouping of notes. How do those notes relate to one another. And it is that relationship that establishes a musical sound, a sound type, major dominant minor, half diminished, diminished. It is the sound type. Check this out this is important. It is the sound type that our mind wants to identify. our ears want to hear. And then our hands want to play. I want to say that again. It is the sound type, major dominant minor half diminished diminished, that our mind wants to identify. our ears are wanting to hear and our hands want to play. Therefore we should always be practicing in such a way that we are cognitively aware of the musical sound, the sound type that we are playing either harmonically or melodically. In other words, we have to be aware of the sound type major. Are we playing major, dominant? minor half diminished, diminished? What am I hearing? What am I playing? Right? It's the sound type. It's not an individual note that you're listening for. It's a sound type that you're listening for. And so today, we are going to play a grouping of notes that produce an altered dominant sound, right? a dominant type, altered dominant sound, the dominant flat nine flat 13 sound. And we are going to play that grouping of notes harmonically as a chord and melodically, right, and we're going to use scale motion for our melodic plan. So I hope that clarifies a little bit, that's a lot to digest very quickly. So really listen to this podcast. And we listen to that site this segment again, and let it sink in. And I can if you have any questions, write speakpipe send me a voicemail message, I'm happy to respond with additional insight. Likewise, I want to stress to you the importance of the educational guides that I produce for each podcast episode. The educational guides devoted to the dominant flat nine flat 13 sound are available for immediate download at jazz piano skills.com. And again, if you are listening to this podcast episode, through the jazz piano skills website, you will see the download links for each guide. To the right of the podcast player, it's very easy. Likewise, you can easily access all of the educational guides for all episodes, through the jazz panel skills website and through the jazz panel skills store. There are three educational guides the illustration guide, the lead sheet guide, and the play along guide for every jazz piano skills podcast episode, which can be downloaded individually. So you can get the guides for just a specific jazz piano skills podcast episode, you can get them as a bundle. Or you can subscribe and have access to all the educational guides for every jazz piano skills podcast episode, the illustration guide helps you discover the jazz piano skill conceptually, right, your conceptual understanding drives your physical development. So if you do not understand a skill, conceptually, I got I got bad news for you, it ain't going to happen physically, right. So it has to get sorted out upstairs before it can come out downstairs. So the imagery and the graphics of the illustration guide are amazing. And and again, your conceptual understanding is first and foremost, on your of importance for your development. The illustration guide, and the imagery allows you to mentally visually digest the shapes and sounds of jazz and in this case, the dominant flat nine flat 13 sound. And then it allows you then to take that imagery to the piano. The images, the graphics are laid out for all 12 keys. And likewise, the lead sheet guide does the exact same thing it presents to you allows you to successfully learn the jazz piano skill physically on the piano and it presents to you the musical notation that the jazz piano skill laid out using traditional music music notation, right. So if you like to read if you are a reader and you like seeing the concepts placed upon the musical staff, then the lead sheet guides are perfect for you. You will love having them sit on sitting on your piano as a quick reference when you are when you are getting these various shapes and sounds under your fingers when you're getting the dominant flat nine flat 13 sound under your finger fingers and again, the lead sheet guides are available and and available to you in all 12 keys. I personally find them to be invaluable. And finally, the play along Guide, which are play long tracks, and again, all 12 keys. So all three guides the illustration guide, the lead sheet guide, and the play along guide. I say guide, but they're really guides because there's one for each of the 12 keys. The play alongs are perfect to help you play the jazz piano skill help to help you play the dominant flat nine flat 13 sound. And a play along tracks will help you develop a strong sense of internal time, plus proper jazz feel and articulation. And you've heard me say this before, especially my regular listeners, a teacher cannot teach you these essential elements of playing jazz. A teacher cannot teach you time. The teacher cannot teach you feel or articulation, we can talk about them, right. But we cannot teach you teach you that you must experience these elements of playing jazz in order to properly develop them. And there's no better way to do this than to use quality quality play long tracks. So I cannot stress enough how beneficial the educational podcast guides are for expediting your musical growth. So be sure to check them out at jazz piano skills.com. Go to the homepage, click on the podcast link in the menu bar that runs across the top of the page. And you'll be good to go. All of the podcast episodes and educational guides will be immediately at your fingertips. And again, if you download the educational guides and you're utilizing them and you have questions, you can always send me a speakpipe voicemail message and I will get back to you immediately. Or you know what? You can also post your question in the jazz panel skills forum and let the jazz panel skills community help you or you can attend the Thursday evening jazz panel skills masterclass at 8pm Central Time to get your questions answered face to face. So, just so many ways that I try to make available for you to get help get assistance to get guidance. As you discover, learn and play jazz piano. My goal is pretty simple. I want to provide you with the best jazz piano lessons, the best jazz educational materials, and the best jazz piano support available anywhere today. Okay, let's discover learn and play the dominant flat nine flat 13 sound. In this lesson, you're going to discover the flat nine the dominant flat nine flat 13 sound, you are going to learn how to construct the dominant flat nine flat 13 sound and you're going to play the dominant flat nine flat 13 sound harmonically and melodically. So again, regardless of where you are in your jazz journey, a beginner an intermediate player, an advanced player or even a experienced and seasoned professional, you will find this podcast this lesson exploring the dominant flat nine flat 13 sound to be very beneficial. So with any sound, the first thing we want to do is to get a handle on the sound to discover it first and foremost harmonically as a chord. And I am going to use the C seven the C dominant flat nine flat 13 sound as the model. And of course, just as you did with the dominant sharp 11. And just as you did with the dominant flat 13 you're going to then apply this approach to the remaining 11 dominant flat nine flat 13 chords. Okay, so let's look at this sound harmonically. So two handed voicings, okay, I want you to play the third and the seventh of C dominant in your left hand. So we're going to play the E and the B flat in your left hand and your right hand, I want you to play a C sharp minor triad. So it's going to be C sharp, E, and G sharp. We're gonna play those five notes together. Nice now I want you to Put your sustain pedal down, go down with your left hand, hit a C down in the down in the basement, right? Hold your sustain pedal down and come up and hit those five notes. What a beautiful sound. So I have my E and B flat in my left hand, and I have my C sharp minor and root position. And my right hand again. Beautiful, what a great sound, C dominant flat nine, flat 13. Now another option, you can keep that third and seventh in your left hand. So you get your E and your B flat. We're gonna play the C sharp minor, but not in root position, let's put it in first inversion. So we're gonna have our E, G sharp, and C sharp. Right, so we're putting that flat nine up on top now. So I'm going to go down, put my sustain pedal down, I'm going to play my C down in the bass come up and hit my five notes. Beautiful, my E and B flat, my left hand and i C sharp minor and first inversion. My right hand, again. Tremendous doesn't get any better than that. How big is that sound. Okay, and one more option, I'm going to throw in one more, we're going to invert our third and seventh in the left hand. So now I'm going to play B flat. And E, the B flat right below middle C and the E right above middle C. And then I'm going to play my C sharp minor triad again. But now in second inversion. So I'm going to have my G sharp, C sharp, and E. Let me play those five notes. Wow, let's put our C down in the bass again. But my sustain pedal down, come up and hit that voicing. Beautiful. So there, there are three very solid voicings for you to utilize to help you digest the C dominant flat nine flat 13 sound. Let me put them side by side for you. Option one. Option two. option three. Wow, just beautiful. Listen, let's listen to it again. Option one. Option two. option three. Big, really big, really beautiful gorgeous voicings right. So one thing that you can do is start taking that sound. And moving it around to to F dominant flat nine flat 13, B flat dominant flat nine flat 13. Right. You notice when I play those sounds harmonically, I just like to, I just like to sit on it right, I like to just and I'll just let that sit there and rain and just listen to it. And I'll digest it. Mentally, I'll digest it visually. And of course, I'm digesting it orally with my ears. I can remember when I was a kid, I'd sit there at the piano. And I would do that and I would stare at the piano and just digesting it again mentally and visually and orally. And I could hear my dad in the kitchen say to my mom. Is he okay? Right? Because all he would he would just hear me do this. And sit there and stare at the piano and he's going What the heck kind of practicing is that? Something's not right there. Something's wrong with that kid. But But you know, it's so funny. I mean, that's what it looks like right from the outside looking in. That's what that's what it would appear to be that this individual here is stumped or having some difficulty. But the reality of it is that's how I want you to practice right, you should sit there, play that sound and just soak it all in and think through it, see it and hear it right and valuable way to practice. Real quick I want to make sure I explained the little bit of theory here, right, the C sharp minor triad, the minor triad a half step above the C write the C sharp is the flat nine. So I have my C dominant here. The C sharp is my flat nine Then the third of the C sharp minors is the third of C dominant. And that G sharp. A flat is the flat 13. Right? So my C sharp is the flat nine. And my G sharp slash a flat is the flat 13. Right? So you have to kind of think a little bit in harmonically right, the C sharp is the D flat, the D is the nine D flat, and the G sharp is the a flat, the A B and the 13 flat, the 13 a flat. So, we have our flat nine and our flat 13 using a C sharp minor triad, so, it can be a little confusing at first, I just want to make sure that I clear that up. And again, if you have any questions, let me know. Okay. Now that we have a handle on the dominant flat nine flat 13 sound harmonically, we now want to learn it melodically. To do so we are going to use ascending and descending scale motion. And I'm going to present you light as I did with the sharp 11 dominant sharp 11 sound and the dominant flat 13 sound, I'm going to present you with two approaches, approach one an academic approach approach to a practical approach or a street perspective, as I like to call it. So the academic approach, right, the flat nine flat 13 comes from the harmonic minor scale. Okay, so the C dominant flat nine flat 13 is the F Harmonic Minor Scale starting on the note C. So first, let's construct the F harmonic minor scale. To do this, we're going to start with the F major scale. F, G, A, B flat, C, D, and E. To take a major scale and turn it into a harmonic minor scale, we are going to lower the third and we're going to lower the six. So we're going to go f g, we're going to lower our A to A flat, then we have a B flat, our fifth C, we're going to lower our six, our D to D flat, and then E. Now we have our F harmonic minor scale. Alright, so the F major scale, lowered the third and six to create our F harmonic minor scale. So now we're going to take that F harmonic minor scale. And we're going to start it on the note C. So look what we have, we have C, D flat, which is the flat nine, E, the third, F, fourth, G, the fifth, a flat, the flat 13. And then B flat seven. So let me put a C dominant underneath that all blend together. Wow. There we have it, C dominant flat nine, flat 13. f harmonic minor scale, starting on the note, C. That's a lot of thinking. That is a lot of those are a lot of hoops to jump through right there. To get to a flat nine flat 13 dominant sound no doubt about it. Right. But that's the academic. That's the theory behind it. So it's so that you understand its origin. Now, I think I mentioned this before, if you try to play jazz thinking like that, if you try to play jazz thinking academically, good luck. I always use as an analogy that's like strapping sandbags around your ankles and jumping into the Atlantic Ocean to try to swim across it. Not gonna happen, right? It's very, very complicated. So it's great to study that way as you're sitting on your sofa and kind of peeling back the layers of the onion and discovering where these sounds originate from and how do they come to be in existence? It's fantastic, right? It's a great 30 music that's what makes music so wonderful. However, when you go to play it, I would strongly recommend approach to the practical approach or the street perspective. In the street perspective just simply starts with the major scale. There's my C major scale. Oh, let me make that a dominant by just lowering the seventh one half step. Beautiful. There's my C dominant scale. Now, what do you what is that you want me to do? You want me to flat the nine? Okay, so I'm going to flat my D. What else? Oh, yeah, flat, that six, a flat four flat 13. Okay. That makes sense, see dominant, flat nine, flat 13. So I'm actually playing what the court is instructing me to do, right? That's a much more direct approach to the sound than trying to think academically through the modes or through the harmonic minor scale. Okay? both approaches are valid, don't get me wrong, both approaches are very good one to understand a con concept through using theory, and to have a better understanding and a deeper appreciation of its origin. And another way to look at it to get directly to the point to get to the sound so that you can apply it and that you can play it. We will take a closer look at each one of these approaches. Thursday evening. 8pm Central time in the jazz panel skills masterclass. Yes, I am live every Thursday evening online using the zoom platform, which I know you are aware of. This online masterclass is an open discussion and deeper dive into the current week's podcast episode. So this Thursday, we will be even diving deeper into the flat nine altered dominant sound, the flat nine flat 13 sound. And of course, I always leave room within the hour long class for some q&a as well. So I encourage you to attend to be part of that class is a ton of fun. And it's every Thursday evening at 8pm Central Time 8pm Central time online. And the The link is available online at jazz piano skills.com. It's also available through my social media through Twitter, Instagram, Facebook, so be sure to follow me. It's also posted on the homepage at the jazz piano skills.com website. So definitely a value added educational opportunity that you do not want to miss. So I'm looking forward to seeing you this Thursday evening. 8pm Central Time, jazz piano skills masterclass. Okay, let's play this dominant flat nine flat 13 sound. So the first demonstration, I'm going to play the dominant flat nine flat 13 sound with my entry point being the root, right, so I'm going to start on C. And I'm going to travel through the entire sound to the seventh. ascending and then of course descending. So I'm just going to sit on this C dominant flat nine flat 13 sound. The ensembles going to be playing that sound right there. And I am going to focus on plane that sound from the root to the seventh ascending and descending. I just simply want to play it with a nice relaxed feel a nice relaxed, articulation, jazz articulation, I want this to sound like it's an improvised line. Right? I do not want this to sound like I'm simply playing a scale. I do not want to treat this like an exercise. I want to play this like I'm improvising this line. Okay, so let's bring the ensemble in. And let's listen to the C dominant flat nine flat 13 sound. So let's check it out. Here we go. Then we'll talk about it. Yes, indeed, what a great sound you see now why it's my favorite sound. Oh my goodness, what an awesome sound. And again, when I'm playing this when I play my, any dominant sound, any sound period major, minor dominant minor when I'm practicing like this, I am focusing on nice time feel articulation, right? I want it to sound like jazz I do not want it to sound like an exercise, I do not want it to sound like a scale. Because the reality is if you play and you'll see this later on in the podcast when I do this in a 251 context, just playing the scale, if you will. Sounds fantastic. It sounds you don't have to do anything to it, just play it, right. It's a fantastic line, every single one of them. So again, just keep it simple, right? Play the scale, ascending, descending with a great jazz feel. So okay, so now that we've played it from the root to the seventh, now let's change our perspective, right, we do not want to be one dimensional. When it comes to scales, or arpeggios, we just do not want to always play a C scale starting on the note C. So we're going to change our entry point to the third. And now we're going to play this sound from our E. We're going to travel the distance through the entire sound. And we're going to go to the ninth in this case, the what the flat nine. So we get this. Again, I think I mentioned it last week, I love doing this, I just play the voicing, hold the sustain pedal down, and now play the scale. And let everything bleed together. Right? Nothing wrong with that, that's just bathing in that sound. So now what I'm gonna do is I'm gonna bring the ensemble back in, we're gonna sit on that C dominant flat nine flat 13 sound again, but this time, I'm going to enter using the third and travelled to that, neither to the flat knife. So let's check it out. Let's take a listen. And then we'll talk about it. Here we go. Wow, you know, it's always amazing to me. It's always amazing that when you take a sound and you start rotating it when you start playing it from various entry points, and going to different destination points. It's amazing to me how you gain an entirely new understanding and a new perspective of that sound. Again, it's not one dimensional. We're looking at it from multi dimensions, right? It's fantastic. So okay, let's let's continue on, right. Let's do the exact same thing. Now we're going to the exact same sound, right, the dominant flat nine flat 13. But now we are going to enter on the fifth of the sound, right? So we're going to start on our G. And we're going to travel through the entire sound ascending and descending, using the going to the 11th. So we get this. So let me put the voice in underneath it again. Wow. Awesome. All right, now that we've digested the sound, let's bring the ensemble in. And let's listen to this. And again, I'm going to play it like I'm improvising. I do not want this to sound like a scale. I want this to sound like an improvised line. So here we go. Let's check it out. Then we'll talk about it. Here we go. What can I say? How cool is this? Right. So so far, we've taken a look at the dominant flat nine flat 13 sound from the root to the seventh. We're now we've also done it from the third looked at it from the third to the ninth. And we've also now played it from the fifth to the 11th. You know, I mentioned earlier the the importance of the educational podcast guides, the illustrations, the lead sheets and the play alongs and how invaluable they are for your musical growth, the expedite your musical growth. And of course, I strongly encourage you to download those guides and to utilize them when practicing. They will indeed maximize your musical growth and help you successfully successfully digest today's lesson the dominant flat nine flat 13 sound. But I also want you to check out the jazz panel skills courses as well. The Jazz panel skills courses, it's a makeup and an incredible, tremendous sequential jazz curriculum that utilizes a self paced format. Packed with all kinds of educational goodies, detailed instruction and illustrations. I give in depth educational talks in the courses. There's interactive learning media that you can utilize. There are of course, traditional guides and worksheets that you can download as well. High Definition videos, I produce videos for all the jazz piano skills so that you can see them in all 12 keys, my fingerings and hand movement. Also that play along tracks and lead sheets are available for delete, to utilize within each of the courses and the lessons within the courses. And of course professional and educational support to and I guess my favorite really is How cool is this. You can access any of the courses within the jazz panel skills curriculum through any of your smart devices, your desktops, last laptop computers, your tablets, your phone, your TV, and even your watch. So be sure to check out the jazz piano skills courses as as well. And you can do this very easily at jazz piano skills.com. Alright, let's get back to the dominant flat nine flat 13 sound. As I mentioned earlier, we've already looked at it from three different perspectives from the root to the seventh, from the third to the ninth or flat ninth, and from the fifth to the 11th. Now let's take a look at it from The seventh to the 13th. So we're going to play the flat nine flat 13 sound starting on our B flat, run, travel through the entire sound all the way to the 13th. Or the flat 13th, if you will. So again, let me play the voicing. Love it. Again, just let it all together here. Beautiful. So now let's bring the ensemble in. And we're going to sit on that sound as I just practice playing from the seventh, up to the flat, 13th and back down. And again, I'll stress it again, I do not want to play this like a scale, I want it to be as musical as possible, I want it to sound like an improvised line. So here we go. Let's bring the ensemble and let's check it out. See dominant flat nine flat 13, from the seventh to the 13th. Here we go. Pretty darn tough to beat, man. I'm telling you, right, it's hard, right? You know, it's funny. It's impossible to say which altered dominant sound you love the most, it's even more difficult. To determine Geez, man, do I enjoy the sound launching from the root better than the third or from the third better than the fifth or from the fifth better than the seventh. It's just It's impossible, right? But you know, hear one other point real quick. The reason we do this, right, we want to have a multi dimensional approach to any sound. A big reason we do this is because in a real musical context, in a real musical situation, we do not know where we are going to be coming from or where we are going to be going to. So we don't know, if we're going to be entering from the third or from the fifth or from the seventh or from the route, we just don't know. And so we have to be comfortable entering and exiting a sound from various points with in the sound. So with that being said, let's take a look at our dominant flat nine flat 13 sound starting on the ninth as our entry point, the flat nine. And we're going to travel from that flat nine to the route. Now we get this perspective. So let me play it. So let's bring our ensemble in. And let's check out the C dominant flat nine flat 13 sound with our entry point being the flat nine at our destination point being the root. Okay, let's check it out. Here we go. Very, very nice. Now that's a pretty thorough exploration of the sound, right? We've gone from the root to the seventh, we've gone from the third to the ninth, we've gone from the fifth to the 11th, from the seventh to the 13th. And from the ninth to the root, that's a pretty darn thorough exploration of a sound using scale motion, ascending and descending. So once we do that, right, I always then like to expand the sound to place the sound within a musical setting within a musical context, there's no better way to do that, than to drop it right into the middle of our 251 progression. So if we're in the key of F, we're going to use that C dominant, we're in the key of F, we're at a G minor, going to our C dominant flat nine flat 13. Resolving our F major. Very nice, let's do that again, G minor, C dominant flat nine, flat 13. F major. So now we want to bring our ensemble back in, we're going to play our 251 progression. And I'm actually going to focus on launching my C dominant flat nine flat 13 sound, the scale from various points based on the on the minor, right, so the G minor went up, I'm going to sit on my G on the G, and then play the flat nine flat 13 sound from that G. So I might get something like. Right? Then I'll focus on the B flat of the G minor. And how am I going to from that B flat? How am I going to get into my flat nine flat 13 sound? There want to get back to my G minor, I'm going to focus on the D of the G minor. How do I get into my flat nine flat 13 sound from that D. When I circle back around to that G minor, I'm going to focus on that f of that G minor. How do I enter into my flat nine flat 13 sound from that F. Right. So again, that's why we practice our C dominant flat nine flat 13 sound from various entry points because as I mentioned earlier, we don't know where we're going to be coming from or where we are going to be going to right. So okay, let's bring the ensemble in. And let's check out our C dominant flat nine flat 13 sound placed within a 251 context. Here we go. Oh, man, that is good stuff. Right? Very, very good stuff. And you notice I I am not messing with the altered dominant scale. I'm just playing the scale ascending disc at Sandy right. You don't have to mess with it right. You don't have to alter the altered dominant scale. The Ultra dominant sound the flat nine flat 13 sound sounds pretty darn good. Just as it is so anyway, I hope you have found this jazz piano skills podcast less than exploring the dominant flat nine flat 13 sound to be incredibly insightful and helpful, and of course beneficial for your musical growth for your jazz piano skills. So don't forget I will see you Thursday evening jazz piano skills masterclass at 8pm Central time to discuss this podcast episode in greater detail and to answer any questions that you may have about this lesson or the study of jazz in general. Also download the educational guides for this podcast lesson at jazz piano skills.com. They are a tremendous resource that will help you expedite your musical growth. Right And while you're there, check out the jazz piano skills courses as well. And the jazz piano skills forums, please take a second join the community 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 at jazz piano skills.com or by speakpipe found on the jazz piano skills website in the educational guides and in the jazz panel skills courses. So that's it for now. And until next week, enjoy this amazing journey. And most of all, have fun as you discover, learn and play jazz piano