Four

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Welcome to jazz piano skills. I'm Dr. Bob Lawrence, it's time to discover, learn and play jazz piano. Well, this month we have looked at five different jazz improvisation patterns. For the primary sounds of music major dominant minor, half diminished and diminished, plus the altered sounds deriving from the harmonic and melodic minor scales the sharp 11, flat 13, flat nine, flat 13, and the fully altered sound, the flat nine sharp nine, flat five sharp five, we've done all of this from the root note of E. We apply these five jazz improvisation patterns to these iconic jazz sounds. We studied and applied proper fingerings to the patterns right making it possible to play with an authentic jazz articulation. The goal, as always, for our fingerings is to allow the continuous incremental shifting of our right hand across the keys so that we articulate correctly and never run out of fingers. It only makes sense right that the continuous shifting of our right hand when playing establishes small movements, which are much more manageable and accurate than giant leaps. I said it many times. That understanding and applying this truth becomes paramount when improvising and playing melodies of tunes, especially bebop tunes, and especially the tune that we're about to discover, learn and play today. And today, you're going to discover a classic by Miles Davis, Four you're going to learn the chord changes harmonic function, Melody and fingerings for Four and you're going to play multiple patterns extracted from for, for developing classic jazz language to use when improvising. So as I always like to say regardless of where you are in your jazz journey, a beginner an intermediate player, an advanced player, or even if you consider yourself a seasoned and experienced professional, you're going to find this jazz panel skills podcast lesson exploring Miles Davis's Four to be very beneficial. But before we dig in, before we get started, I want to as I always do welcome first time listeners to jazz piano skills man if you are indeed a new listener to the jazz panel skills podcast. If you're new to jazz piano skills, I want to invite you well I want to welcome you and then I want to invite you to become a jazz piano skills member. There are various membership plans to choose from, so when you have a moment, check out jazz panel skills.com To learn more about the various membership plans and all the perks associated with each one of them. There are educational weekly podcast packets that these are the illustrations the lead sheets, and the play alongs that are produced and developed for every weekly podcast episode. There's also an online sequential jazz piano curriculum, which is loaded with comprehensive courses. There's an online weekly master class online interactive Fakebook, a private jazz panel skills community which hosts a variety of engaging forums, and of course, unlimited, private, personal and professional educational support. All of these perks are waiting for you wanting to help you discover, learn and play jazz piano. So check it all out at jazz piano skills.com And of course become a member once you're there. If you have any questions regarding the various membership plans or the perks associated with them. By all means do not hesitate to reach out to me. Always happy to spend some time with you answer any questions that you may have. Okay, let's do our question of the week which is a great one. Today's question comes from Emma Riccardi. hope I'm pronouncing your name correctly. Emma Emma Riccardi, who lives in Chesapeake, Virginia and Emma writes, I have read many sources in print and online that support the idea of learning how to improvise, using a simple blues progression and the blues scale. I wanted to get your take, is this a good place to start?

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Do you recommend another approach for beginners?

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Emma, great question and your observation is spot on the blues progression. And the blue scale is indeed recommended by many sources as a good starting point for learning how to improvise. And the thought process behind this approach is basically threefold. Number one, the blues, US uses a simple 12 bar 12 Measure form, right, which is, of course, much easier than your traditional 32 Bar form are a BA, or a b, a b format that we are familiar with, in your typical jazz standards used in your jazz standards, right from the Great American Songbook. Number two, a simple blues progression uses only three chords, all of which are one quality, the dominant sound.

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And number three, the blues scale can be and should be played over all three chords. Plus, the blues scale has the two types of motion scale and arpeggio built into its structure. So there is already a nice balance between these two motion types.

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So let's look at the form and chord changes a little closer. And let's do this for the key of C. Okay, so blues in the key of C 12 measures, we have our C seven for four measures,

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then it goes to f seven for two measures

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back to C seven or C dominant for two measures,

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then we have a G dominant seven for one measure, F dominant seven for one measure, and then a C dominant seven

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for two measures. And that's it. That's the entire that's the entire blues, right 12 measures, three dominant chords. Now, what Emma, you have have seen that you've mentioned was playing the minor blues scale over the blues progression. So yes, you would play that, that what we would call the C minor blues scale over each one of those chords. So you got your C seven. And I'm going to play the C minor blues scale.

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Okay, fits like a glove, it's got some nice tension in there. It's got some nice scale movement in that in that pattern. It also has some nice arpeggio motion in that pattern as well play the same identical scale, the same scale over F seven

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fits like a glove. And then my G seven.

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Same scale.

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And again, fits like a glove. So that minor blues scale over each one of those three dominant chords. makes it simple, right. So as a beginning improviser, I have only three chords to deal with. I have one scale that works over the top of all three chords I have a short form 12 measures seems like a pretty good tool to use to begin developing my improvisational skills. Now, with that being said, you still have to focus on the two most important elements of improvising, which honestly, without these two elements incorporated into your playing your improvisation.

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You will never sound like a pro. And of course, the two essential elements that I am referring to are number one space. And number two repetitions.

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The biggest mistake without question, the biggest mistake that all beginners make when improvising is that they overplay. And they try to avoid Believe it or not, they try to avoid repetition as if it is some kind of jazz plague.

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Some plague that signifies a lack of creativity, which couldn't be further from the truth. It's funny. You know, it's funny, I had a teacher that used to say, regarding repetition, he used to say that if what you play is not worth repeating, then it was properly probably not worth playing the first time.

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I know it's cracked me up, but it's so very true. So regardless of the approach that you use to begin improvising whether you use the blues form, like we're talking about today, and the blue scale, which is great. I have no problem with that. I think it's wonderful. Or maybe you're focusing on just improvising over 251 progression that's fantastic or maybe just isolating

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single sound a single chord, which I love to do as well, right, regardless of what approach you choose or feel most comfortable with space and repetition, when improvising should be a conscious thought, and at the forefront of your mind at all times when playing. So yes, Emma, the blues pattern, the blues scale, the blues form with the blue scale, it's a great way to begin improvising. Of course, there are other ways like just mentioned, like a specific type of progression, like the 251, or even an isolated sound. But certainly the blues form and blues scale are great tools to help kickstart your improvisation development. So I hope this was helpful AMA and as always, if further clarification is needed, please let me know Do not hesitate. I'm always happy to spend some time with you and help you in any way that I can. Okay, all of us at the beginning of our jazz journeys, invest a lot of time, effort energy searching for the secrets of learning how to play jazz, no question about it, I did it. You've done it. We've all done it. Right, searching for the secrets. We try all kinds of approaches, all kinds of gimmicks,

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hopes that we discover, really what we're trying to look for, really, to be honest, we're looking for a shortcut, shortcut that we hope shaves years off of our, our development timeframe.

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Like I said, we've all done it. And and today, today, it's easier than ever to go on this wild goose chase with with, you know, YouTube and all the other kazillion sites out there. It's it's easy to run down a lot of rabbit holes in search of that secret formula and search for that shortcut for learning how to play, play jazz, right, and in doing so, you know, we end up with

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like, I like to call it data fragments, we end up with a lot of data fragments with no idea how to connect all this information that we discover, right? How do we connect this information or we have no way of determining if the data should be connected at all? Or even if the data is good, right? So it's very easy to get very confused very fast. Right? Now don't get me wrong. I've said this many times that technology has been enormously beneficial for aiding in our musicianship development, right, the various software applications that we can that that we can use that are at our fingertips, that allow us to create backing tracks and play along, play long's that, you know, simulate an ensemble experience for us. Right. It's simply amazing what's available today and without question, a huge benefit, right? But I've mentioned this too. Sometimes the old fashioned ways are still the best ways and when it comes to developing good technique, articulation fingerings improvisation vocabulary, right? The old fashioned way of studying bebop tunes, bebop heads, in my opinion still remains one of the best if not the best approach. Bottom line, if you want to get good at playing jazz piano, I believe there's no better way than studying it historically. From the beginning. It's the perfect blueprint. And historically speaking, there's no period of jazz better for helping you that will help you develop your time feel articulation, fingerings, and improvisational vocabulary. There's no better period of jazz than the Bebop period.

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All right. So for those of you who may be listening, and those of you that may be new to bebop, right, or bop as it is often referred to. It's a period of jazz that developed and flourished during the 40s and 50s.

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The bebop style of jazz features, tunes, you know, typically fast tempos, challenging melodies, tons of chord changes, some of them very complex, right that move in and out of numerous key centers all within a single tone. So in my opinion, bebop is the perfect formula for developing great jazz chops, so there's no need for you to continue looking any further right? Your internet searches over everything about jazz that you need to know

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and develop with regards to fingerings articulation jazz vocabulary, quite honestly can be found within the melodies of bebop tunes. And that is

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often referred to bebop tunes as jazz gold. They are little gold mines. So the educational agenda for today is as follows number one, we will explore Miles Davis

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Great tune called Four. We will at number two we will examine the chord changes and harmonic function of Four. Number three, we will of course, play the melody of Four and explore proper fingerings. Number Four, we will extract four classic patterns from the melody of Four. See what I did there for from Four.

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Okay, I thought it was, I thought it was clever, but okay. And number five, we will be playing all examples today at a temple of 160. Only for the sake of time only for the sake of time, as I mentioned, every podcast episode, always play these skills as you're developing new skills always begin at much slower tempo temples that will allow you to succeed and develop the skill and get familiar with the skills and then you can begin increasing the tempos from there. Alright, so if you are a jazz panel skills member, I want you to take a few minutes to download and print your podcast packets, your illustrations, your lead sheets, your play alongs. Again, your membership grants you access to all the educational podcast packets for every weekly podcast episode. And I mentioned it every week, right you should be using these podcast packets when listening to the episode. And of course, you should be using them when practicing. So if you're listening to this podcast on any of the popular podcast directories such as Google or Amazon, Apple, of course, Spotify, Pandora, iHeartRadio, the list goes on and on. Then be sure to go directly to jazz piano skills. podcast.com That's jazz piano skills podcast.com to access to download your podcast packets, and you will find the act of download links. You'll find them within the show notes. Okay, one final but very significant message.

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If you think if you're listening right now and you you are thinking that the various skills that we are about to discover, learn and play as we explore miles Davis's Four that you're thinking that these skills are going to be way over your head, then I would say to you, no worries, sit back, relax, enjoy the podcast episode. Continue to listen, and continue to grow your jazz piano skills intellectually by just doing that by just listening to this podcast episode. Every new skill, every new skill is technically over our heads when first introduced. But this is how we get better. We have to place ourselves smack dab in the middle of conversations where we feel lost, where we feel like wow, we're hearing things that we have never heard before, words that we've never heard before. But this is how we grow intellectually. And I say it all the time that all musical growth begins upstairs mentally conceptually, before it can come out downstairs physically in your hands. So sit back, listen to this podcast episode. Now to discover and learn the play, as it always does will come in time, I guarantee it. Okay, now that you have your lead sheets, in front of you and your hands, I want to talk you through them quickly, you will see that lead sheets one and two.

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Present the chord changes and the harmonic function for four, right? To help you truly discover and learn the changes in harmonic function for four, I strongly recommend using the lead sheet templates found in your illustration, podcast packet, it is a fantastic tool to help you digest this information. Now lead sheet three has the chord changes along with the melody of four. And if you put lead sheet four right next to it, you'll see that we have not only the melody, but we have the fingerings that I use when playing for notated for you as well. So spend time a lot of time playing the head playing the melody of the song over and over and over again, right to help to help you truly learn this to write and I'll be modeling for you modeling this for you here shortly. But okay, and lead sheets five through eight deal with four patterns that I've extracted from for I've got a little twist on on this one. From what I typically do this when I do a tune each month but I'll talk about that as we get further down the road here in this episode, but we use these patterns as launch pads right for developing our own jazz vocabulary for improvising. Right so

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and you'll see as I model that today how we do that. So we got a lot to get through no doubt about it. So let's get busy.

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But first things first, let's listen to melody, the melody of form as played by Miles Davis. Now this is taken from the album working with the Miles Davis quintet. 1959. And the personnel.

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The personnel isn't getting better than this, right? You got John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones. I mean, come on. Right. So grab your lead sheet, right and get ready to listen and follow along with Miles Davis in this fantastic ensemble playing this classic tune Four Here we go.

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Well,

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just doesn't get that.

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Right, I did. I don't even know what to say it doesn't get any better than that. So I encourage you to hang out with that album, that entire album, not just for four. But that entire album is fantastic. But we don't have time to listen to the whole tune. Today, I just want to play you a little snippet. So we get an idea of feel for this great tune that we're going to explore today. Now, I did an episode back may 18. of 2021.

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It was a four but it was a Keith Jarrett solo. And I would encourage you to go back. And if you haven't checked out that episode may 18 2021. We analyze the Keith Jarrett solo over this great too. So I just wanted to wanted to get that in there as well. Okay, so I want you to grab lead sheet one. And I want you to grab a lead sheet two. And I want you to place them side by side. So you're looking at both of them. And you'll see lead sheet one is is your common lead sheet you have

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the form of this piece, which is basically an Ab Ab form.

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I have just the chord changes notated on lead sheet one, lead sheet two, instead of the chord changes, I have the harmonic function notated. Okay, lead sheet, one chord changes lead sheet to the harmonic function. And what I always like to do, I like to

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play through the chord changes. And I'd like to always test my skills, my ability to basically think the opposite of what I see. So when I'm practicing the changes of a tune, if I'm working off lead sheet one and I see the chord changes, I want to be thinking harmonic functions. So I see an E flat major seven, I'm thinking of that as the one major seventh, this the standard key here is the key of E flat. And then in measure three, I see an E flat minor seven, I think of that as a one minor seven, and measure four, I see an A flat dominant seven, I think of that as a four dominant seven, and so on. Okay, now, if I'm playing from lead sheet number two, where have the harmonic function notated, I'm seeing a one major seven notated there. So if I'm playing in the key of E flat, I see the one major seven, but I'm thinking E flat major seven. And in measure three, I see a one minor seven, so I'm thinking E flat minor seven. And in measure four, I see a four seven, so I'm thinking a flat dominant seven, and so on. So again, I always try to test my skills, my ability to be able to see or be able to think the opposite of what I am seeing. So what I want to do is I want to play through

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the chord changes for four.

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I'm gonna go two times through the tune. First time through, I want you to follow the lead sheet with lead sheet one with the chord changes notated and see if you can in time

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recognize the harmonic function. And then the second time through, I want your eyes to shift over to lead sheet number two, I want you to follow the harmonic function. And I want you to test your skills with your ability to actually think the chord change based on the harmonic function that you are seeing. It's a big time skill, to be honest with you, it's a big time skill and it takes a lot of work. But you will get it with this kind of practicing. So for right now, let's start our exploration of this great standard. With lead sheet one lead sheet two, I'm going to just bring the ensemble then I'm going to play through this twice, at 160. Again, just for the sake of time, and follow lead sheet one the first time through follow lead sheet number two, the second time through and remember, the goal is we want to try to think the opposite of what we see. So here we go, let's have some fun check it out.

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Not easy, right? As I mentioned, right, it's a big time skill. And it's, it's it takes practicing to be able to quickly

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be able to think the opposite of what you see. And I would practice this

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you do not have to have a backing track plane when you do this, right. So take any lead sheets, start reading through lead sheets, where you just are seeing the chord changes, and you start reciting the harmonic function as you read through it, and then also convert lead sheets into harmonic function and then spend time reading the harmonic function and identifying the chord changes. And you can do this with backing tracks or without backing tracks. But it's a big time skill takes some dedication and determination. But I tell you, the payoff is huge for your ears and for your understanding and learning of tunes and, and discovering common harmonic movement that exist within within all of these standards. Okay, so now let's grab lead sheet three and lead sheet four. And let's put both of these lead sheets side by side. And you will see in lead sheet three, I have the melody of four written out for us. And then in lead sheet four, you'll see the exact same melody written out. However, you'll notice that the fingerings are inserted the fingerings that I am using, and you'll also notice in these fingerings they start to look very common to the fingerings that we have been working on and developing with all of our exercises and patterns that we've been using throughout the year, exploring all the various primary sounds and altered sounds of music. So there's a lot of little hand shifting, taking place in these in the fingerings for playing the melody of four. Okay, so I am going to bring the ensemble back in. I'm going to play through the melody couple times. So maybe the first time just follow lead sheet three and follow the melody focusing on just the melodic line and then the second time through shift your attention

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tend to lead sheet for and focus on the fingerings and the patterns of the fingerings and the shifts that are taking place within the fingerings you'll see a lot of 213 shifts taking place. So okay, let's bring the ensemble back in. And let's play through for two more times with the melody, okay, here we go.

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All right, nice. Now we get to lead sheet five, scale 567, and eight. And I typically like to go through the melody of a bebop tune and extract from the melody, little melodic motifs that I can use to develop jazz vocabulary, I would like to use those motifs as a launchpad, if you will like a diving board

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into the pool of my my musical ideas. So

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this week or with this tone, what I've decided to do

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is take a couple of little motifs that I find very interesting about this melody. For instance, if you're taking a look at lead sheet five, and we look at the melody of this tone, you'll notice that right away, there's an emphasis placed on the seventh of the E flat major sound, right, we're getting this

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that little motif going up to the seventh.

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And the little motif going down to the seventh.

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Right, there's a strong emphasis placed on the seventh. So what I'd like to do is carry that through to my own improvisation. So I'm going to bring the ensemble in and I'm going to work off those two little motifs, the little motif and measure one that goes up to the Sabbath.

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And the little motif and measure to that descends into the seven.

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So obviously, the emphasis is placed on the seventh tone of the major sound. So I am going to bring the ensemble in and I'm going to work off that idea as a single idea. And work on developing some improvisational vocabulary, placing an emphasis on the seventh of the sound from below the seventh and from above the seventh. Alright, so I'll play E flat major seven on top for a couple for about four measures. And then I will start using these two motifs to develop some improvisation vocabulary. So let's check it out. And we'll go from there. Here we go.

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See? Pretty interesting, right? Very interesting. So you'll see on the lead sheet right letter A, I'm literally taking from measure one and measure two

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focuses on the seventh of the sound, then I'm moving around the circle of fifths letter B, we moved to the key of A flat letter C, we moved to the key of D flat, and then you notice that little note, continue moving around the circle of fifths. So what you're doing is you're working through all your major sounds, placing an emphasis on the seventh of the sound, improvising, using a ascending line, a third moving into the seventh, and a descending line, an interval of a third moving, descending into the seventh, great little idea that we are extracting from this beautiful composition for and using that idea to help us develop some legitimate jazz vocabulary. Okay, so now, what I want to do is continue that thought beyond what we're just seeing here, in measure one and measure two. So I'm going like, okay, look at skill six, or lead sheet six, I'm going to take that same concept. But now I'm going to place the emphasis on a different note within the sound. So now I'm going to focus on the third. So I'm going to have a little motif that takes me up to the eighth to the third of E flat major.

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And then descending into the third of E flat major.

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Right, but it's the same rhythmic idea, except we're just I'm just shifting the emphasis from the seventh of the sound to the third of the sound. So I'm going to bring this, the ensemble back in, I'm going to do the exact same thing. But now I'm going to develop some vocabulary place in my emphasis on a different tone. Within the sound, just so happens to be the third, I can do it on the fifth, I can do it on the seventh ninth, the 11th. As you'll see, we can do up extensions, as we do the lead sheet six. And I mean, as we do lead sheet seven and eight. So for now, though, E flat major seven, we're shifting the emphasis from the seventh, or now placing the emphasis on the third, but using the exact same melodic motif. So here we go check it out.

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Pretty cool, right? Pretty cool little discovery to say wait a minute, that's pretty neat. An emphasis on a specific tone within the sound from below and from above, not just a half step below or half step above, right, literally entering into it from a third below or from a third above, using scale motion. Very interesting little idea that we are extracting from our study of the melody of four and using it to our advantage to develop some jazz vocabulary. So now with that being said, I want you to look at skill seven or lead sheet seven. Now, look at the measure five and measure six we're dealing with an F minor sound a minor tonality. So

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If you look here, right, we're back to the emphasis now being shifted to another tone. Now it's been shifted, it's the ninth of the F minor sound. Right? So it's very interesting. It's the, it's the motif we just played over the major sound. But now we're applying the same motif. Or the minor sound, which shifts the emphasis even though it's the same notes. Now it's the sound of the knife, right?

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Or the F minor.

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Beautiful. So we're going to play the exact same motif are going to come from a third below, we're going to come from a third above, we're going to place it now over a minor tonality, the F minor, and and focus on the ninth and hearing that ninth and developing melodic ideas centered on the ninth. So let's bring the ensemble in and let's check out how this sounds here we go.

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How cool is that right. So now, if you're looking at the lead sheet letter, letter B, right, or shifting our attention to the B flat minor with again, the focus on the nine and then letter C, we shift to the E flat minor focus on the nine. And then that little note down there, again, continue moving around the circle of fifths. So now we're taking all our minor tonality, all our minor chords, all 12. And we're creating some vocabulary with the emphasis being placed on the ninth using this idea that we've extracted from the Miles Davis composition for

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Wow, smart practice. Really, really smart practice. So now let's take a look at lead sheet eight or skill eight. Okay, we're gonna do the exact same thing that we did with our major sound, we're gonna say, Hmm, if that if that works with the emphasis placed on the nine, the number extension of the sound. Let's try another upper extension, the sound. So we're going to take the same melodic motif. But now we're going to place the emphasis on the 11th of the F minor.

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Again, ascending into the 11th, from a third below, and then descending to the 11th from a third above, using scale motion. So we're just taking the thought process is simply this, Hey, if it works on the ninth, why doesn't Why Why shouldn't it work on the 11th? And it and of course it does, right? We can take any note within the sound, third, the fifth, the seventh ninth, the 11th, the 13th. And we can apply this same concept, the same idea of where we're placing an emphasis on that specific, that specific tone. So now let's bring the ensemble in. And let's play this melodic motif focusing on the 11th over our F minor sound. So here we go. Check it out.

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about that, right? So this little nugget that's found within for this little melody idea

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this idea where there's clearly an emphasis on a specific note within the sound,

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great understanding then to be able to take that idea and shift it and move it around. Same kind of little melodic motif, create your own little motifs, but the emphasis always being placed, clearly placed on a specific tone within the sound, right? What a great way to develop, begin developing some improvisational vocabulary and like, I like to call it like stationary improvisation vocabulary too, as well, right? Because you're staying within a very limited geographical region, and you're focused on a very specific part of the sound. This is very different than the improvisational grid grids that I was talking about last week, where we were had a grid that spanned the entire sound, you know, the 13th. Of course, you know, the grids can be smaller, of course, as we discussed last week, but this is a little different, another improvisational approach that you can add to your arsenal for developing improvisational skills, in addition to like the blue scale and the blues pattern that we that Emma asked about earlier in the podcast episode that I addressed, or improvising over the 251 or, or isolating a specific sound like we're doing right now and then focusing on a specific tone within the sound. These are all just various tools that have in your toolbox in your arsenal to help you develop improvisational skills.

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Wow. We have as always unpacked a ton of information in one very short one very, always a very fast hour. So I get I cannot stress enough the importance of practicing of playing bebop heads melodies, right for developing fingerings for technique for time and articulation. And on top of all that, for discovering little gems, like we did today, little ideas that produce huge results when it comes to our improvisation development. Right. No, there are no better etudes I promise you there are no better etudes out there for developing your jazz chops for developing jazz improvisational skills. Then finding all the little nuggets or the gold nuggets found within these bebop melodies. So do not skim over. Do not skim over studying and learning the chord changes the harmonic function there's so much to be learned from from doing that skill over any tune, especially for there's so much common vocabulary there harmonic vocabulary and harmonic movement that's taking place. So spend some time doing that as well. And, again, use your podcast packets, those illustrations will help you immensely. Of course, the lead sheets that we looked at today, the backing tracks or the play alongs are there for you for you to utilize as well to help you expedite your musical growth. Finally, I always love to take apart these these melodies. Like I said that find these little invaluable melodic ideas to convert into improvisational patterns like I mentioned earlier launchpads little diving boards to help me develop or help me discover my vocabulary, right. So on top of all that, as I always mentioned, be patient right. Developing mature professional jazz piano skills takes time, right and to be honest with you, it takes a lifetime. So begin structuring your study you're practicing after the plan demonstrations that are modeled for you today in this podcast episode and I guarantee it you will begin to see you'll begin to feel and you'll begin to hear your musical progress. Well, I hope you have found this jazz panel skills podcast lesson exploring Miles Davis is Four to be insightful and of course to be beneficial. Don't forget if you're a jazz piano skills ensemble member I will see you online Thursday evening at the jazz piano skills masterclass. That's going to be 8 pm Central time to discuss this podcast episode lesson exploring for in greater detail, and of course to answer any questions that you may have about the study of jazz in general. If you're a jazz panel skills member again, be sure to utilize your educational podcast packets, the

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The illustrations, the lead sheets and the play alongs not only for this lesson, but for for all the weekly podcast episodes. And be sure to check out the jazz panel skills courses as well to maximize your musical growth. And you know what? I want to make sure that you get out there and become an active participant in the jazz panel skills community. Get out there, get involved, contribute to the various forums, make some new jazz piano friends always a great thing to do. If you have any questions, you can reach me by phone 972-380-8050 My extension here at the Dallas School of Music is 211 if you prefer email, Dr. Lawrence, drlawrence@jazzpianoskills.com. Or you can use the nifty little SpeakPipe widget that is found, I think, on every single page of the jazz piano skills website.

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Well, there is my cue. That's it for now. And until next week, enjoy Miles Davis's Four

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and most of all, have fun as you discover, learn and play jazz piano!