Four, Keith Jarrett Solo

Welcome to jazz piano skills. I'm Dr. Bob Lawrence. It's time to discover, learn and play jazz piano. Today you are going to discover Keith Jarrett's tremendous solo on a classic Miles Davis tune for you're going to learn how Keith Jarrett uses extensive scale and arpeggio motion when improvising over four and you are going to play 13 Keith Jarrett melodic approaches that he used when improvising over four. So as I always like to say, regardless of where you are in your jazz journey, a beginner an intermediate player and advanced player or even if you are an experienced professional, you are going to find this jazz panel skills podcast lesson exploring Keith Jarrett solo on four by Miles Davis to be very beneficial if you are new to jazz piano skills, and if you are a new jazz piano skills podcast listener, I want to personally invite you to become a jazz piano skills member. 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We chose the variety of engaging forums, podcast specific course specific forums, and even general forums for you to enjoy. And last but not least, you have unlimited, private, personal and professional educational support. Again, visit jazz piano skills comm to learn more about all of the educational opportunities, and how to easily activate your jazz piano skills membership. If you have any questions, please do not hesitate to reach out to me. I'm always happy to help in any way that I can. Okay, let's discover learn and play jazz piano. Let's discover learn and play Keith Jarrett's solo, over the classic Miles Davis tune for the Keith Jarrett recording of for that we are going to listen to and study today comes from the my foolish heart double album that he recorded at Montreux in 2001 and was released in 2007. I highly i mean i highly recommend checking out this recording. Every tune is absolutely fabulous. In addition to Miles Davis is for you enjoy Sonny Rollins olio felonious monk straight, No Chaser, and Jerry Mulligan's five brothers. And it's a surprise to find three tracks in a rake time stride mode, right Keith Jarrett playing rake time stride ain't Misbehavin, honeysuckle rose and you took advantage of me. Again, which you would not expect to hear from Keith Jarrett but it is simply awesome. You have to check it out. He is joined as always by longtime basis. Gary peacock, and longtime drummer jack Dijon that definitely check it out and add it to your jazz collection. The recordings will continue to get better and better with each passing year as all great and timeless recordings do. So again, it's Keith Jarrett. My Felice heart added to your collection. Okay, before we listen to four, and Keith Jarrett's solo. I do want to quickly recap our journey over the past six weeks, we spent the month of April exploring inverted melodic shapes for the major dominant and minor sounds, which again, are simply the melodic representation of the harmonic inversions. The focus of each podcast episode, which I stressed over and over again, was to illuminate the oneness, the sameness of harmony, and melody. So once we established the nexus between harmony and melody, we then took the four harmonic shapes the root position, first inversion, second inversion, third inversion of each major dominant and minor sound, and turn them into melody, using ascending and descending arpeggio and scale motion. We then applied enclosures as a way to add ornamentation to decorate to camouflage the arpeggios and scales, so that they do not sound like arpeggios and scales. And after exploring the melodic shapes for major dominant and minor sounds, we then devoted an entire podcast episode to placing these shapes and sounds within the context of the most iconic jazz progression of all the 251 progression. Then, last week, we took it a step further. We applied the melodic shapes and enclosures to a tune to one teasels jazz standard perdido. And today, we're going to go even a step further by examining a jazz piano solo by one of the greatest jazz pianist of all time, Keith Jarrett, to see if we can find arpeggio and scale motion, along with any ornamentation, especially enclosures. I bet we do. But before we do, if you are a jazz piano skills member, pause this podcast episode right now, to download and print the illustrations in the lead sheets, podcast packets, the illustrations beautifully outlined for you all of the scale and arpeggio motion for each chord found in for in the lead sheets packet includes a transcription of Keith Jarrett's four solo, plus several essential lead sheets, you're going to find a lead sheet that has the changes plus the melody, you're going to find a lead sheet that has to change is only you're going to find another lead sheet with the harmonic function of four as well. And also included in the lead sheets packet is a color coded transcription, a color coded transcription that distinguishes between Keith Jarrett's use of scale and chord tones, verse non scale and chord tones, and more about that a little later on in the podcast, which you are going to find to be absolutely stunning. You are definitely going to want the materials found in the podcast packets in your hand as I begin extracting various components of the solo for us to analyze and play. If you do not have access to the podcast packets, no worries, my discussion to follow will still be very beneficial but but might be a little tough to follow from time to time. Of course, you can join jazz piano skills right now and download the podcast packets and all the materials not only for this podcast episode, but for the 76 previous episodes that I have already done plus all the future podcast episodes as well. something to definitely think about. Alright, the agenda and format for today are as follows. Number one, I'm going to play for just one chorus so we can get the tune the melody in our ears. Number two, we're going to listen to the first two courses of Keith Jarrett's solo on four Number three, I'm going to spotlight 13 melodic ideas played by Keith Jarrett. When soloing on four, I'm going to play each of the ideas. And I'm going to analyze each of the ideas. And number four, I'm going to draw conclusions and establish criteria for developing practice exercises to begin developing oral and muscle memory, in preparation for improvising. This is going to be a ton of fun. So let's get started. The very first thing I want to do is take a second here and play the tune for Miles Davis is four. So I'm gonna bring the ensemble in, I'm gonna play one course. So we can get a an idea how the song goes, if you're not familiar with it. And even if you are familiar with it, it's great to kind of get this melody in our ears before we take a listen to Keith Jarrett and begin dissecting his soul. So here we go. Here's four by Miles Davis. Let's check it out. Such a great tool, which by the way, that temple is 200 I believe Keith Jarrett's playing it, maybe slightly faster, maybe about 10 to 20 somewhere in there. But the play alongs that are included in your play along packet that is available for you to use when practicing. I have five different temples laid out for you to use 121 4161 80 and 200. So that's four by Miles Davis. Great melody, great chord changes. So now let's bring Keith Jared Han, let's check out Keith Jarrett's rendition of four and we're gonna listen to two choruses of his solo. And those are the two courses of course that we're going to use that I'm going to use today to dissect and analyze for you. So here we go from the double album my foolish heart recorded at Montreux with Gary peacock and jack beige on net. Here is Keith Jarrett. Playing miles Davis's for Wow. Oh, that's fantastic, man. Just a lot of energy. Right, right out of the chute, right. It's just wonderful. So, okay, hopefully you have that transcription in front of you and that you were using it and following along with it. When you listen to the solo, it helps quite a bit to watch those lines fly by as you're listening to this. So now what we're going to do is I'm going to kind of walk us through those first two courses, and extract some melodic ideas that I want to shine a spotlight on. And for us to examine and take a look at, and then utilize to begin developing our own improvisational skills, our own jazz language. Okay, so here we go. The very first line, I want you to take a look at measure to measure two. chord is an F major seven, Keith Jarrett starts on a G, he starts his entry point is the nine. And guess what he does, he goes straight scale motion, right descending scale motion from the ninth, right down to the fifth. he skips the fourth, and uses arpeggio motion to get to the third, which is the A. And then he finishes out with scale motion to the tonic to the note F. So the line sounds like this. Wow. You can't get any simpler than that. Right? That's just straight scale motion. Right? Take a simple little idea like that. descending scale motion started on ninth and start moving it around, apply it to some different major chords, how about C major, B flat major, E flat major, and so on, and so on. So here's just a great little example, right scale motion with an entry point of the ninth using scale motion down to the fifth, then arpeggio motion to the third, followed by scale motion to the to the root. can't get any simpler from any simpler than that. And that right there that in and of itself, is a fabulous exercise to move around and start practicing on all 12 major chords. So right, right at the very beginning measure to have Keith Jarrett solo, straight, pure scale motion, all the way down from the ninth all the way down to the root. It's fabulous. Okay, so now let's take a look at measure three chord is F minor, his entry point is the seventh of F minor, which is the E flat, then he's going to use arpeggio motion from the fifth all the way up to the ninth. So it's fantastic. Scale motion down back to return to the seventh. And then the root. So it's this. Wow, such a great little idea, right? You notice how I repeated that I'm sitting there, I'm playing that and I'm kind of digesting it myself and enjoying it right. So he's using this arpeggio motion starting from the seventh arpeggio and then from the fifth, up to the ninth scale motion, descending back to the seventh. And then look what follows on on the B flat dominant seven, in measure four, right arpeggio motion again, from the third and then the ninth and the seventh. So what's interesting about that little motif is that he's starting on the third. Then he uses arpeggio motion from the root to the 13th. up a step to the ninth and the seventh. So I'm noticing here, these parallel thirds, if you will, right. kept going. Right. And that's going to be probably one of the exercises that we take a look at toward the end of the podcast, these moving thirds. So exercise, I mean measures three and four. Again, arpeggio motion, followed by scale motion. Great lessons in measures three and four as well. Now measure five. So this is kind of funny, right we've took a look at measure two Now I'm doing measure did measures three and four now measure five, right? We're not gonna go measure by measure but it's just right out of right out of the chute again, right, Keith Jared is is just given us a ton of wonderful ideas to think about for developing our own jazz, vocabulary own jazz language. So I will I promise we're gonna start jumping around but for right now, let's take a look at measure five. He starts the chord is a G minor seven. And he starts on what? The Nine, you're probably already picking up on the fact that Keith Jarrett likes the ninth right he started that F major the entry point was the ninth. Right, his B flat dominant seven, had a ninth edit his F minor, the F minor seventh arpeggiated up to the ninth. Here we are on G minor seven started on the ninth. So Keith Jarrett, obviously, just in the first several measures, I'm picking up on the fact that he really likes the sound of the knife. So he starts, he starts scale motion on the knife on that G minor on the note eight. And he's going to use ascending scale motion to the fifth. Then from the fifth arpeggio motion to what? Oh to the nine. So here, we're back on the ninth, and then descending scale motion of the resolution to the fifth primary quarto. So now the entire long line sounds like this. Beautiful, great idea. Great line. And again, a nice balance between what scale motion and arpeggio motion, a nice balance between what ascending and descending movement is fabulous. Great. Just that right there. Measure five is a incredible lesson between balancing your arpeggio and scale motion in your ascending and descending movement. Okay, jump to measure 10 in your transcription, the chord progression is an E flat minor seven to a D flat dominant seven. So we have a two five relationship, the primary entry point that he uses for that a flat minor seventh, again is another primary chord tone. It's the fifth. And he uses scale motion from the fifth up to the seventh. Then he goes to what arpeggio motion to the ninth. Oh man, imagine that. That arpeggio that ninth then resolves to the a flat down to the note G. So when I put the chords with it, it sounds like this. Sound rich again. And what's significant about that note G that's the sharp 11. So we have an altered dominant sound, they're implied by the melody, right, the sharp 11 sound. So it's interesting he's using scale motion once again, ascending scale motion starting on the fifth of a flat minor, a primary courtown ascending to what the ninth which we've already established that he loves that sound, and it resolves descending scale motion into that D flat dominant seven, with a landing with a destination point being the G natural which is this sharp 11 sound. And you're going to find out as we go through this solo, Keith Jared also loves the sharp 11 sound. So measures 10 is fabulous. And again, a nice balance between us sending scale motion, arpeggio motion and descending as well. Look at measure 11th notice anything in a measure 11 I love this. Here's another great lesson by Keith Jarrett measure 11 nothing. There's nothing in measure 11 silence. Beautiful. Practice silence. I know that sounds crazy. But you should, you should actually build in and be consciously aware of practicing silence while you're practicing your improvisation. Another great lesson by the great Keith Jarrett. Now take a look at measure 14, which again we have that two five relationship between the a flat minor seven and the D flat dominant seven is the entry point on a flat minor seven this time again is another primary core tone, which is the third the C flat And he just uses arpeggio descending arpeggio motion through the triad, so he's got the third, a flat, a root, and then the fifth, E flat. It's great, just simple triad descending arpeggio. Then the D flat seven, the D flat dominant seven, begins a descending scale motion on the 13th on the B flat. And what's that there's our sharp 11 sound, again that he likes. Wow, beautiful. So the line sounds like this. One is again, he's, he's accentuating that sharp 11 sound. And you're gonna see that throughout this throughout this entire solo. So it's just kind of interesting. You got measure 10 with a flat minor seven and D flat seven, sharp 11 pops out. And then right away again, in measure 14, a flat minor seven, the D flat dominant seven again. And again, the G natural is is played in his line, which is that sharp 11 another great little lesson there, again, descending arpeggio motion using the triad, followed by descending scale motion through the sharp 11 sound. Okay, so now let's turn our attention to measure 16 and 17. And look what we have a C dominant seven is our chord. And he has an entry point again, the third. So he starts on the E natural arpeggio motion descending to the to the root, which is C have been ascending scale motion. The n e. Skip has this. Oh my goodness, guess what that is? It's an enclosure. And there it is. That's what we've been studying. That's how we've been automate, adding ornamentation to our ascending and descending arpeggio and scale motion. And right here in measure 16 Keith Jarrett throws in a little enclosure around what note around the D what is d in relationship to C dominant seven. Oh my goodness, it's the night. He loves the ninth right. So he has that enclosure, C seven actually resolves to the F major seven. I played a dominant there it is again. There it is. Perfect. Beautiful. So there we have it an enclosure in measures 16 and 17. Wow. And here's another Wow, look at measures 17 and 18. Our chord is F major seven. He has, you know half note there on on the seventh. On counts one and two, but check out what's happening. On count four. He starts descending scale motion, on what note on the ninth. So he has descending scale motion all the way down to the fifth leaps over the fourth using arpeggio motion to the third. Right and in descending scale motion from the third down to the sixth or to the 13th. So the entire line sounds like this with the cord. But what I want to draw your attention to it's just flat out descending scale motion on that F major seven. But what I want to draw your attention to that should sound pretty familiar because if you look back up at measure two, what did he have descending scale motion on the F major seven? Again, starting on what note the ninth? So wait a minute. Do we have Keith Jarrett repeating the same idea within the same solo? Yes, we do. So repetition is a good thing. In improvisation, many young improvisers try to avoid repeating melodic ideas. Here we have Keith Jarrett, coming back to that theme coming back to that little motif again, and stating it again basically an octave higher. And repetition is a very good thing and I've stated this before in previous podcast episodes, I had a teacher that used to say anything that is worth saying is worth repeating. And anything that's not worth repeating is probably not worth stating the first time. So here we have a nice little descending scale motion motif that Keith Jarrett states in measure two, and then we see him repeating that same kind of idea in measures 17 and 18. The lesson of repetition taught so beautifully by the great Keith Jarrett. Okay, so now let's take a look at measures 19. Through 22, there is a lot going on here. So let's take a look at measure 19. First, the chord is an F minor seven, the entry point is the seventh, right, probably picking up on the fact that he uses primary chord tones as his entry points, you know, the seventh, or the fifth or the third. And here is an example of him using the seventh on that F minor, the E flat, and he uses ascending scale motion from the seventh, all the way up to the fifth. So he has all the way up to that C of F minor. And then from the C straight arpeggio motion, C, E flat, G, B flat, all the way up to the 11th through the ninth, all the upper extensions, right, he's going from the seventh to the ninth to the 11th. So he's getting this What a great line. And if you noticed back in measures three, measure three on that F minor seven, he uses that same arpeggio. He doesn't extend it up to the 11th. But he starts his arpeggio motion on the fifth about F minor on the C, he does the same thing here again on F minor. So he's got this ascending scale motion, transitioning into ascending arpeggio motion. Fabulous. Now on the B flat dominant seven, and the very next measure that follows and measure 20. He's got the B flat dominant seven, his entry point is the a flat, which is the seventh. He begins descending motion at that time. So he's ascending through the two chord. Now he's going to start descending motion through the five chord. So he's coming down a flat path and what he natural, what is a natural and relationship to B flat dominant seven. What's that sound? sharp 11. There's that sharp 11. Again, he's been emphasizing that sharp 11 on the D flat dominant seven. Now he's emphasizing that sharp 11 sound again, but this time on a B flat dominant seven, he allows the sharp 11 sound indeed. And then from that sharp 11 he ascends to the 13th to the G and then the F. So he has an enclosure there enclosure, people wraps an enclosure around the note f fabulous. So here's another enclosure, here's another sharp 11 here's another ascending scale and ascending arpeggio motion. Right, we're starting to figure out the tools that Keith Jarrett loves to utilize when improvising. Now look at measures, measure 21 and measure 22. It's a G minor seven. Okay. But here's what I want to point out on this you see is kind of stationary movement as a B flat, which is the entry point again is the third up to the up to the 11th. And it comes down to the a to the b flats or has another enclosure here, right? C to A to B flat. Right? And then he does that see a again, then g B flat. So if you analyze that if you take a look at that carefully, he's messing around on it. He's on a G minor seven, he's messing around with the basically the notes G and B flat, the root and a third and the second and the fourth, right and whole step up. So he's getting just staying put right there. So I just wanted to draw your attention to that because that's kind of like a little form of what I call stationary improvisation. And he's working off the third. He's working off the root and the third and the second and the 11th. And he has a nice little enclosure in there again. So stationery improvisation is again approach that we should be practicing. We're always talking about ascending and descending arpeggio and scale motion. Right, which is fantastic. And it's obvious it's apparent when you look at Keith Jarrett solo that he, he uses those, those motions in those directions. But here's a great little example of some stationary improvisation which a lot of times gets overlooked. And we should absolutely be building that into our practicing in. I did a couple podcast episodes on stationary improvisation last year, that if you haven't checked those out, take time to take time to do so I think you're gonna find them to be very beneficial for you. One final point real quick to on that stationary improvisation with that G minor with that, you know, working off the G and the B flat, and then the A and the C. The a, again, is what it's the ninth right, I referenced that earlier as the second and the fourth, which it is, but it's also the ninth and the 11th. So here's Keith Jarrett, emphasizing the ninth again, which he which he loves that sound as well. So now if you jump to measures 26, and measures 27, and measure 26, we're back to another two, five relationship, the a flat minor seven to D flat dominant seven. And he he's his entry point is the seventh, right? He does that quite often as well. So his entry point is the seventh of the a flat minor. And he's going to come right down straight, literally arpeggio right down the a flat minor chord. There it is. And then on the D flat dominant seven, he's back to an entry point on the 13th on that B flat, a flat, F sharp, he's going to use F sharp as a half step approachment. into what note, the note G. And what is the note G again in relationship to our D flat. It's that sharp 11 sound again. So here we have it right, it comes down that a flat minor, D flat, sharp 11. Where have we heard that before? We heard that before basically on every a flat minor seven D flat dominant seven that he's played so far, he's played sharp 11. So he really likes that the sharp 11 sound or that was the academic mode for that Lydian flat seven mode. So then look at what happens in measure 27 we have a G minor seven, his entry point is what the seventh again, so we have the G minor, he's coming down on that seven followed by an E natural, which is the six. And then look what happens on counts three and four. He has a D, F. Now we've studied those in the past before as well that's a little cyclical. quadruplet. Right. That's a little way of a little improvisational device and, or imitation as well, where you start on the D you end on the D. Right, these are great little great little motifs that that again, I've done podcast episodes last year on cyclical quadruplets, and I would encourage you to check it out. It's a great little exercises the practice and here's Keith Jarrett, utilizing one in his improvisation how fabulous. Okay, on to measure 29 and I just I highlighted this one, there's, there's nothing fancy going on here, except that it's another two five relationship. It's a D minor seven go into a G dominant. The entry point is the root, he starts on the root of D minor. Again, nothing fancy there. And he can it gets a little pentatonic sound. What's nice here is his intervals, his arpeggio motion is not moving in thirds. And I guess that's why I highlighted it. And we're going to do more of this kind of study a little later here in the year when we're looking at arpeggios using different inter interval relationships other than the third. And here we have it right we have a D going down to a scale motion, and then arpeggio motion back up to the a and then a leap or arpeggio motion of a fifth down to the D. It's a great little sound. Okay, so I just I just highlight that for a second for you to give some thought to that because we're going to be dealing with those shapes and sounds a little later in the year. Okay, so now look at measures 32 through 34 G minor seven, another two five relationship. G minor seven a C dominant seven. He starts his G minor with an entry point of the root of the note G and look what he does. He sends straight up the G minor seven chord Straight arpeggio from the root up to the seventh, a C dominant seven, he's up, he has an entry point of third on the C dominant leaps up to what he leaps up to the ninth. And then uses half step motion to get down to the C, which is the fifth of the F major, the resolution to the one chord. But look what he does on this one court, I want to draw your attention to the fact that he's starting on the fifth of that F major. Look at count three, he's on by count three, he's on the note a, and then look at the very following measure. By count two, he's on the note, F. So he's working his way down the arpeggio of F major from the C down to the A down to the F. And he's kind of camouflage and that a little bit with some scale motion. repetition, repetition. Finally down to the It's a neat little line. But hidden within that line is the F major triad. So I wanted to point that out as well. So very clever. Okay, measures 42 and 45. What do we have again? another eight flat minor seven to D flat dominant seven, another two, five relationship. And what do you think's gonna happen? You got it, he's gonna, he's gonna land on that sharp 11. So on that a flat minor seven, his entry point is the fifth. And he's gonna use scale motion down to the third arpeggio motion to the root of a flat minor. Right? That's it. Very simple. And then that a flat drops one half step down to the G to give us that sharp 11 sound. Wow. There it is, again, I think we can say at this point that when Keith Jarrett is playing over is a flat minor seven and D flat dominant seven within the tune for he's hearing and prefers and loves a sharp 11 sound. And so do I think it's fantastic. So that's measures 42. Look at measure, I want you to look at measure 45 G minor seven. Okay, so he's using a little ornamentation to get into that G minor, he's using an F sharp, which is a half step approachment. Right, they're going into count three, okay, and then a leap up to the fifth. And then arpeggio motion right back down to the to the G. So that's like a little that's another cyclical quadruplet, right, where he starts his idea on count three. And he ends up right back at G. So he starts on G ends on G. And he does so using arpeggio motion again, very clever. And then look at the very next measure, measure 4344 44 c dominant seven, F sharp, up to the A to the G. So he's adding an enclosure, here's another enclosure around the note G which is the fifth of the C dominant. And then scale motion down to the C to the A minor. Right. So Wow, and measures 42 through 45. We have a lot going on, we have sharp 11 sound on the a flat minor D flat dominant seven. We haven't half step ornamentation, the F sharp going into our G minor seven. He uses a cyclical quadruplet with descending arpeggio motion, and then another enclosure with the F sharp a wrapping around the G and the C dominant seven. Wow, a lot of devices that we've talked about, and that we need to give some serious consideration to in developing some exercises to help us develop those tools so that we can use them as well in our improvisation. Okay, believe it or not, we have covered 1212 melodic ideas already that Keith Jarrett that we've extracted from Keith Jarrett solo on Miles Davis is for the final melodic extra exercise the final melodic idea that I want to highlight exercise. I'm already thinking about exercises man that I want to put together for based on this solo but the final melodic idea that I want to spotlight and highlight today measures 51, through measure 5451 through 54. It's up to five relationship again, five, F minor seven go into the B flat dominant seven, I want you to notice that he starts his F minor on the note G, which is the ninth. Again, his love affair for sharp elevens. And nines pop out all over in this solo. So Keith Jarrett starts his F minor descent, with the entry point being the ninth, the G for his F minor, and then he's coming down to the E flat, and then coming down to see but notice how he rhythmically camouflage is that he comes in on the end of one, right and then the end of two. And at the end of four, so he's adding syncopation there, which helps camouflage the fact that he's just descending on the F minor seven starting on the ninth, going from the G down to the seventh, which is the E flat down to the C, which is the fifth on the B flat dominant seven is entry point is that ninth scale motion to ascend to the fifth descending arpeggio motion down to the root leaps up to the fifth, which is actually the seventh of the G minor. Next measure, and look what he's doing on that G minor, he come he's coming down arpeggio kind of a camouflage arpeggio using syncopation, he's got the f, d, and then the D again on count on the end of two, he strikes that and then the B flat on the end of four. And now look what happens here and the very last measure there and measure 54 he's going to have a cyclical I mean, any closure around the third of the G minor, A to C to B flat. So there's another closure, and then resolving it to the root of G minor to the note G. Great line. And again, wrapped up in all of that descending arpeggio motion starting from the ninth. He's got ascending scale motion on the B flat dominant seven descending arpeggio motion on the B flat dominant seven, and then deef descending arpeggio motion that G minor seven, finishing with an enclosure at the very end of his musical phrase. So Wow. Is this been amazing? Or what? Once again, we have covered and unpacked a ton of information today. I think we can affirmatively state that Keith Jarrett makes extensive use of scale and arpeggio motion when improvising. And we can also support the claim that Keith Jarrett uses enclosures. Similar cyclical quadruplets, altered dominant sounds, when improvising. And we can state with great confidence that Keith Jarrett uses repetition in silence, we found that within the solo as well. With all this means, said, I also want to draw your attention to this very important fact. And this is very, very important to listen carefully. In the first two courses of Keith Jarrett solo on Miles Davis is for he played a total of 356 notes. I know that because I counted up and 329 of those notes, were either pure scale, or arpeggio motion. In other words, only 27 notes are outside of the key center. And several of those 27 notes that can theoretically be labeled as notes outside of the plyed key center are actually altered dominant notes like the sharp 11 that we discovered several times throughout a solo. And just FYI, altered dominant sounds are so common to jazz musicians that they are basically considered normal or inside notes. But the bottom line is Keith Jarrett, primarily use uses pure scale and arpeggio motion when improvising over for in fact 93 basically 93% of the notes played by Keith Jarrett, our notes coming directly from the scale scale notes or arpeggios, something to think about when you're practicing, improvising. So when you go back and listen that solo keep that in mind. And when you look at your lead sheets in your podcast packet that color coded transcription that I have in there, I have yellow dots over all the notes that are either scale notes from the scale, or notes of the arpeggio. So it really visually pops out to you just how dominant his use of scales and arpeggios are, when improvising. And now that we know Keith Jarrett extensively uses scale, and arpeggio motion when improvising and we know how he characteristically constructs his improvisational lines using scale and arpeggio motion. It only makes sense then that we take the time to develop some Keith Jarrett type exercises some Etudes for developing musical and oral memory needed to formulate our own jazz improvisation vocabulary. Your assignment this week is to do just that. Let's see what you come up with. I'm going to do just the same. I'm going to do the very same. I'm going to come up with some exercise and I'm going to present them to you in next week's jazz piano skills podcast lesson. Well, I hope you found this jazz panel skills podcast lesson exploring Keith Jarrett's solo amazing solo on Miles Davis is for to be insightful, and of course to be beneficial. Don't forget if you are a jazz piano skills member, I will see you online Thursday evening at the jazz piano skills masterclass. 8pm, central time to discuss this podcast episode lesson on Keith Jarrett's for solo in greater detail, and to answer any questions that you may have about the study of jazz in general. Again, as a jazz piano skills member, be sure to use the educational podcast packets, the illustrations, the lead sheets, the play alongs for this podcast lesson, and the jazz panel skills courses to maximize your musical growth. Likewise, make sure you are an active participant in the jazz panel skills community get involved, contribute to the various forums and make some new jazz piano friends. As always, you can reach me by phone 972-380-8050 extension 211 by email, Dr. Lawrence. That's Dr. Lawrence at jazz piano skills.com or by speakpipe found throughout the jazz piano skills website. Well, there's my cue. That's it for now. And until next week, enjoy Keith Jarrett's solo, on Miles Davis is for enjoy the journey. And most of all, have fun as you discover, learn and play jazz piano