Honeysuckle Rose

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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, here we are. The end of September man these months, just fly by, and we have spent the entire month of September. pounding away at the key of E major. Now we've explored the key of E major, harmonically and melodically, our harmonic workout as it always does explored. Four different approaches to voicing the chords found in the key of E major plus various rhythmic comping patterns are melodic workout, as it always does methodically tackled the scales, the modes and arpeggios for each chord in the key of E major plus various linear lines melodic lines to help develop improvisational vocabulary. Now, those of you who are faithfully doing the workouts each and every month since the beginning of the year since January know firsthand, right, that the workouts require a ton

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of work. But as I always say, and is always the case, when you practice correctly, the proper skills, the proper approaches, the payoff is always always significant. And how have we throughout the entire year tested our skills after each harmonic and melodic workout? Well, there's no better way to test our improvement than by playing it too. And that is exactly what we're going to do today. So today, you're going to discover a classic jazz standard by jazz legend, Fats Waller, honeysuckle rose, and you're going to learn the chord changes harmonic function and musical form of honeysuckle rose. And you are going to play various voicings and correct chord scale relationships for honeysuckle rose, which will then be cultivated into a jazz soul. So as I always like to say, regardless of where you are in your jazz journey, a beginner, an intermediate player, an advanced player, even even if you consider yourself to be a seasoned and experienced professional, you're going to find this jazz panel skills podcast lesson exploring the jazz standard honeysuckle rose to be very beneficial. But before we jump into honeysuckle rose, I want to take just a moment as I do at the beginning of every jazz panel skills podcast episode, I want to welcome all first-time listeners. And if you are indeed new to jazz piano skills if you are a first-time listener to the jazz piano skills podcast, then I want to personally invite you to become a jazz panel skills member. Visit jazz piano skills.com To learn more about the abundance of jazz educational resources, materials, and services that are available for you to help you develop your jazz piano skills. For example, as a jazz panel skills member you have access to all of the educational podcast packets, the illustrations, the lead sheets, the play alongs that I produced, I develop, produce and publish every week for every weekly podcast episode. Now, these are invaluable educational tools that you definitely want to have in your hands as you listen to the podcast episode. And you certainly want to have sitting on your piano as you're practicing these jazz piano skills. You also as a jazz panel skills member have access to the online sequential jazz piano curriculum. Now, this curriculum is loaded with comprehensive courses, all of them use a self-paced format. There are educational talks for you to enjoy interactive media to test your conceptual understanding of the jazz panel skills, video demonstrations of the scales and all 12 keys. There are play alongs and much more. You also, as a jazz piano skills member, have a reserved seat and the online weekly master classes, which essentially are one hour online less

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As with me each and every week. You also as a jazz piano skills member have access to the online interactive Fakebook, which grants you access to standards from the Great American Songbook, you'll be able to enjoy lead sheets outlining each tune's chord changes and harmonic function, chord scale relationships, play along files, historical insights, inspirational recordings, and so much more. The interactive Fakebook is an ever-growing collection of tunes that you should absolutely discover, learn and play. You also as a jazz panel skills member are part of the jazz piano skills online private community, which hosts a variety of engaging forums there are podcasts specific forums, course-specific forums and of course, there are just general jazz piano forums for you to enjoy as well. And last but certainly not least, as a jazz panel skills member you have unlimited private, personal and professional educational support provided by me whenever and as often as you need it. So again, take a few minutes visit jazz piano skills.com To learn more about all the educational opportunities that await you, and how to easily activate your membership. Now, there are several membership plans to choose from. So I'm quite certain there is one that is perfect for you. But nevertheless, once you get there, once you poke around you have some questions, please reach out to me. I am always happy to spend some time with you answer any questions that you may have and help you in any way that I can. Okay, let's discover learn and play jazz piano let's discover learn and play the great jazz standard by Fats Waller, Honey Suckle Rose. Okay, as I mentioned earlier, the last two weeks have been pretty intense with our key of E Major harmonic workout and our key of E Major melodic workout. Our harmonic workout was an extensive exploration, as it always is of four very specific approaches to plain sound harmonically. In other words, playing chords.

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And our exploration was not simply about playing the seven chords found in the key of E major. It was a, it was about how to approach voicing the chords so that you are playing stylistically correct sounds. In other words, your chords should sound like jazz, right? So we looked at basic block shapes and root position and inversions. We looked at traditional left-hand three-note shell voicings, we explored the contemporary left-hand quarter voicings, and of course, we, we studied the two-handed shapes or two-handed voicings as well. Now all of them, all four of these types of voicings need to be in your arsenal, they need to be at the tips of your fingers when playing because you're going to use all of them. Now, our melodic workout was a thorough investigation of ascending and descending scale and arpeggio motion through each of the seven chords found in the key of E major. Now, our primary focus was to begin developing root independence by shifting the entry points of our scales and arpeggios from the root of the sound to the third, to the fifth, and to the seventh.

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If you have never intentionally played scales and arpeggios, varying your entry and destination points, then these melodic workouts no doubt, are very challenging. So the whole point, the entire point of our key of E Major harmonic workout in our key of E Major melodic workout is to prep us for applying our skills to toes right, after all, that's why we're doing all this. So we will today take the practice approaches that we have explored over the past two weeks and apply them to honeysuckle rose. And not only are we going to put our harmonic, melodic jazz piano skills to work within a classic jazz standard, we will also use our jazz piano skills to construct and play a jazz piano solo over the core changes of honeysuckle rose. So we have a ton of fun ahead of us. So the educational agenda for today is as follows number one

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We're going to explore the jazz standard honeysuckle rose. We're gonna take a look at the chord changes and the harmonic function. Number two, we're going to discover, learn and play various voicings for honeysuckle rose, our blocks, traditional shells, contemporary shells, and our two-handed voicings. Number three, we are going to discover, learn and play the chord scale relationships for honeysuckle rose, in other words, the appropriate ascending and descending scale and arpeggio motion for each chord. Number four, we are going to discover learn and play a jazz piano solo for honeysuckle rose using 100% diatonic scale and arpeggio motion. And we will be focusing on various essential rhythms within our solos. So especially the 16th note, and number five, we're going to continue using a very relaxed groove today. Now we've been doing 85 tempo 85 And we're gonna ratchet it up just slightly. And we're gonna do in a very nice relaxed swing groove of 100.

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So if you are a jazz piano skills member, I want you to take a few minutes right now once you hit the pause button, and I want you to download and print the the jazz piano skills, podcast packets, the illustrations, and the lead sheets. Now, again, you have as a jazz piano skills member, you have access to all of the podcast packets, and as I mentioned earlier, you should be using them when listening to this podcast lesson. And of course, you should be using them when practicing at the piano as well. So if you're listening to this podcast on any of the popular podcast directories such as Apple or Google, Amazon, Spotify, iHeartRadio Pandora, the list goes on, then you need to go directly to jazz piano skills podcast.com To download your podcast packets, and you will find the act of download links for each of the podcast packets for your illustrations and for your lead sheets and for your play alongs you will find those active download links within the show notes. Now one final but extremely important note that I mentioned every single week, and every single podcast lesson, podcast episode. If you are thinking

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somewhere in your mind, whether it's in the front of your mind, or the back of your mind makes no difference. If you are thinking that honeysuckle rose and the various skills that you're about to discover, learn and play are over your head, then I would say to you breathe in, breathe out, sit back, relax, and continue to listen. Continue to grow your jazz piano skills intellectually by listening by just simply listening to this podcast episode. After all, all skills, all skills are over our heads when we are first introduced to them. Which is precisely why the very first step, the most essential step of all, to improving our musicianship is to just simply listen. So do not shy away from conversations discussing foreign topics and using unfamiliar terms big words that you've may not be familiar with. Stepping outside of our musical comfort zone is what spawns our growth.

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As you all have heard me say a million times at least at least a million times. All musical growth begins upstairs conceptually, mentally, before it can come out downstairs physically in your hands. Right? If you don't have it, if you don't have it sorted out upstairs, I guarantee you. It's not coming out downstairs. So sit back and listen to this podcast lesson now to just simply discover and learn. The play will come in time. Hit always does. Okay, you should now have your podcast packets, your illustrations and lead sheets in front of you. So I want to draw your attention to the lead sheets. In in your packet you'll find 11 skills or 11 Different lead sheets. Okay, and we're going to walk through them today.

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All 11 So let's start with skill, skill one lead sheet one, which simply presents you a classic lead sheet of the core changes that I am going to be using today for honeysuckle rose. Okay. Now, a couple things about honeysuckle rose. This is a classic, what we call a be a form. So the song in essence, right is 16 measures long, you have three sections, each a section is eight measures long. And you have a bridge or B section, which is eight measures long. So it follows the the classic jazz format of 32 measures, but the reality of it is you have three sections that are

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all the same, and you have one B section, and each of those sections, eight measures on length, so on Hisako rows 16 measures of music, alright, so we need to start to think about it that way, starts to become very manageable, manageable to learn tunes, when you really break it down into understanding it from a form perspective. So do not let the rehearsal letters on the page, though confuse you, you'll see letter a letter B, letter C, letter D, those are considered rehearsal letters, those do not denote the form of the two. But you can just visually look at it and see that section a Section B and Section D are indeed the same. Now you'll also notice there's no melody of honeysuckle rose written out on my lead sheet. That's because you're gonna play the melody. And you're gonna learn the melody by ear. As always, we never read melodies.

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Okay? Not, not when we have the objective of developing our ears and developing jazz articulation and being able to play these jazz standards. As you hear jazz musicians do. Okay, we're going to utilize our ears to learn the melody. Okay, so I want you to grab a little lead sheet tour skill number two and just set it side by side, side by side with skill one, so we have skill one, to our left, we have skill two sitting right next to it on our right. And you can notice right away and skill two, this is a heart what I call a harmonic function lead sheet takes the chord changes that you're seeing in lead sheet one skill one, those chord changes in the key of E, and now maps them out based on function. So line A, or Section A, the very first eight measures line one there, you'll see two, minor seven going to five, seven, second measure to minor seven, the five, seven, and so on. So using Roman numerals to denote function of the chord changes. So this is what I like to call the harmonic DN A of the piece of the song. This is how you actually should be learning, not just honeysuckle rose, but any standard. If you really want to learn the tune, so that a you can put it in any key plate in any key that you wish, you're going to want to learn it from a harmonic function lead sheet. Number two,

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the harmonic function lead sheet actually engages your ears by establishing relationships, the two chord go into the five chord go into the one chord, these are relationships when invited your ears can lock in to that sound to that harmonic motion. If you only learn tunes by using a traditional lead sheet with the chord symbols mapped out, your ears are going to be disengaged they will not pick up on the relationships that has to be an intentional study that has to be an intentional act, a conscious act by you to develop your ears to recognize and to hear harmonic movement. So the harmonic function lead sheet is absolutely crucial, absolutely essential. So spend time with skill one lead sheet one skill to lead sheet to spend time with both of these lead sheets studying them, the payoff will be huge. Now, let's look at skill three or lead sheet three. Here you will see that I have the chord changes for honeysuckle rose mapped out using traditional block voicings and inversions in my left hand. Now again,

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These are suggestions for you, you have the right. If you've like another inversion in any situation feel absolutely feel free to use that inversion. These are the shapes that I'm presenting to you. These are the shapes that I would leave lean towards. If I was playing honeysuckle rose, using traditional black shapes, first, second and third inversion. So what I want to do is I want to bring the ensemble in right now, I'm going to play through honeysuckle rose twice. The first time through, I'm just going to play the block voicings as written on your lead sheet and I'm not going to be doing anything fancy. I'm just going to be playing the voicings as written as half notes, right, you can see half notes and whole notes on your lead sheet. So I'm not going to be doing anything fancy rhythmically. The second time through, I'm going to bring the melody in for honeysuckle rose, and I'm going to place it on top of these chord changes so you can hear the melody in context with these voicings. So let's bring the ensemble and let's check out honeysuckle rose using block voicings and our left hand here we go check it out.

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Nice right, you know I mentioned this every month when we do our 10 study, and we apply these voicings to, to the tune with the melody I mentioned this every, every month, if this is where you are with your voicings if you have your block shapes, and first, second and third inversion under your hands, and that's all you know, that's just all you know, right? Then congratulations you're in a fantastic spot because you can you can play a lot of music, you can make a lot of music. And I've mentioned this before i i went out when I was learning how to play jazz and I was learning chords. This is where I started this is the these are the shapes. These are the sounds that I knew. And I went out and played many gigs, many many gigs using these voicings and using these shapes. So these are valid sounds valid voicings valid shapes that first of all, you absolutely have to have these under your hand. So if you already do fantastic if this is where you are working on these, that's fantastic as well. So

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and just on a side note, these shapes are what is what's going

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to form form your improvisational vocabulary. So, it's these shapes are not just a voicing exercise or voicing skill that you have to have under your hands. They're actually an improvisational skill that you need to have on your hand as well. So okay, so now let's move on to skill for early sheet for traditional shell. So here are three note left hand shells, and their traditional in that the left hand shell is going to always include the third and the seventh in the left hand, right either the third on the bottom and the seventh on top, or the seventh on bottom with the third on top with an additional note. Okay, so I want to bring the ensemble back in now and I want to play honeysuckle rose again, using these traditional three note left hand shells. And once again, I'm going to the first time through I'm just going to play the shells as written on your lead sheet as laid out nothing fancy, no rhythmic variation, second time through I'm going to continue to play those shells but I'm going to play the melody in relationship to the shell so you can hear everything in context Okay, so let's bring the ensemble and let's listen to honeysuckle rose using traditional three note shells in our left hand here we go check it out.

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Classic voicings absolutely classic voicings and again, shapes that you will want to have in your ears and under your fingers when playing jazz. So spend time studying these three notes left hand shell voicings. Now skill five or lead sheet five turns to contemporary when I call contemporary shells or quarter voicings for left hands. And these these shapes are three notes include three notes as well, but instead of having our third and seventh always present followed by an additional note to formulate a third, these voicings are all using intervals primarily intervals have a fourth primarily so you can just kind of look at the lead sheet there and you can see how the symmetry of these shapes and then put that scale for you

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Next to this as well and you can really visually see the difference between your traditional shell voicings and your contemporary shell voicings. So now again, as we've been doing here today, we're going to bring the ensemble then we're going to play on the second rows twice, I'm going to play these quarter voicings, again as written on your lead sheet in your lead sheet. And again, not doing anything rhythmically fancy here I'm just playing the voicings. Second time through I'm going to play the melody of honeysuckle rose with these quarters shapes, okay. Now you may also notice in this lead sheet, measure five measure six, I'm using some two note voicings to note shapes. Reason being, as I'm having my right hand and left hand play nicely together. We have to make room for each other when playing the melody in conjunction with the voicings. So those are not typos those voicings are intentional those two note shapes Okay, so let's bring the ensemble in. Let's check out this classic standard honeysuckle rose using contemporary choral shell voicings here we go check it out.

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very very nice. I love these shapes. I love the traditional shell voicings as well I do not want you to begin thinking in any way shape or form. I don't want you to think traditional shell voicings old contemporary new void contemporary shell voicings new traditional shell voicings old outdated, useless, contemporary shell voicings new hip cool, wrong, wrong thinking, these shapes these sounds work beautifully together. Depending on the tunes you're playing in the situations you find yourself within those tunes. Again, you want both of these voicing types to be in your ears and under your fingers when playing jazz. Okay. All right. So with that being said, I want to take a look at skill six, our two-handed shapes. Now two-handed voicings. I don't want you to think this as well. A lot of times folks think that two-handed voicings are used exclusively for ensemble playing and that is a

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off the mark as well. These shapes are used for solo piano playing as much as they are for when you find yourself in an ensemble context. So today, I'm going to play them in an ensemble context, of course, I'm gonna bring the ensemble, and I'm going to play these two-handed voicings five notes, every shape five notes, two in the left, three in the right. Okay, that's how I approach playing them. Other jazz pianists may have a different model a different approach to playing two-handed voicings, that's fine. These are the way these shapes the sounds. It's how I approach doing it. So I'm going to bring the ensemble in, I'm going to play these two hand shapes.

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Just as again, written on your lead sheet, nothing fancy, I'm not adding any rhythmic variation. I then I'm going to continue to play these shapes. And I'm going to play the melody of honeysuckle rose the second time, but I'm actually going to use my muted trumpet sound, because I want you to hear it kind of in an ensemble setting, with an instrumentalist playing the melody and you copying, copying using these voicings in the background underneath the instrumentalist. So let's bring the ensemble back in let's listen to honey sucker rows first time through two-handed shapes only as written second time through two-handed shapes with trumpet playing the melody of honeysuckle rose so here we go This should be fun let's check it out.

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Very very cool and very, very fun.

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I love that. So okay, so we've looked at our block shapes and their inversions. We've looked at traditional three note shells, we've looked at contemporary choral shells. We've looked at two-handed shapes, two-handed voicings plot using all of them to play honeysuckle rose. And again, all of these voicing types you are going to eventually want to have under your fingers that are part of your arsenal when playing. I mix and match them all the time, constantly within the same song. Okay.

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So now that we've done all our voicing work, now I want to take a look at skill seven, skill eight skill nine

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scale 10 I do not have time to go through each of these today but I want to just talk about them briefly. Scale seven and eight is a look at chord scale relationships with the root being our entry point. Okay, ascending and descending chord scale relationships for each chord within honeysuckle rose, scale nine and 10 ascending and descending arpeggio motion again Root Entry. I would encourage you after you've practiced your scales, chords here, relationships and arpeggios for honeysuckle rose chord changes that honeysuckle rose with your with the root being the entry point, I would encourage you to utilize the same model and practice ascending and descending scale motion from the third from the fifth and from the seventh over the chord changes for honeysuckle rose and then do the same for the arpeggios launching from the third, fifth and seventh of the chord changes for honeysuckle rose. Again, these this approach is all part of our melodic workouts that we have been doing since the beginning of the year. Okay. All right. So now let's take a look at skill 11 lead sheet 11

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Here we have a solo written out for honeysuckle rose. And first thing I want to mention is that the Solo is 100% adheres to chord scale relationships diatonic movement 100% The Solo has does not utilize any notes that fall outside of the chord scale relationships so everything shakes hands, perfectly, theoretically perfectly. Okay, my point being is and why I do this is because I'm trying to illuminate for you how much playing how much how many great ideas that you can come up with and play using diatonic motion only. Only in fact, if you look at any transcribe solo by any great jazz musician, you will find that 80 plus percent of the Solo is made up of diatonic motion ascending and descending scale motion, ascending descending arpeggio motion. So I tried to illuminate that fact within the solos that I present to you. And I'm going to do that again here today with honeysuckle rose. Okay, so a couple of things I want to point out about the solar that you will find, number one, a lot of emphasis on 16th notes. That's really been kind of our focus this month in the key of E major in our workouts both harmonically and melodically is to really explore and study 16th Note movement. So you will see right there in the solo measure one measure to measure three Wow, we have 16th notes that we have to deal with groupings of 4/16 notes. You see it again down in section B measure one or Section B we have 16th notes again, and then look down as an in section D and measures one and two of Section D we have our 16th notes as sending 16th notes happening there as well. We also have quite a few of the other rhythms that we have dealt with in study throughout the year, we have quite a few eighth note triplets to deal with we have quarter note triplets to deal with we have eighth quarter eighth rhythms to deal with. We have eighth notes that are falling on the backside of the beat or on the up upbeat, you know, take a look in section B there you have in measure five of Section B, you have quite a few eighth notes that are falling on the backside of each beat. Right. So if you look through the solo, you're gonna see it's constructed using

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rhythms that we have been studying since the beginning of the year with all of our harmonic and melodic workouts. So now what I want to do is I want to bring the ensemble in. I'm going to play through honeysuckle rose three times I'm going to state the, the head the melody the first time through second time through I'm going to play I'm going to play the solo. And then the third time through back to play in the melody again, for voicings I'm going to use combinations of everything. I'm going to use some blocks I'm going to use traditional shells, contemporary shells and throw in some two-handed voicings in there as well. Okay, so this is going to be a lot of fun. This is one of the great standards again by Fats Waller, honey suckle row so let's check it out. See what we think. Here we go.

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How much fun is that? Right? A lot of fun, study the solo. Don't think that you have to play it in its entirety, I would encourage you to snap it apart into little fragments, practice some of those lines, some of those ideas, especially the ideas that appeal to you something that intrigues you understand it, conceptually what's going on, and then explore it physically. And then be bold enough to take that idea and begin making it your own, move it around to some different keys.

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Create some variations of the idea, right? So I don't want you to think that the idea that the goal here is that you have to play that solo from beginning to end as written. Know that the, the objective of the Solo is to actually illustrate illuminate for you all the various concepts in the rhythms, ascending, descending scale, motion, and ascending descending arpeggio motion to illuminate those concepts within the context of a solo so that you can begin utilizing those specific jazz piano skills to begin developing your jazz vocabulary, improvisation vocabulary that you will then begin using in the tunes that you play. Okay?

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Wow,

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you know what? I'm tired.

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I'm tired, I'm wrapping things up, man, it never fails. We always unpack a ton of information, every podcast episode and today, honeysuckle rose, no exception. So as I tried to do with every tune, study run, right, I want to model for you how to begin truly learning a tune, how to connect the what and how, and why of what you're practicing to an actual piece of music. In other words, how to the jazz piano skills that you are practicing translate to play in a two.

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I've mentioned this before. And I want you to think about this. If you're unable to apply your practice approach to the learning of tunes like we did today, I would say to you that you need to examine the what, why and how of your practicing. Alright, another way of saying this, is that if you do not see the jazz piano skills you are practicing in the tunes that you are playing,

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then you have a disconnect between the two, which is not good. You've heard me say this as well, many times, and on many different occasions that harmony and melody are the same. And indeed they are. I can also say that jazz piano skills and tunes are the same, as indeed they are. So I am saying that if if you do not practice jazz piano skills, this, this is what I'm saying. If you do not practice jazz piano skills, you will not be able to successfully play tunes. That's it.

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That can't be any more forthright than that.

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If you do not practice jazz piano skills, you will not be able to successfully play tunes. And hopefully, you're beginning to see that jazz piano skills and the jazz piano skills that you are practicing are indeed tunes and tunes are in the jazz piano skills.

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The only difference? One has a fancy name like honeysuckle rose, and one does not. So if you are beginning to see the jazz piano skills, that you're practicing as tunes and you're starting to see the tunes as the jazz piano skills you're practicing, then you are on the right track. Congratulations, you are on the correct path, your success is guaranteed. Now, I've said this in previous podcast episodes since the start of the year, and you know what it's it's kind of funny because we're, we're quickly approaching the end of the year. And I want to stress it again to you today that if you hang in there, if you've been hanging in there with me all year from January to now and you continue to hang in, hang in there with me to the end of the year, which is not far off, I promise you, you're gonna look back and you will realize that you have experienced a ton of jazz piano growth. And you will love where you are musically. Come the new year. Now, once again, I want you to encourage you to use these podcast packets, these illustrations and these lead sheets in the play alongs to guide you, right. As you've heard me say this over and over and over. I repeat myself a lot. But that you know, that's good teaching, right? I've said this over and over again as well. That conceptual understanding determines your physical development. So the time you invest in studying and mapping out your paper practice, I call it right, the time that you invest in studying and mapping out your voicings as ascending descending scale and arpeggio motion for various entry points. All of that is time very well spent. In fact, the return on your investment cannot be adequately expressed impossible. Finally, as always,

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it's maybe the toughest thing of all to do. Be patient. Developing mature professional jazz piano skills takes time. So began structuring your practicing after the plane demonstrations that I modeled for you today in this podcast episode, and you will begin to see you will begin to feel you will begin to hear your progress I guarantee it

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Well, I

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I hope you found this jazz piano skills podcast lesson exploring honeysuckle rose to be insightful and beneficial. Don't forget if you are an ensemble member jazz panel skills ensemble member I will see you online Thursday evening at the jazz piano skills masterclass at 8pm Central time to discuss this podcast episode. Exploring honeysuckle rose in greater detail and of course to answer any questions that you may have about the study of jazz in general. Once again, use those educational podcast packets. Don't forget about the sequential online jazz piano skills courses as well.

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They will maximize your musical growth. And also, don't forget, be an active participant in the jazz piano skills community. Get out there, get involved, contribute to the various forums, make some new jazz piano friends. As always, you can reach me by phone 972-380-8050 My extension here at the Dallas School of Music is 211 You can reach me by email, Dr. Lawrence. That's drlawrence@jazzpianoskills.com. Or you can use the nifty little SpeakPipe widget that is nestled in all the web pages found throughout the jazz panel Skills website to send me a message that way.

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Well, there is my

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that's it for now. And until next week, enjoy the classic jazz standard by the great Fats Waller, honey suckle rooms, and most of all, have fun as you discover, learn and play jazz piano!