Jazz Improvisation Exercises, B Altered Sounds

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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, I hope you have been enjoying playing the improvisational developmental patterns for the primary sounds of B. And of course, of course exploring the various fingering patterns that we have been working on since the start of the year that require a conscious shifting of our hand so that we play with a proper jazz articulation, and that we are constantly preparing the hand for continuous ascending and descending movement. It's not an easy task. And I've said it many times throughout this year, it's not an easy task at all. It takes a lot of commitment, serious commitment, endurance, patience,

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and a whole lot more to develop proper hand movement, in addition to nailing down all the correct chord scale relationships. So if you've been sticking to the program that we have been tackling since the start of the new year, a huge a huge congrats, you are a member of a very small group of determined people destined, as I like to say, to achieve jazz greatness. So let's keep creating forward motion. And tackle the altered dominant sounds this week for be altered dominant sounds referring to the sharp 11 sound, flat 13 sound, flat nine flat, 13 sound and of course, the fully altered sound, the flat nine sharp nine, flat five sharp five, we've done this process for C for F, B flat, E flat, A flat, D flat, F sharp. Now B, we're on the back side of the circle, working our way back to C. So today, you're going to discover essential jazz improvisation exercises you're going to learn develop developmental arpeggio and scale patterns of B altered sounds. And you're gonna play five arpeggio and scale patterns for the B dominant altered sounds of music, again, sharp 11, flat 13, flat nine flat 13 and the dominant fully altered.

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Wow. So as I always like to say regardless of where you are, in your jazz journey, a beginner and intermediate player to advanced player or even if you consider yourself an experienced and seasoned professional, you're gonna find this jazz panel skills podcast. This lesson exploring jazz improvisation exercises for be altered sounds to be very beneficial. But before we get busy before we dig in, I want to as I always do at the beginning of every jazz piano skills podcast, I want to welcome all new listeners. And if you are indeed new to jazz piano skills, I want to invite you to become a jazz piano skills member. Now there are various membership plans to choose from, so check out jazz panel skills.com To learn more about all the perks that come along with each membership. There are educational weekly podcast packets, a sequential online jazz piano curriculum which is loaded with comprehensive courses. There's an online weekly masterclass online interactive Fakebook private jazz piano skills community which you want to be a part of which engage of which host of a variety of engaging forums. Of course, there's unlimited private, personal and professional, educational support all of these perks. All of these benefits are, are waiting for you wanting to help you discover, learn and play jazz piano. So when you have a moment, check out jazz piano skills.com And of course, become a member. If you have any questions once you get there looking at the various membership plans. If you have any questions at all, please do not hesitate to reach out to me to contact me. I'm happy to spend some time with you and of course answer any questions that you may have. Okay, on to the question of the week. This week's

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Question comes from Diana Kisner. Diane is living in West Valley City, Utah, Diana writes, I have come across the word Polly chord in my jazz study. And it's a concept that, at least on the surface seems complicated to me. I am not sure of its value or purpose.

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I'm hoping you can validate why the concept is important or better yet, tell me why can forget about it and move on. Thanks for your help.

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To funny, Diana. Well, you're right. It is definitely a fancy shmancy word that can cause much confusion.

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On the other hand, the word poly chord sounds really cool, right? Especially, you know, throw it out to say it. When you're at a party, you'll sound really, really smart. So keep that in mind. Let me begin by talking to you about poly chords.

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And let me begin by just saying that

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they're nothing more than a crutch, right? Poly cords are nothing more than a crutch.

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To help you get your hands

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on a very specific sound.

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Right. In other words, poly chords are not an approach to playing.

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They're in the same camp, I'd like to think of them as being in the same camp as modes. I always stress to folks that modes are simply an academic explanation of a chord scale relationship. Well, poly chords. Poly chords is an academic explanation of a musical sound played harmonically.

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Poly chords, take two chords that you are familiar with,

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and instruct you to play them together at the same time to produce a different sound.

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I'll explain this in a minute here. But the bottom line is this poly chords is simply a crutch to help you get your hands on a harmonic sound. And once you know the sound, once you have the muscle memory in place to play the sound on demand, you can forget the word polygon pi chord forever, right. So let me give you some examples of poly chords. Let's begin with taking a deep triad D Major Triad.

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And let's put that D major triad on the top of C dominant seven, so we get this.

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Okay, so what we have here, from the bottom up C dominant seven, including the D Major Triad, we have the root, third 579, sharp 1113 It's beautiful sound, listen again.

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So that chord that I am playing is a C seven sharp 11 sound has the nine and the 13 included as well, but it's the C seven sharp 11 And I'm using a poly chord to help me get my hand on the shape playing the D Major Triad over my C dominant seven.

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Now,

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once I get familiar with that sound, once I get familiar with that shape of that poly chord,

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I can forget the word poly chord altogether. Because the whole point of the

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teaching the poly chord is to help you get your hands on a C seven sharp 11 sound. Okay, so you can invert that major triad in the right hand however you'd like.

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You can invert the third and the seventh and the left hand however you wish.

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No matter how you slice and dice it, it's C seven sharp 11 So the poly chord again is used as a crutch to help me get my hands my ears acclimated to a C seven sharp 11 sound. So you see Dinah how this is working how Polly chord is an approach is a crutch to help you get to a larger or different sound right? Another Another example would be if I play a C sharp minor and my right hand, C sharp, G sharp

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and let's put C seven underneath that.

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So now I get

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A C dominant seven now I have a with that C sharp minor triad, I have a flat nine, I have my third and I have my sharp five. Let's listen to that again.

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Beautiful. And again, I can invert that triad, however I wish in my right hand

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right.

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Beautiful. So a C sharp minor triad over C seven gives me a fully altered sound, which we're going to be exploring today, C seven, flat nine, sharp five. Now, if I take another triad, and typically poly chords are made up of a triad in the right hand,

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and a dominant chord in the left hand, okay, now, if I take an E flat minor triad, E flat, G flat, B flat,

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play my C seven underneath that.

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Wow, beautiful sound right. Now I have a C seven sharp nine flat five sound, another fully altered sound, listen to this again.

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Beautiful. And again, I can invert that triad however I wish. Another great example would be G flat major triad over C dominant seven. So

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another fully altered sound beautiful. So now I have a C seven, flat nine flat five. Again, I can alter that, I can alter that shape by inverting my triad and my shell in the left hand. Another example would be A flat major triad oversea seven

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beautiful, which ultimately produces a C seven sharp nine sharp five sound. And let me do one more for you, Diana, if I take an A major triad and play it oversee seven

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now I have a flat 913 Sound

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eautiful right. So the poly chord is taken a triad in my right hand placed on top of a dominant sound in my left hand to produce a different sound altogether. I like to when I was studying using poly chords to help me get my hands in shape my hands and ears on the sounds, I used to think of them as like fractions, right? So I'd write my, I'd do something like two

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over one and I would be treating the one I'd be thinking of the one as the primary dominant chord. So in this case, it would be C seven so I'm not talking harmonic function here, I'm just creating a little fraction, a little formula to help me keep up

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pa sound a poly chord combination and sound to help me keep it in check and organized. Right. So I would think to major over one dominant. And I would then think, you know, sharp, one minor over one dominant or flat three minor over one dominant, right these these are the combinations that that I just the examples that I just gave you. So all of that to basically say, you know, poly chords, again, just simply a crutch.

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To help you discover discover various combinations of chords shapes that you're already familiar with, get these shapes use these shapes in both hands, right to create a different sound. Okay? Again, once you're familiar with the shapes and sounds, the muscle memory, the aural memory, then you can forget the poly chord name altogether. And what I'm trying to say is that when I think of a C seven sharp 11 I do not think of it any longer. I do not think of it as D Major over C seven I did when I was learning it. But now I just think of it is C seven sharp 11 Right so I no longer think of it as a poly cord.

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So Diana, that's a lot of information very quickly. I'm not going to tell you to forget the poly cord approach or exercise because you may find it extremely helpful when studying upper and altered extensions of musical sound but I will once again I will tell you that

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you can use the poly chord approach to use it at once you have used the poly chord approach to learn a specific jazz shape and sound you can then feel free to forget the word poly cord all together. All right. And at that time, just refer to the sound with its formal and official name. See seven sharp

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11 C seven, sharp nine, flat five, etc.

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Well, I hope this helps Diana. And if you have any additional questions or if further clarification is needed, please do not hesitate to let me know, reach out to me, I'm always happy to spend some time with you and help you in any way that I can provide further clarification if needed.

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Okay, let's discover learn to play jazz panelists, let's get after these jazz improvisation exercises for the altered B sound. Okay, as I mentioned in previous podcast episodes, right, everyone,

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everyone struggles with improvisation initially, and more often than not,

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the struggle does not

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is not the result of a lack of talent or skill or theory understanding

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typically originates from poor fingering, right? And this is why we have decided to take this monumental task, this monumental journey on this year and devote the entire year to the study of improvisational patterns, melodic lines, and fingerings. Right. We set out on our journey in January to

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discover what what what constitutes good fingerings right, what what should we look for when establishing a fingering for certain musical phrase? And what should we what should we be trying to accomplish with our fingerings? And is there always a fingering option that that is better than all the other options? And what about that golden rule that we always hear about? Right? Especially if we've been trained with traditional piano lessons and classical lessons that that golden rule of never, ever, ever use a thumb on a black note to begin a musical lines? What about that is that is that for real? So the whole point of our journey this year, was, has been to establish definitive answers for these types of questions. And, and ultimately, ultimately, circumvent any type of fingering dilemma. In other words, we, we want to establish a simple, simplistic approach to fingering, right and of course, in doing so, establish unimpaired mobility for our right hand, and that unimpaired mobility for a right hand will allow us to easily play tones and easily improvise. Sounds good, doesn't it? Of course it does. Because deep down, you know, and I know that if you can get your right hand to easily move around on the keyboard, you'll be able to play the tunes you love and embellish them improvise, as you wish. In other words, you'll be able to play jazz.

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Again, this, this is the entire point, the entire objective of this entire year, right to simplify our fingerings to establish a fingering conviction that will allow you to begin successfully practicing and establishing fingerings for all 60 chords using typical jazz patterns, patterns that lies that we are similar lines that we come across and run across when playing tunes, bebop tunes, especially, and improvising. Alright, so and in doing so, right, this journey this year, we went to solidify a finger muscle memory that ultimately ultimately frees us up to think about things like musical expression, musical emotion, musical articulation, and of course, musical creativity. Right? We we do not want our fingerings to get in the way

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of us making music. So alright, let's get down to business. The educational agenda for today

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is as follows. Number one, we're going to explore jazz improvisation exercises for be altered sounds. Number two, we will play an essential be altered arpeggio patterns that you need to discover learn and play from the root to the 13th of the sound using various entry points, the root, the third, the fifth, and the seventh.

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Number three, we will play a central be altered scale patterns that you need to discover

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Learn in play again from the root to the 13th of the sound. And again using various entry points, root, third, the fifth, and the seventh.

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Number four, I will be playing all jazz improvisation exercises today using the B fully altered sound as our model. And number five, I will be playing all jazz improvisation exercises, as always using a traditional swing groove of 110. Now, if you are a jazz piano skills member, I want you to take a few minutes right now hit the pause button. I want you to access download and print your podcast packets, your illustrations, the lead sheets in the play alongs. Now again, your membership grants you access to all educational podcast packets for every weekly podcast episode. And as I mentioned, every week, you should be using these podcast packets when listening to this episode, of course, right. And you should be using them when practicing at the piano as well. So if you are listening to this podcast on any of the numerous, countless number of podcast directories that are out there, Apple, Google, Amazon, Spotify, iHeartRadio, Pandora, and the list of course goes on and on and on. Then be sure to go directly to jazz piano skills. podcast.com That's jazz piano skills podcast.com To download your podcast packets, and you'll find the act of download links in the show notes. Okay. And one final but very significant note that I mentioned every week that if you're listening right now, and you are thinking that the just jazz improvisation exercises for the be altered sounds, and the various skills that we are about to discover, learn and play. If you're thinking that wow, man, this stuff is way over my head, then I would say to you please, there, no worries, sit back, relax, breathe in, breathe out. Just continue to listen, that's it. That's all you got to do. Just listen, and grow your jazz panel skills intellectually by doing just that by listening. All right, every new skill is over our heads when first introduced, but this is how we get better now and forever. Right we place ourselves smack dab in the middle of conversations where we are hearing words that we have never heard before. And therefore we're forced, we're forced to grow intellectually, I say it all the time. All musical growth begins upstairs mentally, conceptually before it can come out downstairs physically in your hands. So all you have to do sit back and listen to this podcast lesson 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 your hands, I want to point out a few things before we get going. You will see that lead sheets one through four deal with arpeggio motion, while the sheets five through eight deal with scale motion. Now you'll also notice that the jazz improvisation exercises are the same for all four altered B dominant sounds sharp 11, the flat 13, the flat nine flat 13. And the fully altered flat nine sharp nine flat five sharp five sound. The exercises are of course modified to reflect the proper sound. Now you'll also notice that my suggested fingerings are included for every note of every exercise for every sound.

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Okay, so now you can as I mentioned, every week you can modify the fingering slightly, but be careful, right? These fingerings have intentional hand shifts built into them. So the hand gets used to moving. So the tendency may be to think well, I want to remove this hand shift. Yes, it might be easier initially to remove the hand shift but you will be working against the objective that we have set out to accomplish right. Some of these musical phrases are only a measure long and have multiple hand shifts. Alright, so just keep in mind that you may end up changing a finger and thinking it's simplifying things which really in the long run is either defeating our purpose or

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are making it more complicated in the long run. So I'm just saying Just be careful, right?

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Just throwing caution to the wind. Just be careful.

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Okay, now that you have your lead sheets in your hands, I want you to

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pull out lead sheet for skill four, and I want you to pull out lead sheet eight, skill eight. lead sheet four deals with the fully altered sound be fully altered.

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The flat nine sharp nine, flat five sharp five sound using arpeggio motion, while lead sheet eight, skill eight deals with the B fully altered sound using scale motion. Okay. So on lead sheet for scale four, you'll notice that we have five exercises A, B, C, D, and E, right five different patterns that are going to focus on the B altered fully altered sound. Now,

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the entry points that I mentioned earlier that we are using the root third five and seven.

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Very true, because if you look at your lead sheets for your may have sharp 11, flat 13, flat nine flat 13, those dominant sounds, you will see that we are launching from either the root, third, fifth and seventh. However, with the fully altered sound,

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we are at least I am in this modeling for you today. Launching from the flat nine of the sound, the third of the sound, the sharp five have the sound and the route. Okay, and you'll see that that will make more sense when you see it visually on your lead sheet.

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The fully altered scale is a wacky scale to write out, they use nomenclature tried to use traditional nomenclature, you end up with a whole lot of double flats or double sharps or natural signs and so forth. So it's easier when exploring the fully altered sound to actually build your entry points from one of the alterations, whether it be the flat nine, sharp nine, the flat five, or the sharp five. So I'm using today, the flat nine sound, and then moving in thirds from the flat nine. So we That's why you'll see on your lead sheet letter A their entry point is the note C. And then we have an entry point of the E flat which is actually D sharp, which is the third and entry point starting on the note G natural which is the sharp five. And then of course the entry point being the note B which is the root. I'm going to follow that format today. For both my arpeggio exercises lead sheet for skill four, and my scale exercises exploring the fully altered sound, lead sheet eight or skill eight. Okay. All right, so let's get started. Let's again lead sheet for skill for dealing with arpeggio motion. For the B fully altered sound exercise letter A, you'll see I have us sending simple arpeggio motion, from the flat nine of the sound from the third of the sound, the sharp five of the sound and the route of sound, straight arpeggio motion of for note phrase, a four note arpeggio, each one of these arpeggios, you can just see it in the fingerings. You can see there's a hand shift and each one of these patterns. Alright, so you do not want to play these arpeggios using 1235.

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No, you can. But again, you're defeating the purpose of our what our objective is here, right. So let's bring the ensemble in, I'm going to play the B seven. In fact, I'm going to use a poly chord when I'm playing my sound here at the at the at the start of the exercise and at the end of the exercise. So I'm going to be playing a B seven. And I'm going to be playing a C minor triad in my right hand so that C minor triad gives me a flat nine sound gives me the third and it gives me my sharp five sound. So how about that I'm using a poly chord combination when I'm playing my voicings up front to get into the exercise and at the back end of the exercise the end. So once I play the B seven fully altered sound for four measures to get into the exercise, I will play each arpeggio ascending four times. So I want to play with a nice relaxed feel

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I know the say exercises in the title, but I want you to play them as if you are playing an improvisational line or a melody of a tune. In other words, we want to be as musical as possible. Do not approach these as exercises. I know it says it in the name, but we want to be musical. So let's bring the ensemble in and let's check out letter eight here we go.

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Wow, awesome. Now I will say this,

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you may be hearing a lot of tension when you hear these patterns, these musical motifs and I will just say that, when we alter a dominant sound, we are in essence creating tension. That's the whole point of altered sounds, they create tension.

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We are then isolating that tension, this B seven fully altered sound is not coming from a chord, it's not resolving to a chord, so it's just floating out there. Okay. So when we take tension, and we just float it where it doesn't come, it's not part of a progression may be a little rough on the ears initially, right? But this is how we this is the best way to practice sound in the practice fingerings for that sound, is to isolate it. So just keep in mind that some of you may be listening and thinking, wow,

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this is hard for my ears to digest. Maybe So initially, but I promise you as you get familiar with these sounds, what what appears to be tension now we'll start to actually be the ears will start to actually go.

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That sounds pretty darn good. They will become acclimated to the sound, I promise. So, okay, so now on to letter B. Okay, now we're just going to play work off that same arpeggio motion that we just just did. But we're going to add a little contour to the shape. So it's not just a straight four note phrase. You'll see there in the pattern, we have a little contour and each one of these musical phrases from the from the flat nine off of the third off the sharp five and offer the route. So okay, same approach we're gonna play and be as musical as possible. So let's bring the ensemble in and let's check out letter B. Here we go.

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Nice.

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So now let her see one of my favorite patterns of all because it really forces the hand to move and you can see it in the fingerings. Right? Look at measure 1141421 The hand is shifting. And not only is it shifting, but you might find your thumb up on a black note on some of these patterns as well which is good for you.

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It's okay, your classical teacher is not here. It's okay. So let's bring the ensemble in and let's check out Letter C here we go.

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Right everything up to now has been

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eighth notes, right traditional eighth note phrases. But now letter D. As we have done all year, we have dealt with the eighth note triplet. The triplet of course is laced through all jazz literature. So we cannot escape it, we need to address it head on. So here's what we're doing, we're addressing it head on. So letter B deals with eighth note triplets for the entire phrase, more or less for each one from the, from the flat nine from the third from the sharp five and from the root. So be careful. Again, I'm playing these exercises today at the temple 110. I would encourage you to of course to play these exercises, especially as you're getting acclimated to the sound and working out the fingerings to play these exercises at much slower tempos, especially the eighth note triplet pattern here that we're about to play that I'm about to play letter D. Right? You always want to play at temples that allow you to succeed.

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Okay, and then gradually increase the tempo as you become comfortable with the fingerings and the pattern itself and the sound. So okay, here we go. Let's bring the ensemble and letter D dealing with the eighth note triplet. Letter D check it Out.

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All right, we are down to our final exercise today dealing with arpeggio motion for the B seven altered sound. So take a look at letter E, you can see our musical phrase now has gotten longer it stretches over the bar line and to measure to but our entry points stay the same. We keep those variables the same all the way through launching from our flat nine from our third from our sharp five and from our route. All right, pay attention to the fingerings we have multiple hands shifts taking place and each one of these phrases so just be careful. So let's bring the ensemble in and let's check out letter E here we go.

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All right, that concludes our arpeggio work for our B seven altered sound. So now let's turn our attention to lead sheet eight, skill eight. We have five additional exercises take a look at today. Again dealing with the B seven fully altered sound. But now we're incorporating and focusing on scale movement. Okay, why arpeggio and scale movement by the way. Those are the two ways in which all melodies move, scale and arpeggio motion. And melodies can only travel one of two directions, ascending and descending musical facts, right musical facts. So all my practicing, I'm always dealing with practicing specifically arpeggio motion, or scale motion, or some kind of combination, which we will get to later. But for right now we have ascending scale motion and letter A, again, keeping our entry points the same, the flat nine, the third, the sharp five, and the root. Again, I know it says exercises in the title but we want to be as musical as possible. Right? We want to be musical every time we sit down on the piano bench and when we're practicing so let's bring the ensemble and let's get the scale movement going and here we go with letter A. Check it out.

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You

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nice, I love it. I think I mentioned this. Every time we do these patterns do not

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rush over letter A for arpeggio motion or letter A for scale motion. Being able to play ascending or descending scale and arpeggio motion straight up straight down with great jazz articulation great feel

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is absolutely critical, right? So do not get excited and just only run through this one time and think okay, I'm done. Let's move on to letter B. Spend time with letter A for your arpeggio motion, spend time with letter A for your scale motion. You'll be glad that you did. Okay, so now let's take a look at letter B. We have our ascending scale motion, but just like we did with arpeggios, we're going to add a little contour to our line now. So you can see that right from the beginning we have a leap of a fifth and then descending scale motion followed by ascending scale motion. So when we create this little article, or this contour this ascending or descending ascending shape to our musical phrase, we have hand shifts in there of course to pay attention to our entry points though of course they the same. So let's bring the ensemble in and let's take a listen to letter B, the B seven fully altered sound here we go.

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Guys, all right, well, we had to deal with the eighth note triplet with the arpeggio motion. So of course, we're going to deal with the eighth note triplet with scale motion. So letter C does exactly that. Our musical phrase is getting longer with these triplets, we have 4/8 note triplets that stretches across the bar line to count one of measure two.

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I cannot stress enough really work through these fingerings there's a lot of hands shifting hand movement taking place. And again, I want to stress the importance of playing at temples that you are comfortable with that are going to allow you to succeed. So again, I'm playing at 110 today, but I encourage you to use your metronome or create a play along track at a slower tempo at 60 or 6570 75. We want to play with proper articulation and of course we want to be musical. So let's bring the ensemble in. Let's check out letter C. Here we go.

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tough, right? The eighth note triplet is not an easy pattern to play not an easy rhythm to play at all. But you'll get it, you'll get it. Alright, so on the letter D, we're back to eighth notes again, no eighth note triplets, but our phrasing or motif has getting longer. We have nice scale motion and got some contour in our scale movement. Of course, we have our hand shifts and our entry points of course, are remaining the same as well. So let's bring the ensemble back in and let's take a listen to letter D here we go.

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Nice Hard to believe, though, that we are now down to our final exercise for today. letter E, exploring the B seven fully altered sound. Again, our musical phrase just keeps getting a little longer, and shifts a little more intense. Right. So entry points, though, always remain the same we're dealing with and have been dealing with all day to day launching from our flat nine, our third, our sharp five and our route of our fully altered sound. So let's wrap this thing up with letter E. Let's check it out. And again, we want to be as musical as possible when playing these exercises. Right. So here we go. Check it out.

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Wow.

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I said every week man, I'm like running a sprint to get through everything within an hour and today's no exception right we have unpacked a ton of information in one very short and very fast hour. Now even though I played the jazz improvisation exercises today using the fully altered sound as the model, I want to stress to you the importance of practicing the exercises for the dominant sharp 11, the flat 13, and the flat nine flat 13 sounds as well. They're all laid out for you in your lead sheets podcast packet with fingerings included. Now remember, you can like I said earlier, you can modify the fingering slightly to suit your hand but but do not be eliminating hand shifts, because you think it's going to make things easier. Ultimately, it will make things more difficult. And of course it will defeat the purpose of what we've set out to achieve here our objective right? You have a ton to tackle this week, no doubt so use your practice time wisely. And next week of course, we will explore the head of a bebop tune right closely examining the various melodic shapes and fingerings of a classic tune as well. Okay.

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As always, always be patient. Developing mature and professional jazz piano skills takes time. In fact,

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another thing most professional pianists will tell you it takes a lifetime. So begin structuring your improvisational development after the plane demonstrations that I modeled for you today in this podcast episode this podcast lesson and I guarantee it, you will begin to see feel and hear your progress. Well I hope I hope you have found this jazz panel skills podcast lesson exploring jazz improvisation exercises for be altered sounds to be insightful, and of course to be beneficial. Now don't forget if you are a jazz piano skills ensemble member I'll see online Thursday evening at the jazz panel skills masterclass that's going to be held at 8 pm Central time to discuss this podcast episode lesson exploring jazz improvisation exercises for the B altered sounds in greater detail and of course answer any questions that you may have about the study of jazz in general. Again, be sure to tap into your educational podcast packets, your illustrations, your lead sheets, your play alongs for this podcast lesson, and also tap into the jazz piano skills curriculum, the courses, they will help you maximize your musical growth. And you know what makes sure that you're an active participant in the jazz piano skills online community, get out there, get involved, contribute to the various forums, make some new piano friends jazz piano friends, always a great thing to do. Do not be shy. Now. You can always reach me by phone 972-380-8050 My extension here at the Dallas School of Music is 211 That number again is 972-380-8050 extension 211. Or you can reach me by email Dr. Lawrence, that's drlawrence@jazzpianoskills.com. Or you can use the nifty little SpeakPipe widget that that is nestled in on every single page of the jazz piano skills website.

59:16  
Well, there is my cue!

59:19  
That's it for now. And until next week, enjoy the jazz improvisation exercises be altered sound and most of them most of all, have fun as you discover, learn and play jazz piano!