Jazz Improvisation Exercises, Db 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. It's always a great time right to discover, learn and play jazz piano. And I hope everyone's been enjoying playing the improvisational patterns for the primary sounds of D flat and of course exploring the various fingering patterns that require a conscious shifting of the hand to establish proper jazz articulation and to prepare your hand for continuous ascending and descending movement across the keyboard. Not an easy task, right. As I said all along, it takes a serious commitment,

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tons of endurance, tons of patience to develop proper hand movement. Alright, in addition to nailing down the correct chords, get relationships. Wow. So if you are sticking to the program I mentioned this few weeks ago, if you are sticking to the program that we have been tackling since the start of the new year, wow, a huge congratulations, you are a member of a very small, very small and determined group of people destined to achieve jazz success. Alright, so today we're going to keep cranking, then we're going to move forward and tackle the altered dominant sounds for D flat, sharp 11, the flat 13, the flat nine, flat 13. And of course, the dreaded fully altered sound, the flat nine sharp nine, flat five sharp five, I say dreaded, but I mean that in a very good way, right. It's a great sound. It's my favorite sound. So you know, just as we've done, we've done this process. For all for C for F or B flat for E flat for a flat, we're just working our way around the circle of fifths. So today you are going to discover essential jazz improvisation exercises. And you're going to learn developmental arpeggio and scale patterns of D flat altered sounds. And you're gonna play five arpeggio and five scale patterns. For the D flat dominant, altered sounds of music, again, the sharp 11, the flat 13, flat nine, flat 13 and the dominant folly author. So as I always like to say right, regardless of where you are in your jazz journey, you may be a beginner and intermediate player or an advanced player, you may be a seasoned and experienced professional. Regardless of where you are, you will find this jazz panel skills podcast lesson exploring jazz improvisation exercises for D flat altered sounds to be very beneficial. But before we dig in, I want to as I do at the beginning of every podcast episode, I want to welcome new listeners to the jazz panel skills podcast and if you are indeed new to jazz piano skills, I want to personally invite you to become a jazz piano skills member. There are various membership plans for you to check out and to choose from so visit jazz piano skills.com To learn more about all of the various membership plans, and the perks associated with each one. There are educational weekly podcast packets, illustrations, lead sheets and play alongs. There's a sequential jazz piano curriculum loaded with comprehensive courses available as well. Online weekly master classes online interactive Fakebook, a private jazz panel skills online community, which hosts a variety of engaging forums. There's also unlimited private, personal and professional educational support available. All of these perks are available and waiting for you wanting to help you discover learn and play jazz piano. So when you have a moment, visit jazz piano skills.com and become a member. Of course if you have any questions once you get there and you're looking over the membership plans, please do not hesitate to reach out to me contact me I'm happy to spend some time with you and answer any questions

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ones that you may have. Okay, so now let's get to the question of the week. This question comes from Luke Getty, living in Akron, Ohio. And Luke writes, I've been playing the piano for many years now. And I find myself practicing my scales. The same way day after day, week after week, month after month, and year after year. I tend to think I'm pretty typical when it comes to scale practice, and that I practice my scales 123 and four octaves straight up and straight down. I've gotten pretty proficient at playing scales, primarily major scales, but have become quite bored with playing them the same old way every time. Right? Can you share some of the ways patterns that you used when you used to practice scales? Wow. All right. Great question, Luke.

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The very first thing I want to say is that I am more than happy to share with you some of the scale patterns that I use when practicing scales. Yes, when I practice scales yet, to this day daily. In fact, I tell students all the time, get used to and get comfy with practicing scales and arpeggios because you're going to be doing it for the rest of your life. And when you think about it, it only makes sense that scales and arpeggio practice

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would be a lifelong endeavor. Because after all melodies, right, regardless of the genre, are made up of ascending and descending scale and arpeggio motion. Therefore, the better. The more comfy. You become with scales and arpeggios, the better the more comfy, your song plane becomes. Make sense.

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So with that being said, it is also important to realize that melodies

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do not comprise a scale and arpeggio motion that just simply goes as you put it, loop that straight up and straight down. And, and melodies don't typically span two, three or four octaves either. So I think and I strongly suggest that your scale and arpeggio practice should always mimic should always be done in such a way that emulates how music how melodic lines are typically constructed, whether those lines are constructed,

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compositionally, or improvisationally. Right? Now, this is not to say that you should stop practicing your scales straight up and straight down. Right, I practice scales straight up, and straight down right as well, but in much smaller geographical regions than you do, Luke, you've been you've been if you've been following the podcast for a while you know that I am a huge believer in always determining a specific entry and destination point

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of every scale that I want to practice, right when practicing scales. I love to use the root, the third, the fifth and the seventh as my entry points.

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And I always select a destination point based upon specific distance that I want to travel. Now the distance may be the distance of a fifth, maybe a seventh and ninth 11th or even a 13th. But regardless of the distance, I am never traveling beyond two octaves and ever, which isn't, which is not necessary for me to improve my technique skills not at all.

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So all of this is to say that the first thing I would suggest for you to do look, the very first thing is to make sure that you are not always practicing your scales,

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launching from the root.

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The ultimately, scaling our pitch to practice should make you root independent. Right? This kind of practicing alone. This kind of practicing alone becoming route independent, will breathe new life into your scale practice. Moving away from the root, thinking, a distance to travel between the root and the 13th of a sound, actively engages your ears and all of a sudden, all of a sudden scale practice ceases to sound like scale practice and begins to sound

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On more like melodic lines. So loop continue to practice scales straight up and straight down. Using different entry and destination points get away from playing root to root.

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Okay, we're all taught to play scales in this way. And honestly, I'm not a fan. I'm just not a fan very little, if any true representation of how music melodic lines are composed, and or improvised, are, are represented in plain scales in this manner. Right. So, and certainly, there's no AirTrain benefit at all, traveling from root to root. So likewise, be sure to practice your dominant minor half diminished and diminished scales as well just don't stick with the major sound, practice the scales of the other primary sounds that we have in music and that we've been dealing with all year, right, in addition to your major scales.

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So Alright, so now let me share with you four patterns that I continue to use to this day. When practicing scales. In fact, I should do an entire podcast episode focusing on various scale patterns that I use, but let me just briefly go through these four that that I tend to use frequently when practicing my scales. Okay, the very first pattern I used

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are triad shapes when practicing scales. So I will travel again my entry point, if my entry point is the route I'm going to travel to the seventh

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using triads and the very first thing I do is I play these shapes that I'm going to move through the sound of the scale, I play these shapes, harmonically. So I'm using a C minor sound, here's a C minor triad, followed by a D minor triad, followed by an E flat major triad, which you know, of course, the E flat major triad upon top has the note B flat, so my scale

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root, the seven, C minor, try it, try it, E flat major, try it. So I'll just simply play that's the scale using those shapes. So sounds something like this.

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Right, just moving from the route up to the seventh using triad shapes. Now, if my desk entry point changes, maybe I'm going to go third to the ninth using the same idea. So I'll practice first, the pattern harmonically E

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to F major to G.

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So I got my C minor sound, but I'm starting on the third

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work my way. Now when I turn that in the melody, it sounds like this.

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Again, right, and I will move it to the entry point of the fifth entry points is seven. So I'm taking these triads these harmonic shapes that are found within the scale. And I'm practicing us ascending and descending using these triad shapes.

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The second way I like to approach scale practice is just playing in thirds, thirds, again, from the root to the seventh, my entry point being the root, my destination point being the seventh. So again, with C minor, I'll just practice those thirds harmonically first.

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Right to put the chord underneath it, now I turn it in the melody

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and then come down.

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Right, if I have a backing track or a play along that I'm using, I might put a like a nice swing groove on there and get something like.

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Something like that. And again, I'll change my entry point out. I'll go from the third to the ninth or the fifth to the seventh, using us ascending and descending thirds, again, coming from the scale, all right.

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Number three, cyclical quadruplets. Okay, and I have the first set of cyclical quadruplets is what I call the step skip sequence, right? So step, meaning that I'm playing scale motion first, like from the root to the third.

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And then returning to my C with arpeggio.

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motion down to the sea.

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Now I'll go to the third of the scale.

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Now the fifth of the scale.

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So have three cyclical quadruplets, one off the root, run off the third one off the fifth. And I put my cord underneath it

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again, ascending, descending, I have very specific target notes within my region of sound, from the root to the third to the fifth. That would be pattern number three. And again, I would, I would move this the cyclical quadruplets, from the third to the ninth, from the fifth to the 11th, from the seventh to the 13th.

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scale pattern number four is another cyclical quadruplet. But reversing it, instead of doing step motion, followed by a skip, I'm going to do skip followed by step. Right, so now I get this.

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So I'm leaping from my root to the third.

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And descending back to my root using scale motion, that I jumped to my third and I do the same thing.

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And then my fifth.

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So when I put it all together, I get

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again

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those four triads, thirds, cyclical quadruplet,

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using step followed by skip sequence, and cyclical quadruplets, Skip, followed by a step sequence, right? Moving it through a specific region, the sound either from the root to the seventh, third, to the ninth, fifth to the 11th, seventh to 13th. Right, you see that I use that format. I'm going to be using that format today. Been using that format really all year long, when practicing my scales, and demonstrating the various improvisational patterns that we're about to explore again today. So Luke, great question. I hope these ideas breathe some new life into your scale practice. And of course, if you have any questions, do not hesitate to let me know I'm happy to spend some time with you and, and provide further clarification is needed. And you know what, I think it will make a good podcast episode here in the near future to spend some time going over various ways in various patterns to use to practice scales other than as you said, Luke, moving straight up and straight down. Okay. Let's discover learn play jazz piano, let's get after these jazz improvisation exercises. For altered D flat dominant sounds, as I mentioned in previous podcasts that back several times that students struggle with improvisation more often than not, because of poor fingerings. It's not because of a lack of talent, lack of skill. It's not because of a lack of theory familiarity, but just simply due to immobile hands resulting from poor fingerings. And this is exactly why we have been devoting this entire year

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to this devoting our time to this issue, right, and trying to answer some very important questions like what constitutes good fingerings? What should we look for when establishing fingerings? For a certain musical phrase? What should we be trying to accomplish with our fingerings? Is there always a fingering option that will reign supreme right over other options? And of course, the golden rule of fingerings, right? Do we do we really, really, truly try to avoid our thumb on using our thumb on a black note or launching a musical line with our thumb on a black note, right. So the whole point, again of our journey this year is to establish some definitive answers to these types of questions. And to circumvent any type of fingering dilemma that we may have that is holding us back from developing mobile hands to allow us to easily move around the keyboard and to improve our improvisational skills. Right. So all of this of course, sounds fantastic. Because deep down you know, 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 and you'll be able to improvise and embellish them with with your musical ideas you'll be able to play jazz in and this is the entire

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Boy, right? This is the objective of this podcast episode. And certainly this is the the objective that we have, that we've set out to achieve from the start of the year, right? We want to simplify our fingering approach. We want to establish a fingering conviction, if you will, that will allow us to begin successfully practicing. And establishing fingerings for all of our scales for all of our arpeggios are 60 chords using various patterns like the patterns I just shared? Following Luke's question, and in doing so, we solidify muscle finger muscle memory that ultimately, ultimately, this fingering good fingering. Muscle memory ultimately frees us up to think about musical expression, musical motion, musical articulation, musical creativity, so it's exciting. So with all that being said, let's get down to business. Today's educational agenda is as follows. Number one, we are going to explore jazz improvisation exercises for D flat, altered sounds. Number two, we will play essential D flat altered arpeggio patterns that you need to discover learn and play from the root to the 13th of the sound using a root, third, fifth and seventh entry cheese. Have you heard that before. Number three, we will play essential D flat altered scale patterns that you need to discover learn and play from the root to the 13th of the sound using a root, third, fifth, and seventh entry. And number four, I will be playing all jazz improvisation exercises today using the D flat seven fully altered sound. And number five, I will be playing all jazz improvisation exercises. As always, for right now at least using a traditional swing groove nice and relaxed 110 at a tempo of 110. So if you are a jazz piano skills member, I want you to hit the pause button right now I want you to take a few minutes to access, download and print your podcast packets, the illustrations, the lead sheets and the play alongs. Again, your membership, your membership if you have a trail membership or above, your membership grants you access to all the educational podcast packets for every weekly podcast episode. And as I mentioned every week, you need to be using these podcast packets he needs that need to have them in your hands when listening to this episode. And of course, you need to have these podcast packets sitting on your panel at home and practicing 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 and on and on. Then be sure to go directly to jazz piano skills. podcast.com That's jazz piano skills podcast.com to access to download your podcast packets, and you will find the active download links in the show notes. One final but very significant message that I include in every episode.

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If you are listening to this podcast episode right now then listening to the jazz improvisation exercises for D flat altered sounds and you are thinking that hmm, these skills that we're about to discover, learn and play are way over my head. Then I would say to you, that's okay. Relax, sit back. Breathe in, breathe out. No worries, just continue to listen and continue to grow your jazz piano skills intellectually, just by listening. That's it. Just listen. Every new skill is over our heads when first introduced right? But this is how we get better. And we have to place ourselves right smack dab in the middle of conversations where we are hearing things that we have never heard before. We are hearing words that we have never heard before. And in doing so we are forced to grow intellectually. And I say it all the time that musical growth begins upstairs mentally conceptually first before it can come out downstairs physically in your hands.

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Right. So, if it's confusing upstairs, it will be confusing downstairs. So simply listen to sort things out conceptually. Listen first to discover and learn. The play, as it always does, will come in time, I guarantee it. Okay, now that you have your lead sheets in front of you in your hands, I want to point out a few things, you will see that lead sheets one through four deal with arpeggio motion, lead sheets, five through eight. Deal with scale motion, you'll also notice that the jazz improvisation exercises are the same for all for altered D flat dominant sounds. Same exercises for the sharp 11, flat 13, flat nine, flat 13. And of course, the fully altered flat nine sharp nine, flat five sharp five sound. The exercises though, of course, are modified to reflect the proper sound. You will also notice that my suggested fingerings are included for every note of every exercise for every sound. And of course, you can modify the fingering slightly. But as always Be very careful. Remember, fingerings are what allow us to play with proper jazz articulation. And these fingerings have intentional hand shifts built into them, right built into them. So you may be inclined to change the fingerings because you think Wait a minute, can remove this hand shift and will be a lot easier. You think that but you're actually defeating the whole purpose of what we're trying to accomplish here by doing that. So just be careful with the fingerings you can make slight modifications, however, just keep in mind that your ease here may actually just end up making it harder for you to play with proper jazz articulation, and failed to accomplish the objective that we've set out to achieve. So I'm just throwing all that out to you, you know, caution to the wind here, right, just be careful.

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Okay, let's dig in.

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I want you to grab lead sheet for scale for and lead sheet eight, skill eight. These lead sheets deal with the fully altered D flat dominant sound. skill for deals with the D flat altered sound using arpeggio motion, skill eight deals with the D flat seven altered sound using scale motion. Now

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all of you know the D flat fully altered scale

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is

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a very strange scale to try to notate to try to write out to write using music.

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Typical music nomenclature, it gets very confusing with, you know, double flats, especially in these keys, right double flats and natural signs and so forth. So, I've been wrestling with how to best approach this altered sound throughout the entire year. And I think I think I have it solved here. So you'll notice right away, our entry points have now changed, I typically use the root, third, fifth and seventh. But you'll notice that the first entry point that I'm using is the flat nine, then I'm using the third, then the sharp five entry, and then the root entry in that order. In other words, what I'm doing is I'm building my patterns, my shapes built on launching from the altered one of the altered sounds, I've chosen to use the flat nine of the launch from the flat nine sound. With my demonstrations today, I could very easily done this launching from the sharp nine sound, or the flat five sound or the sharp five sound. Okay, and I'm going to talk and discuss this in more detail in the master class on Thursday evening, as to why I'm doing it this way. But it keeps things I think really clean notation wise. And I think it's even a better way to approach dealing with the altered sound. When we put our focus on launching from either one of the altered primary altered sounds the flat nine, the sharp nine or the flat five or the sharp five. In this case today, we're launching always from the flat nine. So you'll see their pattern one letter A, we have our D flat seven fully altered sound. I'm launching with a D natural which is the flattened

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Nine, going to the third going to an A natural, which is a sharp five, and then the C sharp, which is really the D flat, which is the root. But you see how it looks normal to the eyes as you're looking at the lead sheet. You know, it just looks right. And even more importantly, even sounds great, because we're launching we really incorporating these altered sounds, these altered nines and altered fives into our arpeggios. So with that being said, I'm going to bring the ensemble and keep in mind that the altered fully altered sound, right? There's a lot of tension, and we're isolating this sound. So it's not resolving anywhere, right. So it's not coming from some court and it's not resolving to a court. So we've intentionally taken this sound that is packed with these alterations that create tension, that's what alterations do, they create tension. And that tension ultimately wants to resolve. However, when we're practicing it, we've isolated this sound, so it's not resolving anywhere. So some of you, your ears might be going, Whoa,

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this doesn't sound good. And others who are familiar with the sound might be going like wow, this sounds awesome. So just keep that in mind. So I want to bring the ensemble in. Let's listen to letter a word skill for lead sheet four. I'm going to play through each arpeggio watching from the flat nine, the third, the sharp nine, a sharp five, I'm sorry, and the route just as notated four times each. Let's check it out and then we'll go from there here we go.

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Sing I think that sounds awesome.

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I love it. This is This is fabulous. And I think this is a great way to approach this altered fully altered sound. So now if you look at letter B, we're going to use the same entry points flat nine as our first entry point, the third and the sharp five and then the route. Okay, and our arpeggio now instead of just being a straight ascending arpeggio, we get a lot of contour to our shape. So we have a little

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Wow, sounds starting sound a little more improvisational, but we have our hands just in there pay careful attention to these fingerings. Even with these short little motifs, we have the hands shifting and getting used to moving across the keys right. So let's bring the ensemble back in and let's listen to letter B. Here we go.

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See, by now your ears may be adjusting to this fully altered sound, and actually may be enjoined. And I hope so it's a great sound, especially as I mentioned earlier, especially when it comes from, say, a two chord to this fully altered five chord resolving to the one chord. It's just, it's gorgeous. So when we practice it however, as we do with every skill, we tend to isolate that skill, isolate that sound, and practice it and in doing so, with the altered sounds, it can be, it can be tough to digest orally when you first start doing this kind of practice with this scale. So now if you look at letter C, again, same entry points flat 9/3 sharp five route, okay, now we have even more contour to our lines and the line is such that we have to have to be shifting our hands and even at times, maybe find ourselves with our thumb, launching with our thumb on a black note with the Root Entry, just FYI that root entry in our last motif so let's bring the ensemble back in follow along with your lead sheet circle make note of those hand shifts there in your lead sheet and let's listen to this and see what we think here we go.

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Okay, on to letter D and guess what, as always, eighth note triplets, we have to have eighth note triplets in here somewhere right as as we do every month in dealing with our primary and altered sounds. So, here we have our eighth note triplets. Again, same entry points, flat 9/3, sharp five, and then finally the Root Entry. So let's, as always bring the ensemble back in. Always good idea to circle those fingerings where the hand shifts are taking place. And let's follow along and listen to these eighth note triplets. Again launching from the flat nine, the third, the sharp five, and the root. Here we go.

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All right, we are down to our final motif using arpeggio motion for our D flat, fully altered sound letter E. And again, we're sticking with our same entry points, right, flat, 9/3, sharp five, and root. And once again, I mentioned this earlier, if we, we could do the same process with our entry point, our initial entry point being the sharp nine, instead of the flat nine, or the flat five, or the sharp five. Of course, I only have time today in this podcast episode to zero in on launching from one of the alterations, and I've chosen the flat nine. So letter E, we have the flat nine entry followed by the third entry, followed by the sharp five and then the route. Okay, back to eighth note, eighth note motif that stretches into the second measure. So our ideas just keep getting a little bit longer right. But again, we have plenty of hands shifting taking place to create hand mobility, and to develop good muscle finger memory. So let's bring the ensemble in and let's check out letter E here we go.

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All right on to scale movement scale motion. So grab a lead sheet eight skill eight, we have five patterns that we are going to deal with again here using scalar motion. And again, the entry points are going to be the exact same, we're going to launch from our flat nine from our third from our sharp five and from our root. Okay, and as I did with the arpeggios, I'm going to play each melodic motif a couple of times four times before moving on to the next one, right. So you have plenty of time to make any notes on your lead sheets with regards to the fingerings or any personal notes that you want want to make that will help you as you return to these patterns for practicing at home. So let's bring the ensemble and let's kick things off. We're just going to use straight ascending scale motion for letter A

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From each one of our entry points flat 9/3 sharp five the route so here we go let's check it out.

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So now on to letter B and just as we did with the arpeggio now our, our scales are going to have a little bit more contour to the shapes right, so still scale motion but we as we continue to add a little bit more contour, so letter B

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right, so let's bring the ensemble in and let's listen to letter b Of course we're staying with the same entry points right we have our flat nine we have our third sharp five and our route All right, so here we go check it out.

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Well if we had to deal with the eighth note triplet with arpeggios, we're going to deal with eighth note triplets using scale motion.

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So look at literacy. And you're going to see a lot of repetition in the fingerings a lot of hand shifting, but a lot of repetition in the fingerings. In fact, I think you're when you sit down to actually practice literacy. With these eighth note triplets, I think you're going to actually enjoy how you sound using these fingerings. So let's bring the ensemble in. Let's listen to our eighth note triplets with a flat nine entry. Third, sharp five and Root Entry. Okay, here we go. Let's have some fun

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As you know, each of these melodic motifs I tend to stretch the motif into a longer line with the arpeggios and the same with the scales. And so you can see there that with those eighth note triplets, we just we just completed, we stretched across the bar line and the measure two and letter D and letter E will continue to lengthen as well. So taking a look at letter D, we're back to eighth notes. Again, a straight eighth note motif. But our entry points as always will remain the same our flat nine, our third, our sharp five, and our root. Alright, so pay careful attention to the fingerings as always, and let's have a little fun with letter D here we go.

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Alright, so we are now approaching letter E, our last scale improvisational exercise for the D flat seven altered sound with our flat nine entry, third entry sharp five and our root entry. I think you're going to find as you practice this scale this sound this pattern with changing our entry points just due to the nature the quirkiness of this scale, when you try to the sound when you try to use traditional music nomenclature. To notate it, I think you're gonna find that you see this sound easier, you hear it easier. And of course, you play it easier, because we've shifted our entry points to focus on launching always from one of the altered sounds the flat nine sharp nine, the flat five of the sharp five. Today, as I mentioned earlier, I'm watching everything from the flat nine, I'm building our entry points off of the flat nine. Okay, moving in thirds from the flat nine. That's why we're going from the flat nine to the third and the third takes us to the sharp five. The sharp five takes us to the to the root, moving in thirds, right launching from the flat nine. So let's attack our last motif our last and privacy

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Additional wind today which again eighth notes and again stretches across the bar line to count to have measure to so here we go let's have some fun with letter E.

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All right, we did it right we did it we attack the altered, fully altered sound today for D flat, which in and of itself can be kind of intimidating when you first hear it right D flat seven fully altered sound flat nine, sharp nine, flat five sharp five. But I think we've done it in such a way that's going to allow us to approach the study of the fully altered sound moving forward in a much easier and simplistic way. And of course we'll talk all more about all of this in the Thursday evening masterclass. Well, we have done it again, we have unpacked a ton of information in one very short and very fast hour. Now even though I play the jazz improvisation exercises today using the fully altered dominant sound only. Be sure to practice these exercises for the dominant flat for the sharp 11 for the flat 13 And for the flat nine flat 13 sounds as well. Right They are all laid out for you in your lead sheets podcast packet with fingerings included. And remember you can modify the fingerings slightly, but be careful. Alright, just be careful. You have a ton to practice this week. Right so use your practice time wisely. Next week we will explore another bebop tune right closely examine the various melodic shapes and their fingerings found within the tune itself. Once again, I want to encourage all of you jazz panel skills members out there use your podcast packets specially this week. With the fully altered sound and the various the different entry points that we are using right? Use your illustrations to help you get the sounds sorted out conceptually and of course there are play alongs for you to use when practicing as well, right? These are educational tools that will help you gain a mastery of the sound of this jazz panel skills not only conceptually, physically but musically, right and always most importantly be patient. Developing mature professional jazz piano skills always takes up a lot of time. So begin structuring your practicing your improvisation development after the plane demonstrations that I modeled for you today in this podcast episode, and I guarantee it that you will begin to see feel and hear your progress. Well I hope you have found this jazz panel skills podcast lesson exploring jazz improvisation exercises for D flat altered sounds to be insightful and to be beneficial. Don't forget if you are jazz panel skills ensemble member. I'll see you online Thursday evening. We have a ton to talk about during the masterclass that's going to be 8 pm Central time to discuss.

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Wow, this podcast episode lesson in detail in a course to answer any questions that you may have about the study of jazz in general. If you have any questions between now and then you can always

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reach me by phone. My number here at the Dallas School of Music 972-380-8050 My office extension is 211 if you prefer if you prefer to reach out using email my email address is Dr. Lawrence drlawrence@jazzpianoskills.com. Or you can use the nifty little SpeakPipe widget that is literally nestled on every page and every page at the jazz panel Skills website

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will help there is my cue. That's it for now. And until next week, enjoy the jazz improvisation exercises for the D flat altered sound. And most of all, have fun as you discover, learn and play jazz piano!