Key of A Major Harmonic Workout

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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 everyone enjoyed listening to the interview last week with Ron Drotos. And I hope you all had fun wrapping up loose ends in the key of E major. Because today we are moving on. So today you are going to discover key of A major harmonic workout. And you're going to learn how to think with in the key of A major harmonically. And you're going to play essential jazz piano voicings, block chords traditional and contemporary shales, two-handed shapes using common harmonic motion, plus various rhythmic comping patterns focusing on the dotted eighth 16th Note rhythmic pattern. So always, I always like to say regardless of where you are in your jazz journey, a beginner, an intermediate player, an advanced player, you even if you think of yourself as an experienced and seasoned professional, you're gonna find this jazz panel skills podcast lesson, exploring a key of A major harmonic workout to be very beneficial. But before we jump into the key of A major harmonically, I want to take a few minutes as I do at the beginning of every jazz panel skills podcast episode to welcome new listeners. And if you are indeed a new listener to the jazz panel skills podcast if you are new to jazz piano skills, I want to welcome you and personally invite you to become a jazz piano skills member. All you have to do is visit jazz piano skills.com And once you arrive at the homepage, you can begin to poke around a little bit and explore all of the jazz educational resources and materials in the services that are available for you, ready for you to use to help you significantly improve your jazz piano skills. For example, all jazz piano skills members have access to the educational podcast packets, the illustrations, the lead sheets, the

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play alongs these are educational materials that I develop, produce and publish every single week for every weekly podcast episode. And you're going to want to have these podcast packets the illustrations will lead sheets into play alongs in your hands as you listen to this podcast lesson. And you're certainly going to want to have these educational podcast packets sitting on your piano when practicing. Also as a jazz piano skills member you have access to the sequential jazz piano curriculum. This is an online curriculum loaded with comprehensive courses, all of them using a self-paced format. There are educational talks for you to enjoy interactive media to test your conceptual skills and understanding video demonstrations and all 12 keys of the jazz piano skills being taught, play alongs and much more. You also as a jazz piano skills member have a like I like to say a reserved seat in the online weekly master classes, which are in essence, a one-hour online lesson 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 jazz standards from the Great American Songbook; you'll be able to enjoy the chord changes, harmonic function lead sheets, play along files, historical insights there, inspirational recordings and much more. It's an ever-growing collection of tunes that you should absolutely discover, learn and play. You also as a jazz panel skills member have access to the private online jazz panel skills 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, of course, will have access to all of them, and you will be able to contribute to them as well which I strongly encourage you to do. The whole point of the forum's is to share, engage and of course, grow. And last but certainly not least, you have access to unlimited pry. Have it 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 the wonderful educational opportunities that await you, and how to easily activate your membership. Now, there are several membership plans to choose from, and I'm quite certain there is one that is perfect for you. But nevertheless, if you get there, you're poking around, you have some questions, please do not hesitate to let me know, please do not hesitate to reach out. I'm always happy to spend some time with you answer any questions that you may have, and to help you in any way that I can. Okay, let's discover, learn and play jazz piano, let's get after this key of A major harmonic workout. All right, as all of you regular listeners know, I go through this little routine every time we begin our exploration of a new key at the beginning of every month. And of course, I'm gonna go through it again today, simply because it's tradition. After all, it's tradition. And I love doing it. It's fun. So are you ready, I want you to encourage I want to encourage you to the site along with me as I do this, right? The Keys of C, F and B flat are over. The Keys of E flat, A flat, D flat over the keys of G flat, B and E are over. It's time to move on. It's time to move on to the key of A major. Now. Doesn't that feel great? Right? Of course it does. It always feels good moving on. Even if even if I'm saying to myself, I you know, I don't have a complete handle on on the skills in this key.

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Right, I need a little more time to get these skills under my fingers. Well, as I have said many times throughout this journey, it's a big deal to keep forging ahead, no matter what, no matter how well you think you have mastered or have not mastered the essential jazz piano skills in previous keys. Right, or how shakey you may believe your jazz piano skills are in the previous keys, it's irrelevant. We must always be moving forward. Forward motion is the name of the game. It is the key to developing our jazz piano skills and becoming an accomplished jazz pianists. I mentioned this point last month and even the month before. And I want to bring it to your attention again today. If you are truly serious, which I know you are, otherwise you wouldn't be listening to this podcast. If you are truly serious about wanting to improve your jazz piano playing, then your goal should be to experience as much data as I like to call it data as possible. In other words, you must have a plan to efficiently, efficiently and successfully cycle through essential jazz piano skills. In all 12 keys. Your jazz journey must constantly be experiencing forward motion. As I like to say you cannot allow grass to grow under your feet. You've heard me say this before as well. The number one reason why people find it difficult to improve their jazz playing is that they always practice the same things and the same keys over and over and over again. In essence, they are simply running in place like that hamster on that wheel that just keeps running, running going nowhere. They never push forward. They never move through the keys as we have set out to do this entire year. Right, our goal has been from January. Moving forward 12 months 12 keys, right studying the essential jazz piano skills in all 12 keys, our voicings, our scales, arpeggios, chords, can relationships, improvisation, and rhythmic patterns, right? It's such a good plan, such a good approach, and doing so in such a good timeframe. It's when When, when. So today, we begin tackling the key of A major. So as I have stressed over and over, once we move on, we move on. In other words, we do not try to sneak back to the key of E, or even previous keys to just simply check it out to see how well we remember the skills, the voicings or the scale. So the arpeggios, right, it's time to move on. We'll circle the wagons back around to these previous keys. So no worries right? For now, we move on. So the books on the key of E major, which we spent the entire month of September exploring, are now officially closed. And now we march on to the key of A major. And as we have done with the previous keys that we have explored throughout the year, write C F, B flat, E flat, A flat, D flat, G flat, B, and E. We began harmonically, we're going to explore the seven chords found in the key of A major a major seven B minor seven C sharp minor seven, D major seven E dominant seven, F sharp minor seven, and G sharp half-diminished, using four specific approaches to voicing each chord blocks, traditional shells, contemporary shells, and two-handed shapes. And we will then, as we have done with all of our previous keys, we will apply those voicings to various rhythmic patterns, which, as you know, have become increasingly more and more challenging each month. Remember that you can take the various rhythmic patterns that we've studied throughout the year and the various keys and play them using the voicings we're about to get under our fingers for the key of A major. That's not only okay, but it's a great idea. And you should

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I like to think that you're carrying these various rhythmic patterns forward each month, throughout the entire year, right as we move through all 12 keys. So it's okay to keep bringing these rhythmic patterns along as we introduce new rhythmic patterns. I have throughout this year I've talked about improvisational vocabulary, and I want to revisit my thoughts about it today. Because quite honestly, we need to hear it again and again and again because it's that important to our musical and jazz development. So listen carefully. When we jazz educators talk about developing improvisational vocabulary, vocabulary. And whenever this topic comes up, it's always discussed from a melodic point of view. Right, always melodic. In other words, improvisational vocabulary has become synonymous with melodic plain, which is only a third of the entire picture. In addition to emphasizing melodic development, we need to spend time discussing and focusing on harmonic development and rhythmic development when the topic of improvisation vocabulary is mentioned. Right? melody, harmony, rhythm. And that is precisely what all of the harmonic workouts are about harmonic and rhythmic development. So when studying a solo, a melodic transcription, right, we always do so if we do it correctly, we do so in such a way that the ideas and the approaches to melody to melodic development displayed by the artist serve as a launching pad or gateway to this to the discovery of our own melodic creativity. As I said before, on several occasions, we don't study a Bill Evans transcription in hopes to becoming an inferior replica of Bill Evans. No, we study a Bill Evans transcription so that Bill Evans can serve as our teacher and introduce us to our very own creative reservoir. If you have not thought about this, I strongly encourage you to do so. And think about this as well. When we focus on harmonic development, voicings, and rhythmic development, which is time we shouldn't be doing so in in the spirit of discovering our unique form of musical expression. Right all of it, whether you're studying melody, harmony, rhythm, it should be done so in a way to discover our own creative reservoir. Our own creative ideas. Right. And again, this is precisely what the harmonic and melodic workout are designed to do. It's what the harmonic and melodic workouts are all about the voicings I share with you help you discover the sounds, the harmony you're drawn to. And the rhythms I introduce, are done to help you develop a more robust internal sense of what I like to call expressive time. Now, I know all of this can be a little heady. So you need to spend a little time to process it and digest it, and re listen to it again and again. So that it sinks in, right? Because, again, conceptual understanding is what's going to drive our physical development. So spend some time thinking about this. And of course, just to remind you, if you have any questions, reach out to me. I'm always here to help and answer any questions that you have. So today, we tackle the key of A major and the educational agenda for today is as follows number one, we begin our key of A major harmonic workout for for October. Number two,

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we are going to play essential harmonic voicings that you need to discover learn and play block shapes, traditional shells, contemporary shells and two-hand shapes. Number three, we are going to utilize a very relaxed swing groove of 90. Number four, we will explore 12. comping rhythms, focusing primarily on the dotted eighth 16th Note rhythmic pattern. And number five, we will apply our rhythmic common comping patterns to the classic 251 progression in the key of A major B minor seven to a dominant seventh to a major seventh. 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 download and print your podcast packets, the illustrations, the lead sheets and the play alongs. Again, your membership. Right your membership grants you access to all of the educational podcasts for every weekly podcast episode. And as I mentioned earlier, you should be using these podcast packets when listening to this episode. And of course, you should have them sitting on your piano when practicing as well. If you're listening to the podcast, this episode right now on any of the popular podcast directories such as Apple or Google, Amazon, their Spotify, iHeartRadio, Pandora, the list goes on and on. Then be sure to go directly to jazz piano skills podcast.com To download your podcast packets, and you'll find the act of download links in the show notes. Okay. Now one final but extremely important message. If you think right now if you are thinking that the key of A major harmonic workout and the various scales that we are about to discover, learn and play our over your head, then I would say to you sit back. Breathe in, breathe out. No worries, this is a no stress zone. Continue to listen, continue to grow your jazz piano skills intellectually, right by just simply listening to this podcast episode. After all, every new skill is technically over our heads when first introduced. But this is how we get better, right? We place ourselves smack dab in the middle of conversations where we are hearing things that we've never heard before. And we are forced to grow intellectually. Alright, I say it all the time. All musical growth begins upstairs mentally conceptually before it can come out downstairs physically in your hands. So if something is confusing and frustrating and all jumbled up upstairs, it's going to be that way in your hands downstairs right?

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So you have to take time to listen to sort things out conceptually. So listen to this podcast. Listen now to discover and learn. The play, as it always does, will come in time I guarantee it. Okay, the first thing I want to address is is the very last page Have your lead sheets packet, it's labeled skill 17. And in the title of the page is copying rhythms, you will notice 12 rhythmic patterns labeled letter A through letter L. You will also notice that these rhythmic patterns focus primarily on the dotted eighth 16th Note rhythmic pattern, you will also notice that each of these rhythmic patterns is to be played with the 251 progression, precisely what we will do today. Now, do not bypass skills one through 16 found in your lead sheets packet, right all four voicing types, our blocks traditional shells, contemporary shells and two-handed shapes should be practiced first without rhythm and is outlined in skills one through 16. before tackling skill 17 Awesome, I want you to use the play alongs included in your podcast packet. Now I do not have time in this podcast episode of Play through all 16 exercises and the 12 rhythmic patterns. So I'm going to trust that you do not get the cart ahead of the horse and that you spend time practicing scales one through 16 to make sure you have a handle on each of the four voicing types as applied to the chords found in the key of A major then and only then should you turn your attention to developing your comping skills using using the voicings as you play the 251 progression in the key of A major. Make sense. Okay. I bring that point up every month, just stressing it again, skills one through 16 Then skill 17. All right. So let's dig in. I am going to play through exercises A through L at all 12 Copying rhythms. Okay, and again I'm going to be using very relaxed swing groove of 90 today. And each of these rhythmic lines is going to be played utilizing the 251 progression and I am going to be using two-handed voicings today. When I play these are rhythmic ideas. Now you can use any voicing type that you prefer. In fact, you can you can just use a single note to begin and then move to a voicing once you feel you have gained a functional command of the rhythmic line in time, of course, right. But today I will be doing again 90 251 progression using two-handed voicings. Okay, oh, and I also will play through each line six times the first time through, I'm just going to play the 251 progression. The last time through, I'm just going to play the 251 progression for cycles in between the first time and the last time I will play the rhythmic line as notated in your, on your copying patterns lead sheet skill 17. Okay, so let's take a look at letter A. In fact, what I want you to do is I want you to take a look at letter A, B, C and D. Okay, I want you to notice that the dotted eighth 16th Note rhythmic motif, a little rhythmic idea. And letter A, I'm placing that idea on count four of measures one and three. And letter B, I moved that same rhythmic idea the dotted quarter eighth to count three and letter C. I move it to count two and letter D. It's found in placed on count one.

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So the idea is that I'm focusing on playing this dotted eighth 16th note pattern. I'm focused on playing that by placing it on each beat within the measure. Okay, so as I've stressed before, letter A through letter D, probably the most four important exercises on this entire lead sheet. Okay, so I'm gonna go through each one. So letter A, the dotted eighth 16th is placed on count four. And notice on each one of these patterns, I always follow that dotted eighth 16th with a quarter note this will help you articulate this dotted quarter dotted eighth 16th pattern correctly. Okay, we have we have a landing point in other words, so So let's bring the ensemble Lin let's check out letter A. Right focusing on our dotted eighth 16th note pattern on count four. So here we go. Let's check it out and see what we think.

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Nice, right, difficult but nice. This is not an easy pattern, rhythmic motif to play, right? It's just simply is not. So if you're trying to play through this right now and you're thinking, holy moly, Well join the club. It's not an easy rhythmic idea, eventually, it's going to be a field thing that will work for you with this. But if you want to approach it academically right now, like maybe count one, and, and so you're coming in on the one, and on the one E and a, right, it's a 16th note at the end. So whatever academic approach that you want to take to mapping it out mathematically, or using syllables, whatever works best for you, I would say it's quite all right, utilize that, to help you get the rhythmic idea in your ears and under your hands. And then it becomes a feel thing after that, right, you start to just feel it. Okay, so now let's take a look at line B. And we're going to move that dotted eighth 16th pattern now to count three. And again, we're going to end that rhythmic motif with a quarter note. So we have our landing point again. But measure one measure to measure three, same idea on counts three, and four. Okay, so let's bring the ensemble and let's check it out and see what we think here we go.

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Yep, doesn't get any easier, right when we move it to, from count four to count three, it just doesn't get any easier. So nice, right, so I want to also draw your attention to that, in measure four, I have an entire measure of rest. And that's for us to kind of lick our wounds make an assessment of what we did. Well, what we need to adjust the second time through, right. I always love to do that when I'm practicing a skill. I love to end with a measure of rest so that I can assess the good, the bad and the ugly and make any adjustments needed to correct the bad and the ugly. So now let's go on to letter C. We're taking that dotted eighth 16th note pattern and we're moving it and placing it now squarely on count two. And once again, you'll see measures 123 same rhythmic idea right quarter note followed by the data de 16th ending with our landing point with another quarter note, repeating it three times with a measure of rest at the end for assessment. So let's bring the ensemble lead. Let's check Get out here we go.

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Right count for difficult count three difficult count too difficult. Guess what? Count one doesn't get easier, it's difficult to. So now we have our dotted eighth 16th placed on count one followed by a quarter note on count two again our landing point, we were going to repeat that same idea of measure one measure to measure three followed by an entire Miss measure of rest and measure for for assessment purposes. Okay, so here we go nice swing groove relaxed 90. going to repeat this, play this over the two five using the 251 progression six times through right first time just a 251 progression last time just a 251 progression times 234 And five repeating this rhythmic idea this line four times. So here we go. Let's bring the ensemble in and let's check it out.

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All right now we've we've done some serious grunt work write letter a letter B, letter C, letter D, some serious grunt work. And very methodical grunt work, we're taking our new rhythmic idea or dotted quarter, I mean a dotted eighth 16th pattern, and moving it around from count four to count three to count two to count one. So now we begin with letter E. And we start integrating this dotted eighth 16th Note idea with rhythms that we are familiar with because we've studied them in previous months, right in previous harmonic workouts. So let's check out letter E, we have you know our straight eighths in there followed by a dotted eighth 16th. Look at measure two, we have our quarter note triplet, we're very familiar with that. All right, and then measure three we're back to straight eighths again. With that followed by our dotted eighth 16th note pattern. So this should be fun. In fact, I think you're going to find as we move through E throughout the now with the inclusion of the syncopation with this dotted eighth 16th. These lines start to actually sound more and more like legitimate comping rhythms and patterns that you would hit here at jazz pianists play. So let's bring the ensemble in and let's check out letter e. Here we go.

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lovin, right? Like I said, now that we're integrating this dotted eighth 16th pattern with other rhythmic motifs and ideas that we have studied throughout the years, the lines starting to sound more and more like a legitimate comping rhythm that you would hear a jazz pianist play. So let's continue to march on. So let's take a look at letter F. Right out of the right out of the chute, we will begin with our dotted eighth 16th motif, followed by a quarter and traditional eighth notes, a pair of eighth notes, look at measure 2/8 note triplet, right, but measure three, we have our dotted eighth 16th motif again, followed by a quarter, two eighths, then we have some eighth notes, single eighth notes falling on the backside of the beat on the and have four on the end of one and measure four on the end of two, followed by a pair of eighth notes on count three and measure four. So this should be fun, this is gonna sound great. So let's bring the ensemble in and let's check out letter F here we go.

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Nice, very nice. Once again, right? You can practice these rhythmic ideas using a single note, right you do not need to be using voicings initially. Then once you're comfortable with the rhythmic line, it feels like you have a command of it conceptually and then of course, physically, then you can begin to incorporate the voicings of your choice, whether they're the blocks or the traditional shells, contemporary shells, or the two-handed shapes that I'm using today. Okay. All right. So now let's take a look at letter G, we have our dotted quarter-eighth combination and measure one followed by eighth quarter eighth combination both of these rhythmic ideas we've studied. Measure two we have a pair of eighth notes on count one, couple quarter rest to deal with. Then we have our dotted eighth 16th note pattern followed immediately with a pair of eighth notes. And again, a couple more quarter rest, ending with a dotted a 16th note motif on count forward measure three and landing on a dotted quarter a dotted half note and measure four very nice. This will be fun as well. So let's bring the ensemble in. And let's check out letter G here we go.

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Seven down, five to go right we're over halfway through our rhythmic ideas for today rhythmic lines. So now let's check out letter H, we start immediately with an eighth note triplet on count one, couple quarter rest followed up with our dotted eighth 16th note pattern. Than measure two, we kind of repeat the same idea with what we have, we have a pair of eighth notes on count one, followed by a couple quarter rest again, eighth note triplet on count for measure three, we have that dotted quarter eighth combination to deal with. And then measure for this was interesting right quarter note on count one, followed by the dotted eighth 16th on two followed by a pair of eighth notes. So you can really start to hear and experience the comparing and contrasting of those two motifs, the dotted eighth 16th next to a pair of traditional eighth notes, okay, so let's bring the ensemble in. Let's check out letter H here we go.

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Absolutely love it, but just as a side note, measure one and measure two of letter H have absolutely nothing in common. I just mentioned earlier a repeating the same kind of idea. Not even close the only thing similar is that we have in each of those measures, we have eighth note triplets. So I bring that up because I don't want to cause any confusion. All right. Okay, so now let's take a look at letter I. I love this right we begin with the eighth dotted quarter rhythmic motif that we have dealt with in previous months, followed immediately with our dotted eighth 16th note pattern. And then we redo repeat that idea and measure to with the dotted eighth. The eighth going to the dotted quarter, following with the dotted eighth 16th idea. Okay, measure three, measure four gets a little bit more comfy for us are familiar with this we have a pair of eighth notes on count one quarter note on count four followed up with that fantastic idea of the dotted quarter eighth pattern that we're very familiar with so let's bring the ensemble in and let's check out letter I Here we go.

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Love it absolutely love it. And again right these rhythmic lines are starting to sound pretty The legit as soon as we added in this dotted eighth 16th idea, along with all our other traditional rhythmic motifs that we've studied throughout the year, so now, letter J, right, we start with a dotted half note, a dotted half note, not a half note, dotted half note, followed up with a with the dotted eighth 16th idea on count four, followed with our dotted quarter eighth, I didn't count to check out three, we bring in an old familiar with rhythm, right? Our eighth beamed with 2/16 notes and check out measure for 2/16 notes beamed with an eighth, right fault. And we have a tied note in there on count two. And then check out count three dotted quarter mean I'm sorry, dotted eighth 16th Whoo. Okay, might look simple on simple visually, but I guarantee you this, this is going to be a little challenge physically. So let's let's bring the ensemble in and let's check it out here we go.

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Not easy indeed right. And guess what K and L we're gonna finish with a bang here because k and l doesn't get any easier. At All right? So letter K, we begin with our pair of 16th 16th notes being to a quarter but check it out. count one, the end account one is tied to count two is tied to count three. We come out of that with our dotted eighth 16th pattern immediately into a traditional pair of eighth notes. And then we have these single eighth notes appearing again on the backside of count two backside of count three backside of count four, then we have our dotted half note to deal with. And again why this is challenging is because you're sitting there for three beats playing nothing and what have I said before in the past, the hardest thing for any jazz pianist to play is nothing. Then we have our dotted eighth 16th pattern on count four, followed by our traditional dotted quarter eighth pattern in measure four. Wow, this is going to be fun. So let's bring the ensemble right back in and let's check out letter k here we go.

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Fun is that? Wow. Well, if you thought that was fun, check out letter L. Oh, right away for 16th notes. Right being together on count one. We have the same thing in measure two right count one for 16th notes. Both count one and mean Sorry, measure one and measure two. After those 16th notes. We have to follow it up With a dotted eighth 16th pattern rhythmic idea on count four in both measures one and two, then a measure three pair of eighth notes, couple quarter rest. And then we end with our dotted eighth 16th note pattern, leading into a pair of eighth notes in count four, and then a backside eighth note on the end of two. And again, it's nice having that dotted eighth 16th followed immediately with a pair of A's. So you can do that compare and contrast to help you to help you digest that rhythmic feel that rhythmic sound the idea of the dotted eighth 16th rhythmic motif. So let's bring the ensemble in, and let's check out the final rhythmic line for today. Letter L here we go and check it out.

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Well, we've done it again. As always, we have unpacked an amazing amount of information in one very short and very fast hour. And do not do not underestimate the importance of being able to play rhythmic copying patterns in time, using correct jazz voicings has with all of the rhythmic patterns we have studied throughout the entire year, we have focused on developing your ability to track and feel time. And so often, when students are struggling playing jazz, it's, it's because of their inability to successfully play successfully track time. In other words, knowing knowing internally and instinctually where count one is count to count three, count four. And not just guess. Again, if you guess I promise you're gonna guess wrong. Right? I've said it before you have a greater chance at guessing rhythms, you have a greater chance at guessing winning the lottery than you do at guessing rhythms right. So take the time. Do not underestimate it, as I said take the time to practice these rhythmic ideas and take it seriously the importance of being able to play these rhythmic ideas in time. Now next week. Next week, we jump into a key of A major melodic workout and of course, I will be introducing some new rhythmic ideas and twist in that workout as well. Once again, I want to encourage all of you jazz panel skills members to use your podcast packets, the illustrations, the lead sheets and the play alongs to guide you as you study and practice. Again, these are educational tools, amazing educational tools that will help you gain a mastery of the jazz piano skills. Conceptually physically and of course musically. And, as always, always be patient. Developing mature professional jazz piano skills takes time. So begin structuring your practicing after the plane demonstrations that I've modeled for you today in this podcast lesson in this podcast episode, and I guarantee it if you do that you will begin to see feel and hear your musical progress. Well, I hope you have found this jazz piano skills podcast lesson exploring the key of A major harmonically to be insightful and beneficial don't forget if you are a jazz piano skills ensemble member I will see you online Thursday evening at the jazz panel skills masterclass. at 8pm Central time to discuss this podcast episode lesson exploring a key of A major harmonic workout in greater detail, and to answer any questions that you may have about the study of jazz in general. Again, use your educational podcast packets, your illustrations, your lead sheets, your play alongs for this podcast lesson and dive into the jazz panel skills courses, the online curriculum to maximize your musical growth. Also, make sure you are an active participant in the jazz piano skills community. Get out there, get involved, contribute to the various forums, and make some new jazz piano friends. Always a great thing to do. Now you can reach me by phone 972-380-8050 My extension here at the Dallas School of Music is 211. If you prefer email, my email address is Dr. Lawrence. That's drawrence@jazzpianoskills.com. Or you can use that nifty little widget that you find throughout lace throughout the jazz piano skills website called SpeakPipe. To send me a voice message as well. Well, there is my cue. That's it for now. And until next week, enjoy the key of E keys. The key of A major harmonic workout. And most of all, have fun as you discover, learn and play jazz piano