Key of Ab Major Melodic Workout

Dr. Bob Lawrence  0:32  
Welcome to jazz piano skills. I'm Dr. Bob Lawrence. It's time to discover, learn and play jazz piano. Last week we

Dr. Bob Lawrence  0:42  
tackled the key of A flat major focusing on harmonic development. This week, an extensive workout in the key of A flat major melodically. So today you are going to discover a key of A flat major melodic workout, you're going to learn how to think within the key of A flat major melodically and you are going to play the modes of the key of A flat major using ascending and descending scale and arpeggio motion launching from various entry points, the root, the third, the fifth, and the seventh. And you are going to play melodic lines using various eighth note rhythms, focusing on eighth note pairs, eighth quarter eighth combinations, dotted quarter eighth combinations, eighth dotted quarter combinations, all of them played over the 251 progression. So as I always like to say regardless of where you are in your jazz journey, a beginner and intermediate player, an advanced player, or even if you consider yourself a seasoned and experienced professional, you are going to find this jazz panel skills podcast lesson exploring the key of A flat major melodic workout to be very beneficial. I want to take a moment as I do at the beginning of every jazz panel skills podcast episode to take just a few minutes to welcome all first-time listeners. And if you are indeed New Jazz panel skills a first-time listener to the jazz panel skills podcast. I want to personally invite you to become a jazz piano skills member. Membership is easy and the benefits are fantastic. Once you arrive at the homepage, you can begin to explore the abundance of jazz educational resources, materials, and services that are available for you to use to help you significantly improve your jazz piano skills. For example, as a jazz piano skills member you have access to all of the educational podcast packets, the weekly podcast packets, the illustrations, the lead sheets, and the play alongs that are available for each and every weekly podcast episode, I developed these educational tools to help you discover learn and play the jazz piano skill that we are exploring for that specific week. These are invaluable tools that you want to have in your hands as you listen to the podcast episode. And certainly, these are educational materials that you want sitting on the piano as you practice at home. The Jazz panel skills members also have access to all of the sequential jazz piano courses the curriculum. These are comprehensive courses that all of them use a self-paced format there are educational talks, interactive media, video demonstrations of the jazz panel skills in all 12 keys there are play along, and much much more. As a jazz panel skills member you also have a reserved seat in the online weekly master classes which are in essence, a one-hour jazz piano lesson with me each and every week. You also as a jazz panel skills member have access to the online interactive Fakebook. This grants you access to countless jazz standards from the Great American Songbook you can enjoy the chord changes, the lead sheets, the harmonic function lead sheets that are play along files, historical insights, inspirational recordings, and much more. It's an ever-growing collection of tunes that you should absolutely study and learn. You also as a jazz panel skills member have access to the private jazz piano skills community, which hosts a variety of engaging forums there are podcast-specific forums, core-specific forums, and of course general jazz piano forums as well. You'll have access to all of them and you will have the ability to contribute to them and as well as enjoy interacting with new jazz piano friends, you'll be able to share, engage and grow. And last but certainly not least, you have access to unlimited private, personal and professional educational support provided by me whenever and as often as you need it. Simply visit jazz panel skills.com To learn more about all of these wonderful educational opportunities that await you and how to easily activate your membership. Now there are several membership plans to choose from, and I am certain there is one that is perfect for you. Nevertheless, if

Dr. Bob Lawrence  5:44  
you are there and you have any questions, as you peruse through this site, please do not hesitate to reach out to me. Let me know I'm always happy to spend some time with you answer any questions that you may have and help in any way that I can. Okay, let's discover learn and play jazz panel. Let's get after the key of A flat major melodic workout. In January, we tackled a key of C major harmonic workout followed immediately by a key of C major melodic workout. And in February, we jumped into a key of F major harmonic workout followed by a key of F major melodic workout. In March, we explored a key a B flat major harmonic workout and followed it up with a key of B flat major melodic workout. And just last month, April, we embrace the key of E flat major harmonic workout, once again followed up with a key of E flat major melodic workout. So this month of May, we continued our workout series with a key of A flat major harmonic workout just last week, which of course is going to be followed up with a key of A flat major melodic workout today. Now, I have mentioned on several different occasions, that even though we dive into and devote a lot of time, and energy with these harmonic and melodic workouts, which we should absolutely be doing. The reality is that harmony and melody without rhythm remain simply stationary or static sounds. Bottom line, melody, and harmony need rhythm. And without it, melody and harmony are not very musical. And this is precisely why every harmonic and melodic workout includes various rhythmic skills patterns for you to study and practice. And again, the idea is that rhythm must be applied to harmony and melody if you truly want to develop professional jazz piano skills. Now those of you who have been faithfully doing the various harmonic and melodic workouts since the start of the new year, know that we started on a mission with the key of C major. And we are making our way around the circle of fifths counterclockwise, with the goal of by year's end, having successfully spent quality time with all 12 keys. Additionally, as we move around the circle of fifths throughout the year, we will be gradually increasing the intensity and complexity of our rhythmic application to harmony and melody. Moving through and experiencing all 12 Keys is absolutely essential. Now I tell students all the time, and I believe I've even mentioned it several times in several different podcast episodes. If you want to become more comfortable with the key of C, then practice the key of F, and if you want to get more comfortable with the key of F practice in the key of B flat, and if you want to be more comfortable with the key of B flat practice in the key of E flat and so on. My point is that we get better and all keys when we strategically and continually move through The keys do not make the mistake of thinking that one key must be mastered. And I'm putting air quotes around the word master. Right that one key must be mastered before moving on to the next key. This is a very slow approach that produces minimal results and actually impedes your musical growth.

Dr. Bob Lawrence  10:27  
The other point that I want to make here is that familiarity with all 12 Keys is necessary if you want to play jazz standards if you want to play jazz literature. Why? Well, because most tunes, most tones move through several keys. Take a second, check out all the things you are for example, by the time you get to the bridge, you you've already moved through four different key centers. And check out the old standard tangerine, one of my favorite tunes. The standard key is F major, but it dips into a major before the tune is even halfway over. So not only do tunes move through keys, they move through what we typically like to think of as uncommon keys, like the key of A major. So bottom line, we have to become comfy playing in all 12 major keys. Now I've stated this before as well that based on years of teaching experience, it is rhythm. It is the rhythmic dimension of music. That is the main stumbling block for most students. And in fact, when it comes to playing rhythm, most students find themselves simply guessing and how to play rhythms, how the rhythms are supposed to be played. And the truth of the matter is that if you are guessing at rhythm, your internal sense of time is off, it's a way off. And if your internal sense of time is off, your playing is simply not good. This is why you have to make a personal commitment to practicing rhythm, which in essence is practicing time. You have to practice Rhythm Time harmonically as we do in our harmonic workouts. And you have to practice rhythm, time melodically as we do in our melodic workouts. Ironically, Rhythm Time is the most important aspect of music and is discussed and practiced the least. And this is precisely why most people have difficulty becoming an accomplished jazz musician. I cannot begin to tell you how many students that I have had over the years who come in to study with me with are already with a solid melodic and harmonic technique and understanding of voicings CT scan relationships, improvisational approaches, but yet they struggle to play jazz. Why? The answer? Rhythm Time, they are rhythmically deficient. And therefore their time is all over the map. So my goal with these strategic harmonic and melodic workouts is to help you not only develop sufficient harmonic and melodic jazz piano skills, but to make sure that you gain a proficient understanding of rhythm. And as a result, develop solid internal time. Make sense? All right, there's a method to my madness. Last week, with our key of A flat major harmonic workout I introduced rhythms focusing primarily on the eighth note, eighth note pairs, eighth quarter eighth combinations, dotted quarter eighth combinations, and eighth dotted quarter combinations with many of the eighth notes entering on the backside of the bee. So today we we follow the same game plan. The application of rhythmic ideas melodically focusing primarily on various eighth note configurations. But as always, I want to stress the importance of doing the entire, the entire key of A flat major melodic workout and not just jumping to the last lead sheet in your Are podcast packets skill 25 to attack the melodic rhythms. Why?

Dr. Bob Lawrence  15:07  
Because you have to have a functional command of your scales your arpeggios in the key of A flat major before you can begin applying rhythm to them. As I like to say, you have to bake a cake before you decorate the cake. So remain disciplined, and spend time with skills one through 24. before tackling skill 25 you will find in your lead sheets, podcast pack. as you did with our last four melodic workouts the key of C F B flat and E flat all 24 skills laid out for you. So let's do a quick review scales one through four the modes ascending root position plus first second and third inversion scales five through eight and you can be looking through these here with me skills five through eight modes descending root position, plus first second third inversion skills nine through 12. The arpeggios ascending in root position plus first second and third inversion scales 13 through 16 arpeggios descending root position, first second third inversion now skill 17 251 progression ascending scale motion from the root third fifth seventh entry on the two chord right focusing on where we enter that two chord which determines where we go with the five and the one. And likewise skill 18 again the 251 progression descending scale motion with the root third fifth seventh entry on the two chord scale 19 251 progression, ascending arpeggio motion, root third fifth seventh entry on the two chord and scale 20 251 progression descending arpeggio scale motion on the root third fifth seventh entry of the two on the two chord. Now skill 21 scale 2223 and 24 we expand our harmonic motion to include the 36251 progression so skill 21 36251 ascending scale motion, root, third fifth seventh entry from the two chord scale 22 Again 36251 descending scale motion with our entry points being the root, third, fifth and seventh on the two chord scale 23 36251 ascending arpeggio motion, again with various entry points from the two chord the root, third, fifth and seventh. And finally scale 24 The 36251 progression again with the ascending arpeggio motion, root, third, fifth seventh entry on the two chord. So after you have thoroughly completed your workout scales one through 24 Then you can turn your attention to plane scale 25 which challenges you with 12 melodic lines using various eighth note rhythmic configurations. So the educational agenda for today is as follows number one, we're going to explore the key of A flat major melodically and number two, we're going to play 12 melodic ideas using ascending and descending scale and arpeggio motion. Number three all melodic ideas will be applied to the 251 progression in the key of A flat major, B flat minor seven to E flat dominant seven to A flat major seven. Number four all melodic lines will be played using a traditional jazz swing groove. But for different tempos. I'm going to be moving through each melodic idea line rhythmic line using a tempo 101 2140, and 160 And number five, all swing grooves will be played using a single note right-hand melodic treatment as I play a voicing in my left hand if you need to review the harmonic workout from next week, I mean from last week, please do so. I'm using voicings from the harmonic workout. Okay,

Dr. Bob Lawrence  19:53  
so before we go any further if you are a jazz piano skills member which should take a few minutes right now if you haven't are Already done. So, which I hope you have. But if you have not already done so I want you to take a few minutes right now hit the pause button. And I want you to print out your podcast packets, your illustrations and your lead sheets. Again, you have access to all of the podcast packets for every podcast episode, and you should absolutely be using them when you're listening to the podcast episode, and of course, you should be using them when practicing as well. If you are listening to this podcast on any of the popular podcast directories such as Apple or Google, Amazon, Spotify, I Heart Radio, Pandora, and so on and so on, then be sure to go directly to jazz piano skills podcast.com. To download the podcast packets, you will find the download links in the show notes. One final but extremely important note that I mentioned every single week, if you're listening to this episode, and you are thinking that the key of A flat major melodic workout and the various skills that we're about to discover, learn and play if you think that these skills are in some way over your head or all the way over your head, then I would say to you relax, sit back, continue to listen, nothing to worry about continue to grow your jazz piano skills intellectually by listening to this podcast episode, all skills, right all skills or overheads when first introduced and that is precisely why the very first step we always need to take in order to improve our musicianship is to just simply listen. So do not shy away from conversations discussing foreign topics and using unfamiliar terms right. Stepping outside of our musical comfort zone always spawns significant musical growth. As you all have heard me say a million times our musical growth begins upstairs mentally conceptually, before it can come out downstairs physically in your hands. So sit back and listen to this podcast lesson now, to discover and learn the play, as it always does, will come in time. Okay, let's take a look at skill a letter A. And you'll see right away measure one, we have eighth quarter eighth combination on counts one and two, we have again eighth quarter eighth combination, on counts three and four, measure two, we have an eighth note followed on the back side of count to measure three dotted quarter eighth configuration to start measure three. And then again, a single eighth note on the backside of count four and measure three as well. We have some tied notes to pay attention to within this melodic line as well. So I'm going to bring the ensemble in. I'm going to play this rhythmic line using four different tempos I'm gonna play it two times through at 102 times through at 122 times at 140 and two times at 160. So you can hear this melodic idea at various tempos. Okay, so let's bring the ensemble and let's check it out. Then we'll go from there here we go.

Dr. Bob Lawrence  24:37  
Nice right, see So the whole point of playing these rhythmic lines today at various tempos so that you can hear how these how these melodic ideas these rhythms sound obviously at different temples but it's a challenge to play them at various temples because you want to still play regardless of the tempo. All of these notes notes, these eighth notes and quarter notes, half notes tied notes, you want to play them for full value, right? And sometimes what happens when we start to increase the tempo, we start to clip the rhythms. We don't want to do that. Okay? All right. So now let's look at scale B letter B. We start off with our dotted quarter, eighth combination and measure one, we have another single eighth note on the backside of count two and measure two. And then we have a nice linear line that that flows from measure three, through measure four through the first two counts of measure four. All right, so this is a nice melodic idea. Again, we have some tied notes that we have to pay attention to. So I'm gonna bring the ensemble back in again, I'm going to play this melodic idea twice at four different tempos 101 2140 and 160. All right, here we go. Let's check it out.

Dr. Bob Lawrence  27:07  
Nice lot of fun. I'll tell you what playing playing time playing rhythm playing progressions playing voicings this is it's all of it. It's just fun. I used to have a teacher that would sit here and do this kind of stuff. And he'd look at me and he'd say, I can do this all day long. And and so could I this is this is, this is the kind of fun grunt work that we need to do in order to literally improve our jazz piano skills all the way around harmonically melodically, rhythmic rhythmically, our time, our articulation, our feel, everything is wrapped up into these little four measure exercises or patterns or skills or lines, whatever you want to call them. So now let's look at letter C. And again, we're doing our 251 progression in the key of A flat, B flat minor seven to E flat seven, A flat major, you know, we have in measure one there. This is really interesting. We have eighth note on the backside of count four and measure one and then that idea continues all the way through measure to eighth note on the backside of measure one, I mean count one, backside of count to count three, and count for all of that taking place in measure two. Very tricky, so be very careful. Practice it several times at slow tempos before increasing your tempos. And then again, we have a nice linear line idea in measure three followed by an entire measure of rest, so important to play be able to play silence as well. So let's bring the ensemble in. Let's check out Letter C and see what we think. Here we go.

Dr. Bob Lawrence  30:00  
I love it. Absolutely love it. So now let's take a look at letter D. And this is a neat little idea, right? You can, you can just visually look at it and see that we have a motif here that's being repeated in measure one, measure two and measure three, kind of an ascending a motif using ascending motion. So in letter letter D measure one, we have this dotted quarter eighth combination on counts one and two, we have the same dotted eighth note, combination on counts three and four. That same melodic motif then is repeated and measured to ascending going up, right. And then an A flat, the same thing, each one of these ideas, I just want to draw your attention to each one of these ideas starting on the ninth, right, the idea for B flat minor starts on the note C, which is the ninth, check out E flat starts on F, which is the ninth a flat checks starts out on B flat, which is the ninth. So it's not only the same melodic idea rhythmically. But it's also launching the entry point is on the ninth of the two of the five and on the one chord. So let's bring the ensemble in let's have a little fun and listen to letter D here we go.

Dr. Bob Lawrence  32:24  
Nice idea right. You know I had a teacher that always used to say anything worth saying once is worth repeating. So I don't want you to get caught into this notion or this trap of thinking that if you're repeating the same melodic idea or motif, again, and again, as you create a line like we just did in letter D, that somehow that's some that somehow that's a sign of, of a lack of creativity, which couldn't be further from the truth, right? Any melodic statement or saying once is worth repeating. So do not shy away from using that improvisational approach. Okay, so now let's take a look at letter E. And again, you can kind of see we have again some nice rhythmic repetition going on here through our two chord or five chord. And even starting with the eighth quarter combination in the with the A flat major in the in the third measure. So measure one we have a dotted quarter combinations going on counts one and two and three and four. And the same thing happening with our E flat dominant seventh, eighth dotted quarter combination on one and two, three and four. And then starting with measure 3/8 Quarter combination, right eighth quarter eighth, which is repeated accounts one and two, and three and four. Some nice rhythmic ideas going on here. So let's bring the ensemble in and let's check it out. Here we go.

Dr. Bob Lawrence  35:10  
Nice, you know, with all of these various eighth note configurations, the dotted quarter eighth combinations or the eighth dotted quarter combinations. So easy to anticipate these rhythms, right? To come in early in other words, so just take your time, count carefully listen to the rhythms, clap them, tap them out, play them at slower tempos, really being meticulous about every note receiving its full value, before you start increasing the tempos. Of course, I'm going through it rather quickly today, a couple of times at 101 2141 60. Doing that for the sake of time. That's not necessarily how I would say to you that you practice it, I'm just trying to model for you different temples, and how they sound. Okay, so now let's look at letter F. And again, visually check it out, you can see that Whoa, we have we have a little motif here, that's being developed through count measures one and measures to measure two. So we have a nice long linear line through measure one, measure two and first half of measure three, followed by a lot of backside eighth notes right on the count four, counts, one and two, and three of measure four as well. So again, a lot of stuff happening. So let's just jump in, let's listen to this and see how it sounds here we go.

Dr. Bob Lawrence  37:51  
Not an easy, not an easy line at all right. So pay attention to fingerings we typically just a little tip here, we typically do not like I do not like to start melodic ideas that begin on a black note, I typically do not like to begin my fingering with a thumb. However, however, in letter F here, starting on that D flat, I do indeed begin that with my thumb. So there are exceptions to every rule. And letter F is a good example of that. All right, so let's move on to letter G. Again, we're focusing on our 251 progression B flat minor seven, the E flat seven, A flat major seven, we have a nice linear ascending linear idea and measures one and two. And then we have a nice linear eighth notes linear idea in measure three and four as well. So this is almost kind of like you know, we're halfway through this is kind of like a nice breather for us, right? Because we don't have to deal with a lot of these, you know, these pesky dotted quarter eighth combinations or the pesky eighth dotted quarter combinations, or the eighth quarter eighth combinations that we've been pounding that or, or even backside eighth notes, you know, that are falling on the backside of the beat. Wow, it's kind of like we have a little breather here with letter G we have straight eighths and measures one and two and measures three and four. This is going to be so much fun. So let's bring the ensemble in and let's take a listen to letter G here we go.

Dr. Bob Lawrence  40:33  
See, I told you a nice little breather. Well, they didn't last very long. Take a take a look at letter H, right? Here we go, we're back to, we're back to eighth dotted quarter combinations with tied to a dotted quarter eighth combination and measure one, we repeat the same idea and measure two on the E flat seven. And then we repeat the same idea, basically and measure three with the A flat major. So our vacation was short lived. So let's bring the ensemble in. And let's take a listen to letter H here we go.

Dr. Bob Lawrence  42:15  
Nice, right, if anything you should pick up right away that you can play really nice melodic ideas without having to play a whole lot of notes. That's another trap we fall into, we want to think that the more notes the hipper the idea which I can attest to is not always the case. And letter H is a reminder, a nice reminder that less can indeed and oftentimes be much, much more. So spend some time with letter H Don't, don't rush through it too quickly. And then try to mimic that kind of idea with with some of your own improvisational ideas. So okay, let's move on to letter I. And once again, we're back to eighth quarter eighth combinations and measures one and two over our B flat minor. Seven and E flat seven. We have a backside eighth note on the backside of count two on Measure three with the A flat major. So not too bad, right overall not too bad. So let's bring the ensemble in and let's take a listen to letter I and once again, we'll be playing it through four different tempos 101 2140 and 160. Here we go. Let's check it out.

Dr. Bob Lawrence  44:37  
Very nice. All right, so now letter J we're kind of back to having a little a little breather again right letter J. eighth note descending eighth note line and measure one descending eighth note line and measure to descending eighth note line and measure three. All right again, same kind of rhythmic motif being played through rule are 251 progression. So pay attention to that. Okay? This this line will be easy, just a little warning will be easy to rush, it will be easy to anticipate kind of like running downhill, right. Don't let your don't let your body weight get out in front of you and faceplant on this right. So hold back, do not anticipate, do not rush. This is a trap. I'm just telling you right now, letter J is a trap. So be careful. Let's bring the ensemble and let's check it out here we go.

Dr. Bob Lawrence  46:36  
Speaking of traps when I tell you, right, but speaking of traps, take a look at letter K. First of all, you do not come in till the end of four or the backside of count four and measure one which is always a trap, right? You're just dying to play something but you're not going to play anything for for three and a half beats. All right. So be careful with that, then it's followed up immediately with one of our eighth quarter eighth combinations. So let's just jump in again, hold back in measure one do not anticipate that, and have four too soon. So let's bring the ensemble in. Let's check it out and see what we think here we go.

Dr. Bob Lawrence  48:27  
telling you right now, that's much harder than it looks or even much harder than it sounds. So have some fun with letter K. And just count carefully. All right, so we're fine that finally down to our last melodic idea of today. And look at it. All right, solid eighth notes going across and being kind here, right solid eighth notes going across the entire 251 progression. So again, though, just like letter J was a trap, or it's like running downhill. Same thing with letter L skill L here right? We have descending eighth notes on our two chord, our five chord on our one chord. So just again, just a reminder, be careful. Do not face plant on this. Do not anticipate Do not rush hold back relax, will be easy to do at 100 kind of No, I think maybe even harder at 100 than 160. But you'll see you're here. So let's bring the ensemble and let's check it out and see what we think. Here we go.

Dr. Bob Lawrence  50:42  
Wow. Wow, I'm tired. It never fails, right we always unpack a ton of information in each and every podcast episode and today, like always, certainly no exception as we explored the key of A flat major melodic workout. Again, I cannot stress to you enough how important it is that you spend time becoming familiar with the diatonic melodic shapes, the scales, the arpeggios, the modes of the key of A flat major. And having a command of ascending and descending scale, motion, width, and arpeggio motion within the framework of a key is huge. It's a huge step towards developing mature improvisational skills. And likewise, having a command of ascending and descending arpeggio motion outlining the harmonic shapes of a key, like the 251 progression or the 36251 progression is equally important, right. So applying these modes, the scales, these arpeggios, ascending and descending to the various shapes the progressions in the key of A flat major to any key right, but we're talking about the key of A flat major is a big time jazz piano skill that you must strategically study, and practice if you are serious about becoming an accomplished jazz pianist. Now, combined last week's lesson with the key the key of A flat major harmonic workout with today's this week's lesson to key of A flat major melodic workout. And once again, you have an incredible one two punch that will will have you well on your way to becoming very, very comfortable with the key of A flat major. And not only that, right, it will continue to solidify a practice blueprint, what we've been doing in the key of C key of F, B flat, E flat, now a flat solidifies a practice blueprint that you can replicate over and over and over again and replicate it from key to key to key, which is exactly what we are doing throughout this year of 2022. I said it last week. And I want to stress it again today that if you hang in there with me this year, it's it's a challenging year as we as we move through these keys and we we tackle tackle these various harmonic and melodic workouts, but if you hang in there with me this year, you're going to experience a ton of jazz piano growth. And you will love where you are musically a year from now, I guarantee it. So once again, I want to encourage you to use the podcast packets, the illustrations, the lead sheets and the play alongs to help guide you, right as you have heard me say over and over and over and over and over again that your conceptual understanding determines your physical development. So the time that you invest studying the illustrations using those worksheets, within the illustrations, the time that you spend with the lead sheet studying them visually, physically, orally, mapping out all the exercises. All of this is just time very well spent, and the return on your investment cannot simply cannot be adequately expressed. And most importantly, I remind you this remind you of this every week be patient. Developing mature professional jazz piano skills takes time. But begin structuring your practicing after the plane demonstrations that I modeled for you today in this podcast episode. And you will begin to see you'll begin to feel you'll begin to hear your musical growth. Well I hope you have found this jazz piano skills podcast lesson exploring a key of A flat major melodic workout to be insightful and of course to be very beneficial. Don't forget if you are a jazz pianist skills member I will see you online if you're an ensemble member I will see you online Thursday evening at the jazz panel skills masterclass 8 pm Central time to discuss this podcast episode lesson exploring our key of A flat major melodic workout in greater detail and of course to answer any questions that you may have about the study of jazz in general. And likewise, be sure to use those educational podcast packets right

Dr. Bob Lawrence  55:30  
the illustrations, your lead sheets, your play alongs Also, be sure to check out the jazz piano skills courses to maximize your musical growth and and also make sure that you are an active participant in the jazz piano skills community. Get out there, get involved, contribute to the various forums, and most importantly, make some new jazz piano friends. As always, you can reach me by phone 972-380-8050 by email Dr. Lawrence at jazz piano skills.com. That's drlawrence@jazzpianoskills.com. Or you can send me a SpeakPipe which is a nifty little widget found throughout the jazz piano skills website. Well, there is my cue. That's it for now. And until next week, enjoy your Key of A flat major melodic workout. And most of all, have fun as you discover, learn and play jazz piano.