Key of B Major Melodic Workout

Welcome to jazz piano skills. I'm Dr. Bobby, it's time to discover, learn and play jazz piano. Last week we tackled the key of B major focusing on harmonic development. This week we continue our exploration of the key of D major, but do so melodically. So today you are going to discover a key of B major melodic workout. And you're going to learn how to think within the key of B major melodically. And you're going to play the modes of the key of D major using ascending and descending scale and arpeggio motion, launching from various entry points, the route the third, the fifth, the seventh. And you're going to play melodic lines over the 251 progression in the key of D major, using various rhythms common to jazz, focusing primarily on 16th Note pairs. So as I always like to say regardless of where you are in your jazz journey, a beginner and intermediate player and advanced player or even if you consider yourself a seasoned and experienced professional, you're gonna find this jazz panel skills podcast lesson, exploring a key of B major melodic workout to be very beneficial. But before we jump in, I want to as I do at the beginning of every jazz panel skills podcast episode, I want to welcome all new listeners. And if you are indeed new to jazz piano skills, I want to welcome you and personally invite you to become a jazz piano skills a member all you have to do to become a member, visit jazz piano skills.com And once you arrive at the homepage, you can begin to explore the abundance of jazz educational resources, the 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 illustrations, the lead sheets, the play alongs that I develop and produce and make available for every weekly podcast episode. Now. These are invaluable educational tools that you certainly want to have in your hands as you listen to the podcast episode. You certainly want to have sitting on your piano as you're practicing as well. You also as a jazz panel skills member have access to the sequential jazz piano curriculum which is loaded with comprehensive courses now this is an online curriculum that uses a self paced format there are educational talks, interactive media, there are video demonstrations in all 12 keys are the jazz piano skills being taught there are play alongs and there are much more so check out the sequential jazz piano curriculum you also as a jazz piano skills member have I like I like to say a reserved seat and to the online weekly master classes which 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. This gives you access to jazz standards from the Great American Songbook, you can enjoy chord changes lead sheets there are harmonic function lead sheets, play along files, historical insights, inspirational recordings, chord scale relationships, and much more. It's an ever growing collection of tunes that you should absolutely discover, learn and play. You also as a jazz piano skills member have access to the online private jazz piano skills community,

which hosts a variety of engaging forums there are podcasts specific forum core specific forums and of course there are general jazz piano forms for you to enjoy as well. And of course, since you have access to all these forums, you will be able to contribute to them as well which I encourage you to do. Right share engage in grow that is the whole purpose of the jazz piano skills community At. And last but certainly not least, as a jazz piano skills member you have unlimited private, personal and professional educational support provided by me whenever and as often as you need it. So, take a moment visit jazz piano skills.com To learn more about all of the wonderful educational opportunities that await you and how to activate your membership. Now, there are several membership plans to choose from, and I am quite certain there is one that is perfect for you. But nevertheless, if you if you get there and you have some questions, please do not hesitate to reach out to me please let me know. I'm always happy to spend 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 to play jazz piano Let's get after this key of B major melodic workout. In January we tackled the key of C major right started out very first month of the year, we tackled C major harmonically. And then we followed that harmonic workout in the key of C major with a melodic workout. Then in February, we jumped into the key of F major. We looked at it harmonically. And then we followed it up with a melodic workout as well. When we got the March we explored the key of B flat major harmonically. And then we followed that with the key of B flat major melodic workout apro. We follow the same format right we embrace the key of E flat major, harmonically followed, followed it up with a key of E flat major melodic workout. Of course, in May, we continued our workouts with the key of A flat major harmonically followed by the key of A flat major melodically Joon, who spent diving into the key of D flat major harmonically and melodically. And then last month in July, we tackled the ever fearful key of G flat major, both ways right harmonically and melodically. So, this month, the month of August, we continue marching forward with our workouts with the key of B major. And last week, we did a key of B major harmonic workout, which means today, with much excitement, of course, we proceed with our key of B major melodic workout. Now, I have mentioned mentioned this on several occasions that even though we devote a lot of time and energy to 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. The bottom line is this melody and harmony, need rhythm.

Without rhythm, melody and harmony are simply not very musical. And this is precisely why every harmonic and melodic workout includes various rhythmic skills, various rhythmic patterns for you to study and for you to practice. Again, the idea is that rhythm must be applied to Harmony 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, of course, with the goal of by the end of the year, having successfully spent quality time with all 12 keys. Additionally, as we move around the circle of fifths throughout the year, we will gradually increase the intensity and complexity of our rhythmic application to both harmony and melody. Moving through and experiencing all 12 Keys is is absolutely essential. I tell students all the time, if you want to become more comfortable with the KSC then practice in the key of F then if you want to get more comfortable with the key of F practicing the key of B flat and if you want to get 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 at all keys when we strategically and continually move through all keys now. There is some misguided thinking out there which way with regards to playing in all 12 keys that many jazz students have expressed to me over the past 30 years and continue to express to me that goes something like this. I don't need to practice in all 12 keys because I don't see many tunes, really, you got to be honest with animals see many tunes written in the key of G flat or B or E. So why do I need to spend time practicing those keys when in reality, I will more likely be playing in keys like C and B flat. I'll never play in those keys. Now, I know none of y'all have ever had any of those thoughts, of course, right. So at the risk of preaching to the choir here, I just want to say that thinking is wrong. It's just so off base. Now, why this thinking is so skewed, it's swagged. Because with a casual glance at practically any jazz standard, one notice is right away, the tunes weave in and out of various key centers. For example, just last month, we studied the great jazz standard by Duke Ellington satin bow. Now, of course, we did it in the key of G flat major. And what did we discover, we discovered that by the end of the first eight measures, we were dipping our toes into eight different key centers, primarily, the keys of G flat, E flat, D, flat, C. And with the turnaround added, at the end of the first eight measures, we had to navigate through four additional keys B, B flat, A and A flat. Now,

I think this is kind of funny, right? Because everybody thinks the SAT and Tao as kind of a cute little song that that every jazz teacher gives to every beginning jazz student. And what's ironic about that is that this is not a simple to, because it moves through so many different key centers. In fact, it's very challenging if you if you want to actually play it correctly. So I could give example after example of these shifting key center centers in standards, so so the point is just simply this we must learn how to play in all 12 keys, we must become comfortable with the various shapes and sounds in all 12 keys, we must have a command of the shapes and sounds and all 12 keys harmonically and melodically because when we play standards, when we play jazz literature, you're going to be weaving in weaving in and out of all 12 keys at some point, you just cannot avoid it. Now, with all that being said, do not make the mistake of thinking that one key must be mastered before moving on to the next key. This is also a common misconception which produces a very, very slow practice approach that produces minimal results, and actually impedes your musical growth. I've stated this before as well. That based on years of teaching experience, the rhythmic dimension of music is actually the main stumbling block for most students. And when it comes to playing rhythms, most students find themselves guessing at how rhythms are supposed to be played. And the truth is that if you're guessing that rhythm, you're into internal sense of time is going to be way off. And if your internal time is off, your plane is off. Right your plane is just simply not good. This is why you have to make a personal commitment to practicing rhythm, which 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 workout. And 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 taught over the years who come to me with solid melodic and harmonic technique. They have an exceptional understanding of voicings and chord scale relationships, improvisational approaches, but yet they struggle to play jazz. Why? And the answer is rhythm. They are rhythmically deficient. So their time is all over the map. So my goal with these strategies eg harmonic and melodic workouts is to help you develop sufficient harmonic and melodic jazz piano skills, and to make sure that you gain a proficient understanding of rhythm and as a result, develop a solid internals sense of time. Last week with our key of B harmonic workout, I introduced rhythms focusing primarily on 16th Note pairs. Today, we're going to follow that same gameplan the application of rhythmic ideas melodically, focusing primarily on the 16th note pairs. But as always, I want to stress the importance of doing the entire key of B major melodic workout and not just simply jump to the last lead sheet in your podcast packet skill 25 to attack the melodic rhythms No. Why? Why do I voice this warning because you have to have a functional command of your scales, arpeggios right in the key of B major before you can begin applying rhythm to them. As I like to say you have to bake a cake before you can decorate the cake. So remain disciplined, and spend time with skills one through 24 before tackling skill 25. So you will find in your lead sheet packet podcast packet as you did with our last four melodic workouts, KSC F, B flat, E flat, A flat, D flat, G flat,

all 24 scales laid out for you. So let's do just a quick review. Skills one through four. Explore the modes ascending. From root position, first, second, and third inversion scales five through eight modes descending. Again in route first, second and third inversion scales nine through 12. We turn our attention to the arpeggios ascending root position plus the first second third inversion and skills 13 through 16. Arpeggios again but descending this time, from root position, first, second and third inversions. Skill 17 251 progression using ascending scale motion from root, third, fifth and seventh entry points starting on the two core skill 18 251 progression descending using scale motion, again with entry points of the root, third, fifth and seventh. From the two core skill 19. We stick with 251 progression, but now apply ascending arpeggio motion from the root, the third, the fifth and the seventh. We also in skill 20 Explore the 251 progression using descending arpeggio motion, and again with our entry points of the root, third, fifth, and seventh from the two core skill 21 expands our harmonic motion or harmonic progression. To now include the three and the six chords we have our 36251 progression using ascending scale motion with entry points from the root, third, fifth and seventh from the two chord scale 22 36251 progression using descending scale motion with our entry points always be in the root, third, fifth and seventh, launching from the two CT I mean from the three CT I should say, sorry, we're all launching from the three CT on these 36251 progressions, and then scale 23 we stick with the 36251 ascending arpeggio motion, entry points, root, third, fifth and seventh from the three chord and then scale 24 36251 descending arpeggio motion, entry points, root, third, fifth and seventh, launching from the three core. Okay, that is a lot that is a lot of information to process. conceptually. That is a lot of information to process of course, physically. But after you have thoroughly completed your workout skills one through 24 Then you can turn your attention to plain skill 25 which challenges you with 12 melodic lines using various rhythmic patterns with a focus being placed on 16 Note pairs. Okay, so the educational agenda for today is as follows number one, we are going to explore the key of B major melodically and number two, we are going to play 12 melodic ideas using ascending and descending scale and arpeggio motion. Number three, all

melodic ideas will be applied to our 251 progression today in the key of B major. In other words, C sharp minor seven going to F sharp dominant seven, going to be major seven. Number four, all melodic lines will be played using a relaxed Basa groove of 85. In fact, it's the same groove that we used last week with our key of B major harmonic workout. In number five all melodies, I will be playing all melodies using a single note right hand melodic treatment, with supported with shells left in shells, shells in my left hand. Okay. So before we go any further, if you're a jazz piano skills member, which would just take a few minutes right now, as always, to download and print your podcast packets, the illustrations and the lead sheets that you have access again, you as a member you have access to all of these podcast packets, and you should absolutely be using them when listening to this podcast episode. And of course, you should be using them when practicing. So if you are listening to this podcast on any of the popular podcast directories such as Apple or Google, Amazon, Spotify, iHeartRadio, Pandora, etc. Then be sure to go to jazz piano skills podcast.com To download your podcast packets, and you will find the download links in the show notes. In one final but extremely important note that I mentioned every week, if you're listening right now, and if you're thinking that the key A B major melodic workout that we with the various skills that we are about to discover, learn and play. If you are thinking that this content is over your head, then I would say to you relax, sit back and continue to listen, just continue to grow your jazz piano skills intellectually by listening to this podcast episode. Keep in mind now all skills right think about this all skills are overheads when first introduced. And that is precisely why the first step we always need to take the very first step that we need to take to improve our musicianship is to simply sit back and listen. So do not shy away from these conversations that may be discussing foreign topics or using unfamiliar terms. Right stepping outside of our musical comfort zone is what actually spawns our musical growth. Now, as you all have heard me say a million times, all musical growth begins upstairs mentally, conceptually, before it can come out downstairs physically in your hands. So sit back, relax, listen to this podcast lesson now to discover and learn. The play will come in time, it always does. I guarantee it. Okay, so now that you have skill 25 from your lead sheets packet in front of you. I want to walk us through all 12 melodic lines. And I'm going to play each line. But I'm going to point out some characteristics of each of the lines as well. So let's start with letter A.

So you'll notice that all 12 lines are are labeled A through L. So letter A right away, right, what do we see, we have our eighth to 16th note pattern that we were introduced to in our harmonic workout last week. And we got a you know, eighth note there on the backside of count two and measure one, we use that same, that same rhythmic motif and measure to write the eighth to 16th Note pair followed by a single eighth note on the end of two. But then look at measure three, we have some triplets going on descending triplets, all the way through measure three and measure four. But look at count two and measure four that rhythm changes so that the challenge here you're playing these descending triplets, but then that line ends with the eighth to 16th Note combination. So it's easy to actually end up playing that as a triplet which it is not Okay, so, so let's bring the ensemble in. Let's take a listen to this first, I encourage you to clap, tap, right, you do not have to actually be playing these right now just as you're listening. But you certainly can tap these rhythms as I'm playing them kind of preparing yourself for when you go to the piano to play them, you've already done some preliminary work here. So let's bring the ensemble in. Let's take a listen and see what we think here we go check it out.

Nice, you know, I mentioned that last week, the challenge, you know, this eighth note, followed by to 16th. Note, this rhythmic pattern, this rhythmic idea is a challenge because a lot of times if we're not careful, we end up playing it like a triplet. And it's not there's a very big difference between the triplet and the single eighth connected to 2/16 notes. So throughout these rhythms, I'm going to try to create patterns and lines that help you develop develop the difference being able to play successfully play the difference between these two rhythmic ideas. Okay. So now let's take a look at letter B, letter B, we start off with a rhythm that we've had in the past as well the eighth quarter eighth combination, we have some eighth notes then with tied to tie between counts two and maybe I'm sorry, between counts three and four. And then we have a quarter eighth combination again and in measure two, then in measure three, we have our, our eighth to 16th note pattern again, that's showing up so we have some tied notes to deal with in this in this line. But we have that really familiar eighth quarter eighth pattern to deal with as well. So let's bring the ensemble in. Let's check it out. Let's see what we think here we go.

Love it very nice. Very nice. So now let's take a look at letter C. The letter C starts with a ascending line of triplets. Right followed by look at measure two now we have our 16th notes, our 16th Note pair followed by an eighth note. So now our that rhythmic pattern is is flipped right? The 16th notes are on the front side as opposed to being on the back side. So we have a descending line in measure three and four. That is utilizing this 16th Note pair followed by an eighth note to write with quarter rest in between, and then we have an eighth rest. In measure three, we have an eighth rest on count two, which places our very last note on the backside of count two. So some little tricky, rhythmic ideas to deal with here in letter C. So let's bring the ensemble in. And let's take a listen to letter C, and see what we think here we go check it out.

You'll gain in command of the 16th note pairs where they fall on the backside of an eighth note, or they are placed on the front side of an eighth note, getting comfortable with this rhythmic idea and being able to move from one to the other, right moving from with the eighth note followed by 2/16 notes, or to 6/16 notes followed by an eighth note. Both of these, both of these rhythmic ideas are very important to get a command of and to become comfortable with it. Hopefully, these 12 melodic lines will help you do just that. So now let's take a look at letter D. Right away, you can say wow, measure one everything's happening on the on the upbeat on the off beat or the backside of count one count to count three and count four, followed by an ascending and ascending melodic idea utilizing the eighth to 16th no pair pattern ascending and then we have a descending line happening in measure three that flips flips that that pattern right where the 16th note pairs now we're on the front side of the eighth note. So you got to you got to measure two and measure three you just going from one one melodic idea or rhythmic idea and flipping it in measure three as well. So all right, so this is this is a little tricky so let's bring it let's bring in the ensemble let's take a lesson here we go.

Well we're only a third of the way through and you can already see that. You know, these rhythmic ideas are not easy. They're not easy. So be patient. This is why the temple we're playing it at a comfy tempo today, as we did last week with the harmonic with our harmonic workout, because these rhythms are important to be able to start incorporating 16th notes into our lines harmonically and melodically and to be able to do so with mixing it with our triplets. Our eighth note triplets are quarter note triplets in it are various patterns like the eighth, quarter eighth, or the dotted quarter eighth, which is, all of these patterns are within these lines here today. So this is, this is big time stuff that we have to get a command of. So be patient, be patient. And again, I can't encourage you enough to spend some time clapping through these rhythms or tapping through these rhythms on your desk or kitchen table. Right? Before you play them. Or when you do go to play them use use a single note, right? Even play them just rhythmically first using a single note, then apply the melodic line to, to the, to the line. Okay, so Alright, so let's let's march on, let's take a look at letter E, we have our dotted quarter eighth pattern that we have to deal with, we have some tied notes to deal with. So let's bring the sample in and let's just take a listen and see what we have to deal with here. So check it out here we go.

You know some other things to pay attention to as we play through these rhythms. When you analyze these and look at these rhythmic lines and these melodic lines, you know, pay attention to when scale motion is being used, or when arpeggio motion is being used. What note is the musical phrase being resolved on are their melodic ideas that are being repeated. From one measure to the next measure to the next measure, as we just did in letter E, right? Same kind of melodic idea over the two chord or the five chord over the one chord. So those are the types of things that will help you develop your jazz vocabularies. Being aware of the motion, the ascending descending motion when it when it is when does it occur? Is it are we using scale motion arpeggio motion? Or what notes are we resolving? Resolving on these these types of characteristics of a jazz line is what will help you develop your jazz lines. So understanding these dimensions, how a line is constructed. If you're looking at whether you're looking at these lines or a transcription, same, same process applies, right pay attention to the nitty gritty underneath the hood, to kind of stuff that that the architectural structure of the line. Okay, it's it goes it goes way beyond I guess what I'm saying it goes way beyond just knowing the notes. There's a lot more to it than just the notes. All right, so let's look at letter F and right away Wow, here comes some quarter note triplets not only in count one, but count two, I mean, measure one, measure two and measure three. We have quarter note triplets to deal with. Followed by 16th Note pairs. Right measure 1/16 Note pair eighth note measure to another 16th Note pair followed by eighth note. Wow, this should be fun. So let's bring the ensemble in. Let's take a listen. Here we go.

Nice, I love it. All right, okay, buckle up your seat belt because take a look at letter G, right, we don't come in on count one and two and measure one, we don't come in on counts one and two and measure two. We don't come in for playing anything, um, counts one and two, in measure three. Right? You've heard me say this before, the hardest thing for jazz piano player to do is to play nothing. And that's what we have to do, we have to play nothing for counts one and two and come in on counts three and four. And we follow this same process and measure one and measure to him and measure three. So we have our eighth to 16th Note pairs in measure one, we have our eighth and 16th Note pairs and measure two. And then in measure three all of a sudden, that that, that switches, we have ascending triplets to deal with. So you should be able to hear a difference between these rhythmic motifs, right between the eighth to 16th Note pair and the trip eighth note triplet. So let's bring the ensemble lead at let's check out letter G here we go.

Wow, right, this will, letter G will test your ability to track time when you're playing nothing and to be able to come in at the appropriate time after playing nothing. So letter G can be a little tricky. Have fun with it. Okay. So take a look at letter H. All right, so we have an eighth note triplet there and measure one followed by two back to back quarter note triplets. And then we have our classic eighth to 16th Note pair again to deal with in measure three. All right, so let's bring the ensemble in and let's check out letter H here we go.

Nice, very nice. Now, letter I write letter is interesting because we are playing a rhythmic idea that is stationary. Right look at measure one, it's stationary. In other words, it's, it's all being executed on a single note for counts one and two. And we do the same thing in measure two, same rhythmic idea is just being executed on one single note for counts one, and two. Now look at measure three, we have 16th Note pairs, not followed by an eighth note, but followed by an eighth, rest on counts one, two, and three, which may be a little tricky at first. So let's bring the ensemble in. And let's take a listen. And let's check out what we think about these rhythmic ideas being executed on a single note before moving off of that idea, moving off of that note in measure one and two, followed by the 16th note pairs, followed by an eighth rest. Wow. Very fun. So let's bring the ensemble in let's check it out here we go.

Need right, I like it. I think it sounds fantastic. So, you know and I guess the bottom line is don't be afraid when you're developing and working on your own jazz vocabulary. Do not be afraid to take a rhythmic idea and play that rhythmic idea on a single note, we always talk about ascending and descending motion. I think we don't talk enough about just static motion or static movement. We're just staying put stationary, I guess is is a great word to use for that stationary ideas. Right? So okay, let's look at letter J. nothing tricky, really and measures one and two classic eighth note wines typical of jazz. But now look at measures three and four. We have our eighth followed by 2/16 Note pairs followed by 2/16 notes, a 16th note pair, followed by the eighth note right so we have these two rhythmic ideas that we have been toying with all day throughout this episode. Now we have both of those rhythmic ideas back to back right, the eighth followed by two sixteenths connected to the two sixteenths followed by an eighth in measures three and measures four in measure four so let's bring the ensemble in. Let's take a listen to letter J. Here we go.

All right, onward to letter K, we'll have to left onward to letter K. Well we have we've dealt with this before right eighth notes on the backside of count one count to count three and count four and measure one. And then we have our, you know, our eight to 16. No pair line in measure two. And then same idea repeated in measure three. So we should be pretty comfortable with with this rhythmic, this little rhythmic motif by now right? So let's bring the ensemble in and let's listen to letter k, here we go check it out.

Right, we are down to our final melodic line today, letter L. Look at measure one, ascending triplets, right on counts 123 and four, check out measure to descending line using our eighth to 16th Note motif all the way down. To check out measure three, we flip it we have our 2/16 Note pair followed by eighth note, ascending line all the way up. The letter L is going to test your ability to move in and out of these eighth note triplets into eighth to 16th Note pair rhythmic idea into a 2/16 note pair followed by eighth note rhythmic idea, right? So you're going to be able to test your ability to how well you can articulate these various rhythmic motifs and make them sound correct and not have them sound all exactly the same, which they should not be. Okay, so let's bring the ensemble and let's take a listen to letter L. And let's check it out and see what we think here we go.

Wow holy moly, right. Have we covered a lot again today in getting through all 12 of these melodic lines. Now, I didn't mention this at the beginning I should have but I know you probably picked up on it pretty quick. I played each of these melodic lines four times through, right I always put a 251 at the beginning just play in harmonic movement at the beginning and then to get harmonic movement at the end the last time through right. But between the book ends, I play each other played each of these melodic lines four times, giving you an opportunity to digest them orally and then also giving you a nice opportunity to play along with me. And repeat, repeat each melodic line several times right. So, I cannot stress enough, I just cannot stress enough how important it is that you spend time becoming familiar with these diatonic melodic shapes. Again, all these lines today, were 100% diatonic motion, right scales and arpeggios, all diatonic to the key of B major. So having a command of these ascending and descending scale motion, within the framework of a key the modes is a huge step right towards developing mature improvisation skills. And having a command of ascending and descending arpeggio motion outlining the harmonic shapes of a key is equally important. And then being able to apply the ascending and descending scale and arpeggio shapes of a key to common chord progressions within the key such as the 251 progression. It's a big time jazz piano skill that must be strategically studied in practice, if you are serious about becoming an accomplished jazz pianist, and that's exactly what we did today. That's exactly why we took the approach that we took today to actually gain a command of scale motion, arpeggio motion rhythmically within the context of a 251 progression. So if you can combine today's workout, our key of B major melodic workout with last week's key of B major harmonic workout, you have an incredible combination that will have you well on your way to mastering the key of B major. Right. And not only that, it will continue to solidify a practice blueprint for you that can be replicated in other keys. Right, which is exactly what we've been doing throughout this entire year. Okay. I said it every week. I say it every week. And I want to stress it again today that, you know, if you hang in there with me this year, and we're on can you believe it, we're almost to the end of the year. But if you hang in there with me, this year, you will experience a ton of jazz piano growth and you will love where you are musically. A year from now. I absolutely guarantee it. Not a year from now, but at the end of the year is what I'm trying to say right? You will love where you are musically. Okay. One final note. I mentioned this every week as well be patient. Right developing mature professional jazz piano skills takes time. Begin structuring your practicing after the plane demonstrations that I modeled for you today in this podcast episode that I promised you you will begin to see and you will begin to feel and hear your musical progress. All right. All right. 

Well, I hope you have found this jazz panel skills podcast lesson exploring a key of B major a lot of work out to be insightful and of course I hope you have found it to be very beneficial. And don't forget if you are a jazz panel skills member I will see you online Thursday evening at the jazz panel skills masterclass. It's 8 PM Central time to discuss this podcast episode lesson exploring our key of B major melodic workout in greater detail and, and of course to answer any questions that you may have about the study of jazz in general. Likewise, I want you to be sure to check out the educational podcast packets, the illustrations lead sheets to play alongs I want you to use them not only for this podcast lesson, but for every podcast lesson. And also check out the jazz piano skills curriculum, the courses to maximize your musical growth. And 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 of course, make some new jazz piano friends. Always a great thing to do. Now you can always reach me by phone 972-380-8050 my extension is 211 here at the Dallas school of music or you can reach me by email Dr. Lawrence, drlawrence@jazzpianoskills.com. Or you can use the nifty little SpeakPipe widget that is 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 D major melodic work. And most of all, have fun as you discover Learn and play jazz piano