Key of Db 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,

Dr. Bob Lawrence  0:42  
we tackled the key of D flat major focusing on harmonic development. And this week, an extensive workout in the key of D flat major melodically. So today you are going to discover a key of D flat major melodic workout. And you're going to learn how to think within the key of D flat major melodically and you are going to play the modes of the key of D flat major using ascending and descending scale and arpeggio motion launching from various entry points, the root, third, fifth, seventh, and you are going to play melodic lines over the 251 progression using various eighth-note rhythms, focusing primarily on the eighth note triplet. Wow, we have a lot to get done today. So as I always like to say regardless of where you are in your jazz journey, a beginner, intermediate player, an advanced player, or even if you are an A seasoned and experienced professional, you're gonna find this jazz panel skills podcast lesson, exploring a key a D flat major melodic workout to be very beneficial. If you are new to jazz piano skills. If you are a new jazz panel skills podcast listener, I want to welcome you and personally invite you to become a jazz panel skills member. All you have to do is visit jazz piano skills.com. And, once you arrive there at the homepage, you can poke around a little bit to explore all the abundance of jazz educational resources, materials, and services that are available for you and waiting for you 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 lead sheets into plain locks that are available for every weekly podcast episode. These are invaluable educational tools that you want to have in your hands as you're listening to each podcast episode but you also want to have sitting on your piano as you are practicing as well. Also as a jazz piano skills member, you have access to the sequential jazz piano curriculum, which is loaded with comprehensive courses all of them using a self-paced format, educational talks there's interactive media video demonstrations and all 12 keys are the skill that has been explored that has been taught there are play alongs and much more. You also as a jazz panel skills member have a reserved seat in the online weekly master classes that I host every week, which are in essence, a one-hour online lesson with me each and every week. You also as a jazz panel skills member have access to the online interactive Fakebook which grants you access to jazz standards from the Great American Songbook you'll you'll be able to enjoy the chord changes lead sheets, there are harmonic function lead sheets, play along files, historical insight, 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 piano skills member have access to the private jazz piano skills community online community, which hosts a variety of engaging forums, podcast-specific forums, core-specific forums, and of course general jazz piano forums. You have access to all of them and you have the ability to contribute to them as well as benefit from them. I encourage you to absolutely share, engage and grow in the jazz panel skills community. And last but certainly not least, you have access to unlimited. I'm going to say that again. Unlimited private, personal and professional educational support provided by me whenever and as often as you need Again, just visit jazz panel skills.com. Check it out, learn more about all of 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 am certain there is one that is perfect for you. But nevertheless, once you get to jazz piano skills and you poke around, if you have some questions, please let me know. I'm always happy to spend some time with you and answer any questions that you may have. And to help you in any way that I can. All right, let's discover, learn and play jazz piano Let's get after this key of D 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. February, we jumped into a key of F major harmonic workout, once again, followed by a key of F major melodic workout. March, we explored it key B flat major harmonic workout, followed by the key of B-flat major melodic workout a row, we embrace the key of E-flat major harmonic workout, followed by a key of E-flat major melodic workout. And in May, we continued our workouts with the key of A-flat major harmonic workout, followed by a key of A-flat melodic workout. Wow. So this month, June, guess what we tackle the key of D flat major last week, we did a key of D-flat major harmonic workout. And of course, this week today, we're going to follow it up with a key of D-flat major melodic workout

Dr. Bob Lawrence  6:49  
workout. Now, I have mentioned on several different occasions that even though we dive into and devote a lot of time, a lot of 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, as I like to say, or static. Bottom-line melody and harmony need rhythm. And without it, melody and harmony are just simply not very musical. And this is precisely why every harmonic and melodic workout includes various rhythmic skills, rhythmic patterns for you to study and practice. And again, the idea is that rhythm must be applied to Harmony must be applied to 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 year know that we started on a mission with the key of C major back in January, and we are making our way around the entire circle of fifths, of course, counterclockwise 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 be gradually increasing the intensity and the complexity of our rhythmic application, to our harmony, and to our melody. Moving through and experiencing all 12 Keys is absolutely essential. And I tell students all the time, and you've heard me say this many times, that if you want to become more comfortable with the key of C than practicing the key of F and 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, practicing the key of E flat and so on, you get my point, right. And if you don't get my point, my point is that we get better in all keys when we strategically and continually move through the keys. Alright, and do not make the mistake of thinking that one key must be mastered. Before moving on to the next key. This my friend has a very slow approach to practicing and to study in jazz that produces quite frankly minimal if any results and actually impede your musical growth. Alright, the other point is that familiarity with all 12 Keys is necessary if you want to play jazz standards, jazz literature, and why is that because most tunes, as you know, move through several keys so the bottom line is simply this we have to become comfy playing in all 12 keys. I've stated this before as well that based on years of teaching experience, by far 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, I have found that most students guess at how rhythms are supposed to be playing. And the truth of the matter is that if you are guessing at rhythm,

Dr. Bob Lawrence  10:38  
I guarantee it, your internal sense of time is way off. And if your internal time is way off your plane, I don't care how many right notes you play or how many, how many write chords you play your plane is simply not good, if your internal sense of time is off. And that is why you have 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 workouts. And ironically, Rhythm Time is the most important aspect of music, and we discuss it and we practice it the least. This is precisely why most people have difficulty becoming an accomplished jazz musician. And I cannot begin to tell you how many students over the past 30 years who have come to me with a solid melodic and harmonic technique they have, they have a phenomenal understanding of voicings and chord scale relationships, improvisational approaches, but yet they struggle to play jazz. And why is this? The answer is simple rhythm, they are rhythmically deficient.

Dr. Bob Lawrence  12:14  
And therefore, their time is all over the map. And therefore, they have difficulty playing jazz. So my goal with these strategic and consistent 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 a solid internal sense of time. Now last week with our key of D flat harmonic workout, I introduced rhythms focusing primarily on the eighth note, triplet, and today we follow the same gameplan the application of rhythmic ideas melodically focusing once again, on the eighth note triplet, that as always, I want to stress the importance of doing the entire key of D flat major melodic workout and I just simply jumping to the last lead sheet in your podcast packet skill 25 to attack the melodic rhythms or you can take a peek at it don't get me wrong, I mean, you can download print, print your pack and take a peek at those at those rhythms and see what's what's around the corner. But make sure that you spend time with skills one through 24 before jumping into skill 25. And why? Because you have to have a functional command of your scales and arpeggios in the key of D 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 as I know you will and spend time with skills one through 24 before tackling skill 25. So you will find in your lead sheets podcast packet as you did with our last five melodic workouts in the key of C F B flat, A flat, and a flat all 24 skills laid out for you. So let's just do it just want to do a real quick review before moving on skills one through four. As you can see, explore the modes in ascending root position, plus first, second and third inversion. Scales five through eight modes once again descending this time in root position plus first, second and third inversion. Scales nine through 12 Are the arpeggios ascending root position plus first second, third inversion scales 13 through 16 arpeggios, D ascending root position, plus first, second and third inversions scale 17 to five one ascending scale motion, root, third, fifth seventh entry on the two-chord scale 18, the 251 progression descending scale motion and once again root third fifth seventh entry on the 2-chord scale 19 to five, one ascending arpeggio motion with our entry points on the two-chord being the root, third, fifth and seventh scale 20 251 descending arpeggio motion, and again, entry point on the 2-chord being the root third, fifth and seventh scale 21 36251 progression, ascending scale motion, root third fifth seventh entry on the 2-chord scale 22 36251 progression descending scale motion with root third fifth seventh entry on our 2-chord scale 23 Our 36251 progression again this time ascending arpeggio motion with our entry points on the 2-chord being the root, third, fifth and seventh. And then finally scale 24 36251 progression with descending arpeggio motion. And once again our entry points on the 2-chord being our root, third, fifth, and seventh. Wow. So after you have thoroughly completed your workout skills one through 24 Then you can turn your attention to playing skill 25

Dr. Bob Lawrence  16:52  
which challenges you with 12 melodic improvisational lines using various eighth note triplet configurations. So the educational agenda for today is as follows number one, who here going to explore the key of D 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 D flat major which is E flat minor seven to a flat dominant seven to D flat major seven. All melodic lines will be played using a relaxed ballad and light swing groove with various tempos tempo of 70 Temple of 90 and a tempo of 110 Two times through each tempo and five all melodies will be played using a single note right-hand melodic treatment. Okay, so before we go any further if you are a jazz piano skills member, I want you to take a few minutes right now hit that pause button, access download, and access print your podcast packets for illustrations, your lead sheets and play alongs. And once again you have access as a jazz piano skills member you have access to all of the podcasts packets, and you should be absolutely 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 episode on any of the popular podcast directories such as Apple or Google, Amazon, Spotify, iHeartRadio, Pandora on and on and on, then be sure to go directly to the jazz piano skills podcast.com website, jazz piano skills podcast.com To download your podcast packets and you will find the active download links within the show notes. And one final but extremely important note that I include in every podcast episode if you are listening, and you are thinking that the key of D flat major melodic workout and the various skills that we are about to discover, learn and play. If you're thinking whoa, this is way over my head, then I would say to you no it's not sit back, relax. Just continue to listen and continue to grow your jazz piano skills intellectually by just simply listening to this podcast episode. Think about it all skills when first introduced our overheads. And that is precisely why when all-new skills are introduced, the very first step that we need to take is to just simply listen, so do not shy away. way from conversations discussing foreign topics or using unfamiliar terms. Stepping outside of our music comfort zone, which we need to do, spawns musical growth, significant musical growth. As you all have heard me say a million times, I'm all musical growth begins upstairs conceptually mentally, before it can come out downstairs physically in our hands. So just simply listen to this podcast now, to discover and learn, the play will come in time. I guarantee it, it always does. Okay, so let's jump into skill 25. Right are 12 melodic lines, I want to walk you through each of these lines today. And the very first thing I want to say is that every single one of these 12 melodic line lines, use only diatonic notes. In other words, notes directly from the D flat major scale. None of these lines are using any notes that fall outside of the key of D-flat major so that in and of itself should be comforting. And if you've already done your work with skills one through 24, you are in Fantastic, fantastic shape. So let's look at letter A, line A. Okay,

Dr. Bob Lawrence  21:33  
we have our eighth-note triplets and measure one, measure two and measure three, measure one and two, those eighth-note triplets fall on count two, and then it shifts and measure three, the eighth note triplet appears on count one. All right, we have some backside eighth notes or eighth notes that fall on the backside of the beat and measure three on count four. And then again in measure four on counts one and two. So some tricky, rhythmic ideas going on here that you have to count carefully. But again, I'm starting at a tempo of 70. And I'm going to play through this line two times at 70. And then you'll hear the tempo change to 90 and I'm going to play through the line again two times. And then the tempo will change once again to 110. And once again I will play through the line twice. So let's bring the ensemble in. And let's take a listen to the line letter A and see what we think here we go check it out.

Dr. Bob Lawrence  23:49  
Fun right, it's fun. You know the challenge here with these triplets with these eighth-note triplets. Challenges is not to rush them, do not play them like 2/8 notes followed by a quarter note. And I think the best way to make sure that you're articulating these eighth-note triplets correctly is to basically say the word right, triple let. So that measure one would be one triple let three, four, right? So be articulating vocally, the rhythm and it will make a huge difference and how you articulate it and actually play it. Okay, so now let's take a look at line B letter B. Once again, we have eighth-note triplets and measures one and measure two. So nice scale motion and measure two using that eighth note triplet, triplet at the beginning of the line. And we have a little descending arpeggio motion in measure one so let's bring the ensemble back in and let's listen Letter B and check it out here we go.

Dr. Bob Lawrence  26:14  
Nice, right, nice idea. In fact, as you start to work through these lines and you start to hear these triplets under your fingers, I guarantee you're gonna start going wow, these lines are actually starting to really sound very jazz-like triplet rhythm is laced through jazz literature. So the time that you spend mastering this rhythmic idea, and internalize it to where it becomes a natural feel for you, is time very well spent. Okay, let's look at letter C, we have some ascending thirds and measure one, followed by an eighth note triplet on count four, and then we take that very same idea and measure two, we continue with our ascending thirds followed by an eighth note triplet on count four. Then in measure three, we have a nice descending arpeggio idea using an eighth note triplet. Wow, this is going to be fun. So let's bring the ensemble back in. Let's take a listen to literacy. Let's check it out and see what you think here we go.

Dr. Bob Lawrence  28:41  
Very nice, very nice indeed. And, and again once again, when improvising when plain repetition is a very good thing quite often we tend to think as, as we're developing our improvisational skills that if for some reason we repeat a motif or an idea that for some reason that's kind of a lack of creativeness which couldn't be further from the truth. Anything we're saying once is worth repeating. And anything not worth saying are not worth repeating is not worth saying once. So, when you play and you have an idea that is a good idea, nothing wrong with repeating that as we did in letter C with those ascending thirds followed by a triplet and then followed right back up with more ascending thirds followed by a triplet. Do not be afraid of repetition. Speaking of repetition, let's look at line letter D. And check this out. Do not be afraid of stationary improvisation as well. Look at measure one, stain right with the exact same note right. Same note on that B flat and then we move up a step To see and we repeat using the same note recreating idea using the same. So look, we got the same note going on here two different notes, and using the same melodic idea motif repeating that as well. So quite a bit of lessons to be revealed and learned and studied in measures one and two of letter D. Then in measure three, we have our ascending descending eighth-note triplets, using arpeggio motion through the entire line. So this is going to be a fun, this is going to be a fun and interesting line. So let's bring the ensemble back in and let's check out letter D here we go.

Dr. Bob Lawrence  31:50  
Nice see, right, using a single note to create a melodica to create a rhythmic idea when improvising. It's fantastic. All right. So now let's look at letter E the challenge here, right, you don't play anything until the end of four and measure one, right the backside of four and measure once you have to count and I'm telling you it's always so difficult to play silence It's very hard to play nothing, but you have to do so in letter E. And then we come right out of that on the end of four with triplets on counts one and 3/8 note triplets on counts one and three of measure two. And then look at the craziness and three and four all of these eighth notes falling on the backside of count two of count three, count for of count one and two, and measure four. Wow. Okay, I'm gonna play through this as I have been doing right two times each tempo 7091 10 Each repeated twice. Okay, at each tempo so let's bring the ensemble, and let's check out letter E here we go.

Dr. Bob Lawrence  34:17  
Love it absolutely love it. You know you may have been thinking like, Well, okay, we have to deal with these eighth notes that fall on the backside of beats here in these and some of these rhythmic lines, but thank goodness we don't have any of those eighth quarter eighth patterns that we had to deal with last week. Well, think again, check out letter F right out of the box here, right out of the chute and measure one right. We have our eighth note quarter eighth pattern on counts one and two and then again on counts three and four. We come out of that with eighth-note triplets back to back and measure two and then we have a descending line and using our eighth quarter eighth rhythm again in measure three, and we have another eighth note triplet and measure four. Wow. Okay, well I guess we have to deal with this rhythm, right, the eighth quarter eighth pattern along with our eighth note triplets. So let's bring the ensemble. Let's take a listen to letter F, again, two times through at each temple 7090 and 110 Here we go check it out.

Dr. Bob Lawrence  36:38  
All right, well, that concludes six out of the 12 rhythmic lines, all of them very interesting and very intriguing with these eighth-note triplets and various eighth-note patterns. But we have more work to do. We have six more lines to explore. This is going to be fun. So let's look at letter G, and you can just visually look at letter G and go what the heck. I mean, look, we got eighth note triplets on count on all four beats and measure one all four beats and measure two. And these are descending eighth-note triplets that are ascending. Want to say that again, these are eighth-note triplets that are descending, ascending. And you can visually see that and then we have in measure three we have oh, we have a new, a new little rhythm to deal with we have a dotted quarter eighth combination on counts one and two. And then again on counts three and four. Wow, this is going to be great fun. So let's bring the ensemble and let's check out letter G here we go.

Dr. Bob Lawrence  38:57  
Easy peasy, right? Well, maybe not so much right in the key of D flat we got a lot of flats to deal with. But you'll find once you put your fingers on it, it's not as crazy as it looks. So all right, let's move on to letter H and letter H. We have eighth-note triplets and measure one, measure two and of course measure three and measure four. So all four measures we have to deal with our eighth note triplets. Okay, we have tied notes in there as well, which make this very challenging. You have to count through those tied notes to get to eighth note, single eighth note on the end of four, and measure one and unmeasured two. So a challenge here is not to anticipate that eighth note on the end of for too soon, right. So be careful with all of the tied notes and measure one tied notes and measure two we have tied notes and measure three going into measure four. So let's bring the ensemble in. Let's check it out and once again three tempos 7091 10 Each played aligned played twice at each temple. Here we go, let's check it out.

Dr. Bob Lawrence  41:28  
Very nice. All right, the letter I, the letter I, We have eighth note triplets again and measure one measure to measure three arpeggio descending arpeggio motion, right and measure one and two. And it's a kind of a repeated motif or repeated idea again, between measure one and two followed by straight scale motion. In measure three leading into measure four. And again, I just reminding want to remind you all these lines that you're hearing right now that I'm going through all of them, diatonic notes, only notes in the key of D flat major, only. Okay, and even with that, these lines sound fantastic, right, we don't have to include a lot of notes outside of the key to create interesting and intriguing melodic ideas. So okay, let's bring the ensemble in let's check out letter I Here we go.

Dr. Bob Lawrence  43:42  
Okay, onward to letter J. Look at this with tons of triplets again right, and measure one we have a couple of eighth-note triplets measure to a couple eighth, eighth note triplets. Measure three to more eighth note triplets, tied notes in there again to trip you up. So count carefully. We have descending triplets that create us ascending motion again, right. And then in measure three, we have these back-to-back eighth note triplets, descending using arpeggio motion which can be a little tricky as well. So let's bring the ensemble and let's take a listen to letter J and see what we think here we go check it out.

Dr. Bob Lawrence  45:37  
Wow. Did you hear anything familiar and letter J with those eighth-note triplets with those descending triplets. Did you hear that they were using intervals of a fourth, fourth the patterns, right? Yeah. So very nice, a very nice effect playing triplets using force, very contemporary sound, and mimics our shell voicings, our contemporary shell voicings that we use in our left hand. So just wanted to bring that point to your attention. All right, so when you play through it again, pay attention to that, not only physically but aurally as well. Okay, so that was a lot of arpeggio motion and letter j using 40 intervals. So now let's take a look at letter K. And finally, we haven't so nice scale motion right measure one, we have a sending scale motion with a triplet, eighth note triplet there on count two. I want though, to draw your attention to measure three and four. It's kind of a tricky little melodic motif where the emphasis has been placed those eighth note triplets on count to count for of measure three and then again, on count two of measure four. It's It's tricky, right, especially with those tied notes in there to play through that line correctly, without rushing through it. So I just wanted to bring that to your attention. So let's bring her ensemble in. And let's listen to the letter K and see what we think here we go check it out.

Dr. Bob Lawrence  48:31  
All right, we are down to our last melodic line for today. letter L. And you know what letter J was so nice with those 40 voicings that I mean those 40 intervals in our in our melodic line. Let's do that. Let's do a little bit more of that look at look at what's happening there and measure one and letter L. We have a lot of eighth-note triplets on every single beat of the measure. And once again, these eighth-note triplets are built using the interval of a fourth it's of great sound. And then we have an eighth note triplet and measure two. We have some nice eighth-note patterns to end up the end of measure two and measure three. Look at a nice whole rest and measure for how nice is that? Right so let's bring the ensemble in. Let's listen to these fourth the triplets eighth-note triplets as they descend and measure one and let's take a listen to the entire line and see what we think here we go check it out.

Dr. Bob Lawrence  50:47  
Wow, you have your work cut out for you those lines, these lines using the eighth note triplet rhythm is are not easy, right? They're all diatonic motion, but they're not easy. So it's gonna be, it's gonna be a challenge. But it's going to be a challenge. As I mentioned earlier, well worth it because as you get familiar with the eighth note triplet, and you can begin to incorporate that into your improvisational vocabulary, you will find that your playing automatically takes a huge leap forward to sounding like authentic jazz. So, as always, right, we have unpacked a ton of information. In this podcast episode. I cannot stress to you enough how important it is that you spend time becoming familiar with the diatonic melodic shapes the scales and arpeggios of the key of D flat major before attacking skill 25. With all these melodic lines, having a command of ascending and descending scale motion within the framework for key modes, if you will, is a huge step towards developing really mature improvisational skills and likewise, having a command of ascending and descending arpeggio motion, outlining the harmonic shapes of the key, right. Equally important, then being able to easily apply the ascending and descending scale and arpeggio shapes have a key to common progressions like we did today with the 251 progression. It's a big-time jazz piano skill that must be strategically studied and practice if, if you're serious about becoming an accomplished jazz pianist. Now, as always, when you combine last week's lesson, the key of D flat major harmonic workout with this week's lesson, the key of D flat major melodic workout, you have an incredible one-two punch that will have you well on your way to mastering feeling very, very comfortable with the key of D flat major. Right not only that, you will continue to solidify a practice blueprint, as we have been doing throughout this year, a practice blueprint that you can use that you can replicate and other keys. Right, which is, this is exactly the whole point of what and why we're doing what we're doing throughout this entire year of 2022. And I said it last week, and I want to stress it again today. If you hang in there with me, this year, from beginning to end, you're going to experience a ton of jazz piano growth, you will love absolutely love where you are musically. At the end of the year, for sure. And once again, I want to encourage you to use the podcast packets that you have access to the illustrations, the lead sheets in the play launch to guide you. Right, and you've heard me say this over and over and over again. And I'm going to say it again. Conceptual understanding determines your physical development. So the time that you invest, studying the time that you spend, spend mapping out all of these melodic exercises, using the illustrations is time very well spent, the return on your investment cannot be adequately expressed. No way. And as always, I gotta remind you every month or every week, I gotta remind you every week right? Be patient, be patient, developing mature and professional jazz panel skills takes time. So begin structuring your practice after the plane demonstrations that I modeled for you this week last week and this week in the podcast episodes and exploring the key of D flat major you will be Good to see you will begin to feel and you will begin to hear your musical progress.

Dr. Bob Lawrence  55:07  
Well I hope you have found this jazz piano skills podcasts lesson exploring a key a D flat major melodic workout to be insightful and of course, beneficial don't forget if you are an Ensemble JazzPianoSkills 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 the key a D 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. Likewise, be sure once again, use those educational podcast packets, the illustrations, the lead sheets, the play alongs not only for this podcast lesson, but for all of the podcast episodes that are out there at jazz piano skills. And also check out the jazz piano skills courses. They will maximize your musical growth. Make sure you are also an active participant in the jazz piano skills community. Get out there, get involved, introduce yourself meet some new jazz piano skills, friends, it's always a great thing to do. You can always reach me by phone at 972-380-8050 That's my office number here at the Dallas School of Music by email Dr. Lawrence, drlawrence@jazzpianoskills.com. Or you can use the nifty little SpeakPipe widget that is found throughout the entire jazz piano skills website. Well, there is my cue. That's it for now. And until next week, enjoy key of D-flat major melodic work. And most of all, have fun as you discover, learn and play jazz piano