Key of Gb 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 tackled the key of G flat major. Let's write G flat major, focusing on harmonic development. This week, we tackled G flat major again, but this time melodically. So today you're going to discover my key of G flat major melodic workout, you're going to learn how to think within the key of G flat major melodically. And you're going to play the modes of the key of G flat major using ascending and descending scale and arpeggio motion, launching from various entry points the root, third, fifth, seventh, and on top of all that, you are going to play melodic lines over the 251 progression in the key of G flat major using various eighth note rhythms focusing primarily on the quarter note triplet. 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 consider yourself a seasoned and experienced professional, you're going to find this jazz panel skills podcast lesson exploring a key of G flat major melodic workout to be very beneficial. But before we get started if you are a new listener to the jazz piano skills podcast, if you are new to jazz piano skills, I want to welcome you and personally invite you to become a jazz panel skills member, simply visit jazz panel skills.com. And once you arrive at the homepage, you can begin to explore the abundance of jazz educational resources and materials services that are available for you and ready for you to use. That will significantly help you improve your jazz piano skills. For example, as a jazz panel skills member you're going to have access to all of the educational podcast packets, the illustrations, the lead sheets and the play alongs. These are educational resources that I develop each and every week for each weekly podcast episode. They are invaluable tools that you're gonna want in your hands as you listen to this podcast episode. And you're gonna want sitting on your piano, you're gonna want them sitting on your piano as you're practicing. You'll also have access to the sequential online jazz piano curriculum, which is loaded with comprehensive courses, all of them using self-paced format. There are educational talks to enjoy interactive media, video demonstrations in all 12 keys of the piano skill being taught, there are play alongs and much more for you to utilize. 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 lesson with me each and every week. You also have access to the online interactive Fakebook, which grants you access to jazz standards from the Great American Songbook right you can he'll be able to enjoy the chord changes lead sheets there are harmonic function lead sheets, play along files, historical insights, inspirational recordings, and a ton more. It's an ever-growing collection of tunes that you should absolutely discover, learn and play no doubt about it. And also, as a jazz panel skills member, you have access to the online jazz panel skills community, which hosts a variety of engaging forums, podcast-specific forums, course specific forums, and of course, just general jazz piano forums as

Dr. Bob Lawrence  4:25  
well. You'll have access to all of the forums, and you will have the ability to contribute to them as well, which I will strongly encourage you to do. I want you to share I want you to engage and I want you to grow so take advantage of the online jazz panel skills community. And last but certainly not least, you have access to unlimited I'm gonna say that again. Unlimited, private, personal, and professional educational support provided by me whenever and as often as you need it. So once again, just visit jazz panel skills.com. Learn more about all of these wonderful educational opportunities that await you. And, of course how to easily activate your membership. Now, there are several membership plans to choose from, and I am certain there is one perfect for you. But nevertheless, if you have any questions, please let me know Do not hesitate, reach out to me. I'm always happy to take time and spend time with you, to help you in any way that I can. Okay, let's discover, learn and play jazz piano Let's get after this key of G flat major melodic workout. Okay, in January, we tackled a key of C major harmonic workout, followed by a key of C major melodic workout. February, we jumped into a key F F major harmonic workout, followed by a key of F major melodic workout, and in march we explored a key of B flat major harmonic workout, followed by a key of B flat major melodic workout. April we utilize the same format we embrace the key of E flat major harmonic workout first, followed it up with a key of E flat major melodic workout. And may we continue to our workouts with the key of A flat major harmonic workout, followed by a key of A flat major melodic workout. And last month, June, we dove into a key a D flat major harmonic workout which of course, was immediately followed by a key of D flat major melodic workout. So this month, July, last week, we tackled the key of G flat major harmonically with our harmonic workout, which means today, we with much excitement, of course, we proceed with our key of G flat major melodic workout.

Dr. Bob Lawrence  7:09  
This is going to be fun. Now, I have mentioned on several different occasions that even though we dive into and devote a lot of time and energy to these harmonic and melodic workouts, which we should absolutely of course, be doing. The reality is that harmony and melody, right without rhythm, remain static, static sound. Bottom line, melody and harmony need a rhythm. Without it. melody and harmony are simply, as I say, not very musical. And this is precisely why every harmonic and melodic workout includes various rhythmic skills, rhythmic patterns for you to study and for you to 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 have been faithfully doing the various harmonic and melodic workouts since the start of the new year know that we started on a mission at the beginning of the year with the key of C major and we are making our way around the entire circle of fifths. moving counterclockwise Of course, 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 are gradually increasing the intensity and complexity of our rhythmic application to harmony and melody. Moving through and experiencing all 12 Keys is absolutely essential. It's a must. I tell students all the time 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 practice in 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, right. So my point is that we get better in all keys when we strategically and continually move through the keys. Now, there is some really misguided thinking out there with regards to playing in all 12 keys that many jazz students have expressed to me over the past 30 years and and actually continue to express to me and it goes something like this. I really don't need Practicing all 12 keys because I don't see many tunes written in the key of G flat major, or B major E major. So why do I need to spend time practicing those keys when, when in reality, I will more than likely never even play in those keys. Right? And I hear that all the time. Now, I know none of y'all have never had any of those thoughts. No, not at all. So at the risk of preaching to the choir here, I just want to say that that line of thinking is simply wrong. It's very, very cross. Now, why is this thinking so whacked? Because with just a casual glance, a very casual glance at practically any jazz standard. One notice is right away that tunes weave in and out of various key centers. For example, just last month, we studied the great jazz standard body and soul, which the parent key is D flat major, but once you hit the bridge, you find out very quickly that we are now in the key of D major, we have left D flat major completely we are now in the key of D major. And I could give example after example, after example of these shifting key centers and standards. So the point is simply this. We must learn how to play in all 12 keys period. It's not even up for debate or discussion, we must learn how to play in all 12 keys. We must become comfortable with the various shapes and sounds of all 12 keys. We must have a command of the shapes and the sounds in all 12 keys harmonically and melodically

Dr. Bob Lawrence  12:07  
right harmonically and melodically geez, I wonder why we're doing these harmonic and melodic workouts. So now, with that being said, do not make the mistake of thinking. And I've mentioned this before, that one key must be mastered, if you will, before moving on to the next key. This is a this also is a very common misconception, which produces a very slow practice approach that produces minimal results, and actually impedes your musical growth. In other words, it's working against you that mindset. I've stated this before as well that based on years of teaching experience, it is the rhythmic dimension of music that is the main stumbling block for for most students. And in fact, when it comes to playing rhythm, most students find themselves guessing at how rhythms are supposed to be played. And the truth of the matter is that that if you're guessing that rhythm, your internal sense of time is off, it just is. And if your internal sense of time is off your plane is simply not good. So this is why you have to make a personal commitment to practicing rhythm, which is actually 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 it's actually discussed and practiced. The least. That is precisely why most people have difficulty becoming accomplished jazz musicians. I cannot begin to tell you how many students that I have had over the years who come to me, I've mentioned this before too, as well, right? They've come to me with solid melodic and harmonic technique and understanding of voicings, their chord scale relationships are solid, improvisational approaches they have a command of, but yet they struggle to play jazz. Why is that? I'll tell you the answer is rhythm. 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 a solid internal sense of time, which your plane depends upon. So last week with our key of G flat harmonic workout, I introduced rhythms focusing primarily on the quarter note, triplet today we fall Will the same game plan the exact same game plan the application of rhythmic ideas melodically focusing primarily once again on the quarter note triplet. But as always, I want to stress the importance of doing the entire key of G flat major melodic workout. And not just simply jumping to the last lead sheet in your podcast packet skill 25 to attack the melodic rhythms. Why? Because you have to have a functional command of your scales and arpeggios in the key of G flat major. Before you can begin applying rhythm to them. That only makes sense. Right? I say I say this expression all the time, you have to bake a cake before you can decorate the cake so remain disciplined. 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 melodic workouts in the key of C F B flat, E flat, A flat, and D flat. All 24 skills laid out for you. So let's just do a quick review. Scales one through four are ascending modes. in root position first, second and third inversion scales five through eight descending modes in root position. First, second and third inversion scales nine through 12. Ascending arpeggios launching from the root from the third from the fifth and from the seventh skills 13 through 16 descending arpeggios launching from the root from the third from the fifth and the seventh

Dr. Bob Lawrence  16:59  
skill 17 attacks the 251 progression ascending using ascending scale motion skill 18 attacks to 251 progression using descending scale motion, skill 19 to five one progression again ascending arpeggio motion skill 20 251 progression, descending arpeggio motion, skill 21 we expand our harmonic movement. Now we're tackling the 36251 progression using ascending scale motion scale 22 36251 descending scale motion, scale, 23 36251, ascending arpeggio motion and scale 24 36251 descending arpeggio motion. So after you have thoroughly completed your workout skills one through 24 Then you can turn your attention to play in skill 25 which challenges you with 12 melodic lines using various eighth note, quarter quarter eighth note triplets. What I'm trying to say here, quarter note triplets

Dr. Bob Lawrence  18:25  
let me say that again. 12 melodic lines focusing on quarter note triplets. Okay. All right. Wow. So the educational agenda for today is as follows. Number one, we are going to explore the key of G flat 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 the 251 progression in the key of G flat major, which is a flat minor seven to D flat dominant seven to G flat major seven. And all melodic lines today will be played using a relaxed groove of 85. Typically I like to play these lines at various temples. But because of G flat I'm going to keep it at a at 85 Because not only do I want you focusing on playing the melodic lines with the right feeling articulation, but I want you to be focusing and paying attention to fingerings as well so much more important to just stick with one tempo than trying to play them at various tempos. Number 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 skill As member, I want you to take a few minutes right now to download and print your podcast packets or illustrations and your lead sheets that you have access to all of the podcast packets. And as I mentioned earlier, you should absolutely be using them when listening to this podcast to get the most out of it. And of course, when practicing and if you are listening to this podcast on any of the popular podcast directories such as Apple or Google, Amazon, Spotify, iHeartRadio Pandora, the list goes on, then I want to encourage you to visit jazz panel skills podcast.com Just go directly to the site jazz piano skills podcast.com. To download your podcast packets, you will find the download links the active download links within the show notes. And one final but extremely important note that I include in every podcast episode that if you for some reason are listening, and you are thinking that the key of G flat major melodic workout that this is and the various skills that we are about to discover, learn and play. If you're thinking that, wow, this is way over my head, then then I would say to you okay, just sit back, relax, continue to listen. Continue to grow your jazz piano skills intellectually by listening to this podcast episode, all skills. I mentioned this all the time, all skills right are over our heads when first introduced. And that is precisely why the first step, the very first step that we always need to take in order to improve our musicianship is to simply just sit back and listen. So do not shy away from conversations discussing foreign topics and using unfamiliar terms right. Stepping outside of our musical comfort zone spawns our significant growth, right, we have to step outside of our comfort zone. 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, listen to this podcast. Listen now to discover and learn. The play as it always does will come in time. Okay, so let's go through each of these 12 rhythmic lines, okay, so go to skill 25 or exercise 25 And the last lead sheet in your packet. And let's take a look at letter A. And once again, these 251 progression for each melodic line A through L. So letter A, right we have a chord right right from the beginning right we have a quarter note triplet that we have to deal with on counts three and four of measure one, then we have our dotted quarter eighth pattern to deal with when playing the dominant D flat dominant chord followed by a quarter and a pair of eighth notes for our G flat major. So not too bad, right? We're we're all familiar with these rhythms especially after our harmonic workout last week dealing with the quarter note triplets. So let's bring the ensemble in again the temple is going to be nice and comfy 85 So let's bring the ensemble in, and let's listen to melodic idea letter A. Here we go. Let's check it out.

Dr. Bob Lawrence  24:40  
Not too bad, right. Something else I want to mention again, all of these melodic lines are using 100% I'm going to say that again. 100% diatonic rhythms right diatonic notes. Everything is diatonic. There's nothing being played melodically that fall was outside of the key of G flat major. So with that being said, let's take a look at letter B. It's a little more challenging right away, we have our eighth note triplets on counts one and two, followed by quarter note triplet on counts, three and four. And then we repeat that same idea over the five chord, quarter note triplets, eighth note triplets, for accounts one and two, followed by a quarter note triplet on three and four. Now the challenge there, of course, is being able to articulate that correctly, that articulation moving out of the eighth note triplets into a quarter note triplet, back to eighth note triplets, back to a quarter note triplet. It's challenging, right. So again, another reason why we're keeping everything at a nice comfy tempo of 85. On the one chord, we have some nice descending arpeggio motion using eighth notes followed by a quarter note and another pair of eighth notes. So let's bring the ensemble in and let's listen to these eighth note triplets paired up with the quarter note triplet and see what we think here we go check it out.

Dr. Bob Lawrence  27:23  
Not too bad, right? It's challenging but one of the things that I would encourage you to do before even playing these rhythms, listen number one and then number two, tap them out or clap them out and then articulate or verbalize them. Alright, to help internalize that feel and the proper articulation, then play then after all that play. Okay, so let's move on letter C, right nice arpeggio motion on our A flat minor just going straight up to A flat minor seven chord we have an eighth note triplet on count three. We have on the five chord counts one and two we have another quarter note triplet to deal with. And also, we have another quarter note triplet the deal with on counts one and two with the G flat major seven. Again ascending motion though all diatonic pay attention that diatonic motion, is it scale motion is that arpeggio motion lock in on that as well. Very important. Okay. All right. So let's bring the ensemble in let's take a listen to letter C here we go.

Dr. Bob Lawrence  29:42  
Nice right. Another thing I'd like to point out is pay attention to all the resolution where the lines end in relationship to the chord, right like for instance, back there and letter A. The resolution to the line ends on a flat which is the ninth the ninth length of G flat major. Alright, let let her be the line ends on the seventh resolves on the seventh of G flat major or on F. Or pay attention to where the lines are the lines begin like look at letter D, right, this very next pattern starts on the nine from the B flat against the A flat minor seven. Then we have our eighth note triplets descending right using arpeggio motion. Then we have quarter note triplets back to back quarter note triplets on our D flat seven, a descending line looks like scale motion, check it out. And then we have eighth note patterns, groupings of eighth notes over the G flat major the tricky thing there with that with that pay attention to those tied notes we have ties that we have to pay attention to in letter D as well so Alright, so let's bring the ensemble lead let's check out letter D and see what we think here we go.

Dr. Bob Lawrence  32:09  
Nice, another thing you know to pay attention to when you're looking at melodic lines, look at the shape of the lines, how they ascend and descend through the 251 progression, right you should be able to like take a pencil and literally outline the shape of the melodic idea flowing through the 251 and that will tell you a lot as well. All right, so letter E, we start with our dotted quarter eighth pattern are familiar with that followed by eighth note triplet with our D flat seven chord. And then again we have back-to-back quarter note triplets descending motion on our G flat major seven, and where does that resolve to oh a flat which is the ninth love that resolution on the major on the major chord so let's bring the ensemble lead let's take a listen to letter E here we go check it out.

Dr. Bob Lawrence  34:19  
Nice, and if you know what if you haven't, you've already picked up on this right just like I did last week. I play the 251 progression up front first just by itself before playing these melodic ideas. And then I close with just the 251 by itself at the end as well. Always a great idea to do that when practicing. I love playing the 251 by itself up front it kind of just sets the tone. I love playing just the 251 by yourself at the end because it really gives me time to assess what just happened and what adjustments I will need to make for the next go round. All right. So now let's take a look At letter F. Once, once again, we have a descending line starting on the ninth of the sound, using quarter note triplets back to back, right. So all of measure one, their quarter note triplets, back to back, and then check out D flat seven, ascending, quarter note triplet. Triplets back to back. Wow. And then we got to come out of those quarter note triplets after the two after the five with an eighth note triplet on count one with the G flat major seven challenging, very challenging. So let's bring the ensemble in. Let's listen to letter F here we go.

Dr. Bob Lawrence  36:56  
All right, we're halfway home. Right, we've completed six melodic lines. So it's time to attack the next six. So look at letter G. I love this. eighth note triplets on counts 123 and four. Coming out of those eighth note triplets with a nice pair of eighth notes on the D flat seven some tight action going on. Then what do we have ascending quarter note triplets on our G flat major seven chord. And I don't know, I'm just taking a glance looks like scale motion there straight up the scale. So again, pay attention to the type of motion pay attention to the direction of these lines. Okay. All right. So let's bring letter ensemble in to take a listen to the letter G here we go.

Dr. Bob Lawrence  39:01  
Absolutely love it. So now, letter H, check it out eighth rests right on count one downbeat of count one. So we have an eighth note on the backside of count one that we we have to play that takes us right into an eighth note triplet right away. Okay, check out the D flat seven. As I've mentioned before, we're doing nothing on D flat seven. We're just holding that that E flat there. No activity on the D flat seven. But as you've heard me say before that I think the hardest thing for piano players to play is nothing. Right? Because I guarantee you many of you will anticipate the eighth note triplets on that G flat major seven the descending eighth note triplets you will by playing nothing on that D flat seven you will anticipate those eighth note triplets early and come in on count four or three and a half or three and three quarters or whatever you'll come in early because you're anticipating why? Because playing nothing is always challenging, right? Especially if your time is shaky that your internal sense of time so just be it be aware of it, pay attention and just be very meticulous about counting until you get a feel for this, these rhythms and this time, okay, so let's bring in the ensemble, and let's check out letter eight here we go.

Dr. Bob Lawrence  41:36  
All right, by the way, those descending eighth note triplets on the G flat major seven that I just played, pay attention to the fingerings on that to take time to work those out. If you have any questions, let me know. All right, letter i or let the community know right jump into the forums out there and talk about the fingerings here in the key of G flat b a very good thing to do. All right, so letter I, we have looks like to me right away just ascending scale motion which it is on our A flat minor eighth note, eighth note movement. up to D flat seven, we have an eighth note triplet on count two on that D flat seven. And then check it out. We have us ascending instead of descending eighth note triplets like we just dealt with and letter H now we have us and Dean eighth note triplets that we're dealing with with our G flat major seven all the way through counts 123 and four. All right, so let's let's take a listen to letter I and see what we think here we go check it out.

Dr. Bob Lawrence  43:51  
All right on to letter J. And wow. Just you know just look at letter J for a second. It looks a little weird what's going on here? Right? Well, I'm using I'm using chordal shapes to create melodic ideas over the two chord and or the five chord and over the one chord chordal shapes to create melodic ideas. Remember, Melody flows from Harmony, harmonic shapes. We use harmonic shapes to develop melodic ideas. And that's what I'm doing here in letter J. We have quarter shapes on the two quarter shapes on the five and a quarter shape on the one chord, study it, figure it out. Right and you'll it will open your eyes to some new possibilities and ideas in developing your own vocabulary. All right, so let's bring the ensemble and and let's take a careful listen to letter J and see what we think here we go.

Dr. Bob Lawrence  46:10  
Interesting, right? Very interesting. So if anything letter J just affirms how important it is for you to learn your contemporary shells, left-hand shells that you typically think of being played in the left hand. But here I'm taking those shells, and I'm creating melodic ideas using them in my right hand. All right, so on to K we go. And right away, we see we have eighth note triplets on counts one and two, and measure one, followed by back-to-back, quarter note, triplets ascending, back-to-back quarter note triplets in measure two with our D flat seven. Coming out of those quarter note triplets right back into eighth note triplets descending eighth note triplets on counts one and two, followed by another quarter note triplet on counts three and four of measure three. Wow, a lot going on here. Right so let's bring the ensemble Len and let's take again let's take a careful listen to letter K as well here we go check it out.

Dr. Bob Lawrence  48:29  
Wow, okay, right, there's some challenging rhythms here in the back, back half of these 12, right, the backside. So the final one of the Day letter L. And right away again, just visually looking at the at the melodic line on paper, you can see like, whoa, wait a minute, there's a lot going on here. And indeed there is we have our eighth quarter eighth pattern that we are utilizing and measures one and two. We have a dotted quarter note, at the end of measure to pay attention to that. We come out of that with eighth note triplets ascending eighth note triplets on counts one and two of measure three followed by what a quarter note triplet, followed by what more eighth note triplets on counts one and two of measure four followed by what another quarter note triplet. Wow. So there's a ton going on here, and letter L to again, another reason why I'm keeping these temples today and encouraging you to play and practice these lines at 85. Or even slower, right 60 Nothing wrong with that. Slow it down before you start speeding it up. Okay, but But why learning these patterns and these ideas and these melodic lines, keep it very comfy. So here we go. Let's bring the ensemble in. Let's check out letter L and see what we think here we go.

Dr. Bob Lawrence  50:00  
Hi. Wow, you know I say this every week Right? But it's true, right? We always unpack a ton of information within an hour. It's like a it's like a race to get everything in. So today we're certainly no exception right as we explore the key of G flat major melodically, and I cannot stress to you enough how important it is that you spend time become becoming familiar with the diatonic melodic shapes, right exercises, one through 24, right, the scales, the arpeggios, the modes, ascending descending motion, spend time, with with all of those exercises to help you really get the most out of exercise or skill 25. All right, so having a command of ascending and descending scale motion within the framework of a key modes is huge, right? It's huge towards developing mature improvisation skills. And likewise, having a command of ascending and descending arpeggio motion, outlining the harmonic shapes, right. So very important, why those harmonic shapes lead to what melodic ideas so keep that in mind being able to easily apply ascending and descending scale and arpeggio shapes of a key to Common Core progressions, like like we did today, the 251 is a big time jazz piano skill that, that you absolutely must approach strategically. Right if you're serious about becoming an accomplished jazz pianist. Now, combine the last week's lesson, the key of G flat major harmonic workout with this week's lesson the key of G flat major melodic workout. And as always, you have an incredible one-two punch that will have you well on your way to becoming very, very comfortable with the key of G flat major. And not only that, it will continue to solidify, which we've been doing throughout this year, it will solidify a practice blueprint for you that you can replicate in all 12 keys. And I said it last week, I want to stress it again today, if you hang in there. With me this year, you're going to experience a ton of jazz piano growth as we move through all 12 keys. And once again, I want to encourage you to use the podcast packets right your illustrations and your lead sheet your play alongs to guide you and help you you've heard me say it over and over and over again fact I said it earlier today. Conceptual understanding determines your physical development. So the time that you invest in studying and mapping out these melodic exercises, it's time very well spent; the return on your investment cannot be adequately expressed. No way. And as always, I stress this every week every week as well be patient right developing mature professional jazz piano skills takes time. So begin structuring your practicing after the plain demonstrations that I modeled for you today in this podcast episode I promise you you will begin to see and feel, and most importantly you'll be able to hear your progress I guarantee it well I hope that you have found this jazz piano skills podcast lesson exploring the key of G flat major melodic workout to be insightful and of course beneficial. And don't forget if you're a jazz panel skills member I will see you online Thursday evening at the jazz piano skills masterclass. It's 8 pm Central time to discuss this podcast episode lesson, exploring our key of G flat major melodic workout in greater detail and of course to answer any questions that you may have have about the study of jazz in general. Again, be sure to use your educational podcast packets, the illustrations, the lead sheets of play alongs. Also, check out the jazz piano skills courses to maximize your musical growth. And be sure that you are an active participant in the jazz piano skills online community. Get out there, get involved and introduce yourself 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 my

Dr. Bob Lawrence  55:36  
extension is 211 here at the Dallas School of Music, my email address, feel free to email me Dr. Lawrence, drlawrence@jazzpianoskills.com. Or you can use that nifty little SpeakPipe widget that is found throughout the jazz piano skills website to send me messages as well. Well, there is my cue. That's it for now. And until next week, enjoy your key of G flat major melodic workout. And most of all, have fun as you discover, learn and play jazz piano