Melodic Minor Modes

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Welcome to jazz piano skills. I'm Dr. Bob Lawrence. It's time to discover, learn and play jazz piano. Well, it's been a busy month, no doubt about it. We've been hanging out with primary and ultrasounds for G flat, F sharp. And last week well, last week, we had some fun with George sharings, a lullaby of Birdland. Now if you've been faithfully tackling the various patterns that we've been using, since the start of the year, to improve our hand mobility for improvising, then you're fully aware of the intensity, the perseverance and determination that's needed to gain a physical command of these skills. So what I always like to do, I like to extend the time that you have with these exercises by taking a week to either interview a special guest, or to present a lecture. So today, I thought I would do just that gives you a little extra time to practice the hand mobility exercises for the primary and altered sounds of G flat, F sharp, and present a lecture for the recently launched jazz piano skills lecture series. So today's lecture, you're gonna love it melodic minor modes. Why in the world would I pick melodic minor modes? Well, if I had to pick one topic, that is the most poorly taught topic and all of jazz education, of which there are many, it would have to be modes. And because it is so poorly taught, it creates an enormous amount of confusion, frustration, misapplication stress, and just musical chaos. So today, I thought I would devote a podcast episode to the melodic minor modes next month, I'll do the same thing for the harmonic minor modes, but today melodic minor. My hope is that you will gain a properly ordered understanding of modes, which in turn will lead lead you to a functional application of the modes. So today, you're going to discover the melodic minor modes, you're going to learn how to properly study and apply the melodic minor modes. And you're going to play the various sounds created by the melodic minor modes. So as I always like to say, regardless of where you are, in your jazz journey, a beginner and intermediate player, an advanced player, or even if you are an experienced and seasoned professional, you're gonna find this jazz panel skills podcast lesson exploring the melodic minor modes to be very beneficial. But before we dig in, I want to as I always do welcome first time listeners to jazz piano skills. And if you are a new listener, if you're new to jazz piano skills, the podcast or jazz panel skills in general, I want to personally invite you to become a jazz panel skills member and there are various membership plans to choose from. So when you have a moment, check out jazz piano skills.com To learn more about all the perks that come along with each membership plan. There are educational weekly podcast illustrations, lead sheets, play alongs there are there's a sequential online jazz piano curriculum which is loaded with comprehensive courses. There's online weekly master classes online interactive Fakebook, there's a private jazz panel skills community which hosts a variety of forums. And on top of all that, unlimited, private, personal and professional educational support. Now all of these perks are waiting for you wanting to help you discover, learn and play jazz piano. So when you have a moment, visit jazz piano skills.com Check out the various membership levels. And of course if you have any questions whatsoever, please do not hesitate to reach out to me to contact me. I'm always happy to spend some time with you answer any questions that you may have and help you determine which membership plan is perfect for you. So visit jazz piano skills.com And of course become a member. Okay, let's discover learn and play jazz piano Let's Let's get after the model odic minor modes. To get a proper understanding of the melodic minor modes, we need to spend a little time discussing the major modes. And to get a proper understanding of the major modes. We need to spend a little time discussing modes generically. What are they? Why are they important? Well, let's begin with the question What are they? In short, in short modes are an academic explanation of the origin of pure and altered musical sounds. Major dominant minor, half diminished, and diminished. Now I want to I want to say that again, what let this sink in mo modes are an academic explanation of the origin of pure and altered musical sounds, which are major dominant, minor, half diminished, and diminished. Now, why is it important to know the origin of a musical sound? Well, quite simply, because you want to rest assured that what you're spending time studying what you're spending time practicing, is valid. You want to know beyond a shadow of a doubt about the significance, the importance and the validity of any skill within the total landscape of jazz. You want to study and practice real and authentic skills. You want to study and practice real musical sound. Now, let's be honest, how many of you have spent time practicing data with absolutely no idea as to its origin, where it comes from? And if it is legit. In other words, should you really be devoting time, energy and effort to studying and practicing this information? Blindly studying, blindly practicing information because someone told you to do so is really not a good strategy. And I must say, the qualifications of the individual dishing out the information is irrelevant. Their playing experience, accolades and or academic achievements are irrelevant. In fact, I know plenty of folks with Grammys and academic degrees that are awful teachers. So what makes a great teacher great teachers always substantiate the What the Why, and the how behind all the skills they asked you to study and practice. If they cannot, if they cannot provide the what why and how behind the skills that they have asked you to practice then it's a huge red flag telling you to find a new teacher. Bottom line, the bottom line is this time is precious. And you do not want to waste it practicing wrong things or practicing right things the wrong way. That will take you nowhere, right both scenarios are horrible. So today, I will attempt to provide you with a concise thoroughness about the what, why and how of mode study and mode practice. Okay, so back to modes being an academic explanation of the origin of pure and altered musical sounds, major dominant minor, half diminished and diminished. Let's think about this for a minute. Jazz. Jazz is the study of shapes and sounds. Now shapes can be harmonic, or shapes can be melodic.

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Regardless of their form harmonic or melodic, they always produce a sound, a major sound a dominant sound, a minor sound half diminished sound or diminished sound modes explain the origin of musical sound, thus validating its authenticity. Again, we want to study in practice authentic jazz sound. So how do we know a sound is authentic? I'll give you one word answer modes. Now, with all this being said, modes help us organize musical sounds in a couple of different ways. We have pure sounds, and we have altered sounds. In addition to being able to organize our sounds, by pure and altered, we also can use modes to organize sound types, sound types, being major, minor, dominant, and so on. I want to begin our exploration of modes with the origin of pure sounds. And to do this, we will take a moment to look at the modes of the major scale. Okay, so here is how I imagined the major modes were discovered. Okay, in the beginning, all music was monotony. In other words, the music consisted of a single line of musical tones and no harmony, just a single line of musical tones. Now, this style of musical composition, is best described or best known right? As the Gregorian chant, is a perfect example. Now we've all heard recordings of monks singing Gregorian chant, it's beautiful. And it's monophonic. Now, what happened one day Now, keep in mind, this is how I imagined music history unfolding. I have absolutely zero proof that it actually happened this way. But this is how I like to think of the monks. Right, we're all gathered together, after morning prayer, to do little rehearsing to do a little scene. And of course, as they were going through their pieces, one monk, miss, read the music. And instead, instead of singing the notes, see, in unison with all of his brothers, he messed up, and he sang the Note II. So when the ensemble sang, what was supposed to be just the single notes See, this month that messed up that sang the Note II ended up creating this sound. Harmony, of course, this was a radical departure from a single note, write a monophonic. Melody brought everyone right, well, this non monophonic melody brought everyone to a screeching halt. And all of a sudden silence. The group could not believe what they just heard what the heck was that? Again, this is my belief of how this all started at the time, right, they had no idea that they had just discovered polyphony harmony. What they did, however, discover what they did here was that someone sing a note, a third away from where he was supposed to be. In other words, I heard somebody say a mistake. And to their astonishment, there their astonishment this mistake sounded good. So one, very bold monk stepped forward with this radical idea. He said, hey, what if we took every other note of our scale and sang those notes simultaneously? Right. So in other words, sing that note, using that know, using that note, right, and then went every other note of scale. Wow. They all looked at each other with amazement. What a radical idea, but wow, man, does it sound good? Now? The radical ideas just kept coming. Another monk stepped forward and said, Hey, wait. If we can take every other note of the scale starting on the root of the note and form this amazing Using sound. Why? Why can't we start on the second note of the scale the note D. And go every note is what every other note is well,

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so D, F, A C.

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Well, now, they were really amazed. They had two harmonic shapes, two very different sounds.

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So,

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to determine the difference between these two harmonic shapes, because they heard the difference, they had these two different sounds. How were they going to come up with an explanation. So what they did was they counted the distance between each note of the harmonic shape, they discovered that the first shape had four half steps between the root and the third between the C and the E, and three half steps between the third and the fifth, the E and the G, and four more half steps between the fifth and the seventh, the G and the B, out a second harmonic shape was discovered was the opposite. It had three half steps between the root and the third, the D and the half. And it had four half steps between the third and the fifth between the F and the A, and three more has steps between the fifth and the seventh, the A and the C. Wow. Now what? Well, another monk spoke up and said, We need to name these harmonic shapes. So they took a vote. All in favor of calling the first shape, Major, all in favor, say aye. Aye. All opposed nay. Well, needless to say, they approved it, that first formula of four half steps with three half steps, followed by four half steps, from that moment on, is going to be called a major sound. Then somebody said, Well, wait a minute, what if we call the second one instead of major? Why don't we call the second one minor? All in favor? Aye. Nays? Well, we know the answer, right? They voted it in. So from that moment on every sound that had three half steps from the root to the third, four, from that four half steps from the third to the fifth, and three more half steps from the fifth to the seventh. From that day forward, minor south. But mongst didn't stop there, right? If we can produce these harmonic shapes off the first note of the scale off the sea, and we can produce the harmonic shape off the second note, we should be able to do that on every note of the scale off of every note, and they did E minor, F major, they get the G dominant. Explain that in a minute, a minor and B half diminished. So seventh harmonic shapes, the dominant and the half diminished, was again, just a combination of half steps, the G to B, right, they discovered they had four half steps between the root and third, three half steps between the third and the fifth, and three half steps between the fifth and the seventh, the half diminished sound, they discovered had three half steps between the root and third, three half steps between the third and the fifth, and four half steps between the fifth and the seventh. So they just did the math, they came up with the labels. And we have the pure sounds of music major, dominant, minor and half diminished. Now, once again, I just want to stress that this historical event, again, completely imagined by me, there's no historical proof whatsoever, right this historical event gave birth to the major modes and the primary sounds. But guess what, the major modes did not give us the major modes did not give us that diminish sound, or any of the altered sounds that we hear in music. So this begs the simple question. If the diminished sound in the altered sounds, do not come from the major scales. Then where do they come from? Well, if they do not come from major scales, Logic tells us they must come from the minor scales. The harmonic minor scale and the melodic minor scales. And indeed they do. And indeed, we will look at both today we're focusing on the melodic minor sounds. Next month, we'll take a look at the harmonic minor sounds. So before we go any further, before we dig into the melodic minor modes, I want you to hit the pause button, take a few minutes right now to download and print your podcast packets. I don't usually put together podcast packets for the lecture series. But today, because of our discussion of the melodic minor modes, I thought having this information in your hands would be very beneficial. Be very nice. So just take a moment right now. And if you are a jazz panel skills ensemble member, again, your membership grants you access to all educational podcasts, packets, the illustrations, the lead sheets in the play alongs for every weekly podcast episode. And as I mentioned, every week, you should have these podcast packets in your hands when listening to the episode. And of course, you should have them seen on your piano when practicing as well. Now, 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 literally goes on forever, then I would strongly recommend just going directly to jazz piano skills podcast.com. Again, that's jazz piano skills podcast.com to access and to download your podcast packets, and you will find the active download links in the show notes. Okay, one final but very significant message here. If you are listening, and if you are thinking at the various scales that we are about to tackle these melodic minor modes, if you're thinking these modes are way way over your head, then I would say to you, no, they're not. No worries, simply listen, right? Sit back, listen, and grow your jazz piano skills intellectually by just simply listening. That's it. Every new skill is technically over our heads when first introduced. But this is how we get better. All right, we we placed ourselves right in the middle of conversations where we are lost, we're hearing words we've never heard, we're hearing comments or concepts that we've never heard of before, right. But this is how we grow. And we are forced to grow intellectually. And I say it all the time. Right all musical growth begins up stairs mentally, conceptually, before it can come out downstairs physically in your hands. So I want you to sit back, I want you to relax, I want you to listen to this podcast lesson now to discover and learn. The play, as it always does, will come in time, guaranteed. Okay, now that you have your podcast packets in front of you, I want you to grab lead sheet one skill one, which deals with the C melodic minor scale and its modes. And I want you to grab illustration one, which deals with all of the altered C sounds produced by the melodic minor scales. So when you have both lead sheet and illustrations, one lead sheet one and illustration one side by side, you have a scale perspective modes on one side, and you have a sound perspective chords on the other side. So let's look at lead sheet one first the scale perspective, the modes. But before we do that, you'll see that in both of your packets, right you have this you have the melodic minor modes laid out for you for all 12 melodic minor scales and their modes. And you also have the altered sounds grouped by each note, right? Well, I should say you have worksheets that to think through each of the notes, the melodic, the sounds for each that are produced by the melodic minor scale. So these are invaluable tools. They're all laid out for you that you have everything that you need to do a very deep dive into these melodic minor modes and the sounds that are produced by the melodic minor scale. So okay, so now we are back to looking at lead sheet one, the scale perspective modes. Okay, so the very first thing I want to say about the melodic minor scale, the easiest way to think about the melodic minor scale is that it's just simply the major scale with the third heard, lowered one half step or a flat third. So instead of the C Major scale B and C, D, E, F, G, A, B is melodic minor scale is going to be C, D, E flat, F. So you get the sound

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okay, so look at lead sheet one the very first mode, if you will letter A, you'll see the sound that is produced is notated there as a C minor, major seven. So, it's this sound. Beautiful sound. So beautiful chord. It's a kind of a hybrid, if you will, right, it's minor on the bottom with major on the top a minor third with a major seventh. The scale if I play the scale with that you see that chord the root, third, that lowered that E flat, the fifth and seventh. There it is, in side the scale.

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So the very first sound produced by the melodic minor mode or a melodic minor scale, I should say, mode one is the C minor major seventh sound. Okay, so now letter B, you'll see D minor seven. Nothing fancy, nothing ordinary about that, right? However, it's a minor seven. You'll see in parentheses there I have notated Dorian flat two is the MO name. Dorian flat two. So it's like the Dorian scale. But we have that E flat coming from this from the melodic minor scale. Right. So now we have instead of a Dorian minor, which would be we have the flat two in here. I play that again. Now, the question always comes up, will I ever use that mode? You can. You can. It's very rare. In fact, I would be treating that E flat more of like a neighboring tone or a passing tone. But But you certainly could. Is it as common as Dorian? Heck no, not even close. But there's no reason depending on the sound depending on the circumstances or situation that that may be a great mode. Right. So I certainly wouldn't throw it out. You need to be aware of it. And I certainly would practice it right and I have practice that. But but certainly it does not. It does not warn as frequent use warrant as frequent use as the Dorian mode. Okay, so now let's look at letter C. Now we run across this sound all the time right here we have a major seven sharp five. So you'll see notated on your lead sheet, E flat major seven sharp five. And again, if we play the scale, I'm going to play that sound. So there's my E flat major sharp five. And now I'm going to play the mode, I'm gonna play the C melodic minor scale starting on that E flat. And sure enough, if you look at that mode carefully, you see that chord, the E flat, A G be natural, which is the sharp five in relationship to E flat, and then the D, which is the seven. So it's a pretty sound and and used in music all the time, right? You have, you're going to come across major sharp five sound, right? You're gonna have to have something to play, you have to have something in your arsenal. This is a great mode. Okay, so I would definitely practice my E flat major sharp five sound. Now, letter D. Here's one of the altered dominant sounds that we've been dealing with since the beginning of the year. With all of our altered fingering exercises, letter D, we have F dominant seven sharp 11 F dominant seven sharp 11. And if we play the melodic minor scale starting on the note the C melodic minor scale starting on the note F. We have our dominant sound and we have the sharp 11 sound with that'd be natural, right that a pure 11 sound would be the B flat. But when we look at this melodic minor scale and the modes, we discover an altered dominant sound, sharp 11. So we get this

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wow, we've been playing that all year, right since beginning of the year. And here it is, here's where it comes from. Now you know it's origin. So when I've been asking you to play F seven sharp 11, I'm not just pulling that out of the hat. I'm pulling that right from the melodic minor scale, its origin, proving its authenticity that you should indeed give this sound some serious attention, because it is laced throughout the jazz literature. And the very same thing can be said about letter E, the G seven flat 13 sound, right? mixolydian flat six. Alright, so in the parentheses there, I have the mode, the proper mode name for each one of these, right, so minor sharp seven, we have the Dorian flat to Lydian augmented Lydian flat seven. And now we have the Mixolydian, flat six. And this is the G dominant seven flat 13. So we have our G dominant chord, I play the melodic minor C melodic minor scale starting on G. There's my flat 13. Right.

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Again, we've been dealing with this sound since the beginning of the year, and practicing various finger patterns that addressed this sounds specifically, as well as the F seven sharp 11 that we just looked at. So again, very valid, altered sounds, you now know the origin of the sounds, again, I'm not pulling them out of the hat. They are the authenticity of these sounds, has been validated through the examination of these modes, the melodic minor modes, it which means that you should indeed be practicing these sounds. Okay, so now let's take a look at letter F. And you'll see there we it's the chord symbols a half diminished, a half diminished seven, or locrian, flat two. So if I play my a half diminished sound and I play the C melodic minor scale starting on the note A, I ended up with this fits like a glove, right? It does indeed.

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outline that a half the many seven sound, again, very valid mode, and one that I would recommend practicing and using. All right, so now we get to letter G. And this is the big dog right here, right? This is our B seven fully altered sound, which gives us our flat nine sharp nine, our flat five and sharp five sound. The mode name super Locrian. Okay, super Locrian. So if I play my B seven, right, and I'm going to leave out the fifth, I'm going to play the route 37 B seven, and I play my C melodic minor scales, starting from the note B.

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So looking at your lead sheet there, right b obviously is the root, the C natural flat nine, the D natural sharp nine. The E flat gives us our third for B dominant seven. The third is D sharp, right. But we've lowered the fourth a half step there, which gives us orally it gives us our third, then we have an F natural which is the flat five, we get have the G natural which is the sharp five, and then the note A which is the DOM which is the seventh of the dominant seven. So obviously we've dealt with this altered dominant sound since the beginning of the year as well, right. So when you look at the C melodic minor scale, you see right away there are three altered dominant sounds produced by the melodic minor scale we have the sharp 11 sound, we have the flat 13 sound and we have the fully all Third sound, we also have a major sharp five sound that is produced and very handy to know, coming from our melodic minor scale. And we also have a minor sound, half diminished sound. And then we have that hybrid. The very first sound that we dealt with today was that C minor, major seven. Now the best advice I can give you, when practicing and studying and practicing the melodic minor modes, right, again, going back to what I mentioned at the beginning of the podcast modes are an act of academic explanation of the origin of pure and altered sounds. Okay, so when studying the modes, the melodic minor modes, they're introducing you to authentic jazz sounds, once you understand the logic behind the mode, and once you start getting your hands and your ears wrapped around the sound, then just practice the sound and focus on the shapes and the South, you do not need to focus on all the academic names. And in fact, I have to stop and think about them when asked, right, because they are the furthest thing from my mind when playing. Again, modes are an academic explanation of the sound origin of sound, which validates its awesome authenticity, so that you know you're practicing the right kind of material. Okay. All right. Now that we have unwrapped the modes of the C melodic minor scale, and the seven sounds produced by each mode. Now let's look at the seven sounds in relationship to the note C. In other words, the seven C sounds produced by the melodic minor scales, right. In other words, if you took all 12 melodic minor scales, and you lay them out side by side, and you took a yellow highlighter, and you highlighted all the C sounds, you'd come up with seven. So now let's take a look at those seven. And to help us do that, I want you to grab the very first page out of your illustrations, packet, your illustrations packet. And it's titled melodic minor modes, you'll see that the subtitle is C sounds melodic minor. And I said write in each melodic minor scale to create the correct sound. Now I'm, I've done this for you for the C sounds for the other 11. That's you, that's totally unusual. This is a model that I want you to use to help you think through the other 11 sounds, the sounds, the B flat sounds, E flat sounds, and so on. So if you look at the very first sound, C minor, major seven, we've already dealt with that right and right underneath it, you can see that I have it labeled coming from the C melodic minor scale. Okay, then, off to the right, I literally have that scales, spelt out, C, D, E flat, F, G, A, B, in orange, I have the root, the third, the fifth, and the seventh have that sound highlighted or illuminated using the color orange. Okay. Now, the second sound, C minor seven, coming from the B flat melodic minor scale. And if you look at what I have written there to the side, you'll see that the scale is spelt C, D flat, E flat, F, G, A, B flat. So this is the B flat melodic minor scale started on the note C. Notice that the D, the two is as flat so that's where if you look back on your lead sheet scale one, the Dorian flat two there's your flat to write produced by the B flat melodic minor scale. The third C sound C major seven sharp five coming from the a melodic minor scale. So what you have on the right hand side of this illustration is the a melodic minor scale spelled out starting on the note C of course, right? So you see there we have a C E, G sharp, B illuminated in orange, which clearly shows you the C major sharp five sound. Okay, number four C seven sharp 11. This sound is generated by the G melodic minor Okay, so on the right hand side, you'll see that this is the G melodic minor scale, starting on the notes C, and look at, it looks just like a C dominant scale C, I mean, the C dominant sounds C, E, G, B flat, but you see the F sharp there in the spelling, there's our sharp 11. This is what I was talking about earlier, when I play that sound. When I play that scale, I think of it as the C dominant sharp 11 sound. I'm not thinking of it as the G melodic minor scale starting on the notes. See, again, this is just validating why we spend time dealing with this sound because it is an authentic jazz sound produced by the melodic minor scale. Okay, number five, C seven, flat 13. This sound is generated by the F melodic minor scale. So if you look to the right, we have the F melodic minor scale spelled out starting on the note C. But just look at the elimination of the root third, five and seven, we clearly have a C dominant seven C, E, G, B flat, look at the six which is a but you'll see that it's a flat, which is the flat 13 sound. That's fantastic, right? Make sense. Now, number six, C minor seven, flat five, or the C half diminished sound coming from the E flat melodic minor scale. So on the right hand side, once again, we're going to spell the E flat melodic minor scale starting on the notes C. But look at the root, third, fifth and seventh, that's eliminated using the color orange, you clearly see that we have a C half diminished core. Very nice. And then our last sound, right, the C seven alt, which is the fully altered sound with the flat nine sharp nine, flat five sharp five, coming from the D flat melodic minor scale. So if we spell the C flat, I mean I'm sorry, the D flat melodic minor scale starting on the notes C, right, C, D flat, E flat, F flat, G flat, A flat, B flat, we have this beautiful, altered sound fully altered sounds. So if you'll notice that the letters that I've had, I have eliminated in orange, I have the route, I have the third which is the F flat and I have the seventh which is B flat. The D flat is the flat nine, the E flat, the sharp nine, the G flat, the flat five, and the A flat, the sharp fog. Okay, so what a great chart what a great diagram to use when practicing these sounds. To help kick start you to help you get start to get the sounds in your ears, and under your fingers. What a great exercise for you to use these illustrations to help fill in and think through the seven sounds for each of the remaining 11 notes. Right. So between the illustration worksheets and templates, and then you have your lead sheets packet, which have the melodic minor scales laid out for all 12 You have an arsenal at your fingertips that will help you to begin digesting and get gaining a command of these essential jazz sounds. Wow.

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That's a lot of information in a very short period of time. As always, right? We've unpacked an incredible amount of information in one very short very fast hour. Now, do not let the melodic minor modes intimidate you in any way. Because again, the modes. The modes are not an improvisational approach, they are not a method. Again, they are an academic explanation of the origin of pure and altered sounds, to validate the authenticity of that sound, so that you can feel good that you're spending your time wisely. Practicing the sounds, the shapes and sounds of jazz. Alright, so once you actually think through these scales, and the chords that are produced by these scales, these modes and use the the worksheets and the illustrations and the lead sheets that I've provided for you. Once you can experience that tipping point where you actually shift from most of the emphasis being placed on the academic explanation and the tipping point takes place to where you Actually now, just focus on playing the shapes and the sounds. Wow, that is a great transition, I promise you that will happen. And the sooner that you can get to that, the better. So it's kind of like the modes help us get to the data that we need to get to. And then you can throw those crutches away because now you're standing on your own two feet, and you're playing these sounds, these shapes and sounds with ease, okay. So, again, do not let these melodic minor modes or when we deal with the harmonic minor modes or even the major modes, do not let them intimidate you in any way, shape, or form. Most of all, to write most of all, be patient, right, developing mature professional jazz piano skills, which modes that he is a part of, be, just be patient be and begin structuring your study and practicing after the demonstrations that I've walked you through here today with the lead sheets in the illustrations, and I promise you, you will begin to see and feel and hear your progress. There's just absolutely no doubt about it. Well, I hope that you have found this jazz piano skills podcast lesson that's part of the jazz panel skills Lecture Series, exploring the melodic minor modes to be insightful and to be beneficial. And don't forget if you are a jazz piano skills ensemble member, I will see you online Thursday evening at the jazz panel skills masterclass, which will be held at 8 pm 8 pm Central time to discuss this podcast episode. Lesson exploring the melodic minor modes in greater detail. And of course to answer any questions that you may have about the study of jazz in general. If you have any questions before, then you can always reach me by phone. My office number here at the Dallas School of Music is 972-380-8050. My office extension is 211 if you prefer email, my email address is Dr. Lawrence, drlawrence@jazzpianoskills.com. Or you can use the nifty little SpeakPipe widget that is literally nestled in on every web page of the jazz piano skills website to reach out to me that way. Well, there is my cue. That's it for now. And until next week. Enjoy the melodic minor modes do not be intimidated. And most of all, have fun as you discover, learn and play jazz piano!