Ornithology

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. For the last two weeks, we've looked at five different jazz improvisation patterns for the primary sounds of music major dominant minor, half diminished and diminished, plus the altered sounds deriving from the harmonic and melodic minor scales, sharp, sharp, 11, flat 13, flat nine, flat, 13, and the fully altered flat nine sharp nine, flat five sharp five. We've looked at all of these sounds, from the root note of B flat. And not only did we apply these five jazz improvisation patterns to these iconic jazz sounds, we also studied and applied proper fingerings to the patterns making it possible to play with an authentic jazz articulation. The goal of our fingerings as always, is to allow the continuous incremental shifting of our right hand across the keys. And make sense, right? small movements are much more manageable and accurate than large leaps. I've said it many times, understanding and applying this truth becomes paramount when I'm improvising and playing melodies of tunes, especially bebop tunes. And guess what we're going to do today? We're gonna tackle another bebop dude. So today you're going to discover the Charlie Parker classic bebop tune. ornithology you're going to learn chord changes harmonic function, Melody, and fingerings for ornithology and you are going to play multiple patterns extracted from ornithology for developing classic jazz language to use when improvising. So as I always like to say, regardless of where you are in your jazz journey, a beginner intermediate player and bass player even if you consider yourself a seasoned and experienced professional, you're gonna find this jazz panel skills podcast less than exploring Charlie Parker's ornithology 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 indeed a new listener to jazz piano skills. If you are new to jazz piano skills and jazz piano skills podcast, I want to invite you to become a jazz piano skills member. Now there are various membership plans to choose from. So check out jazz piano skills.com To learn more about all the perks that come along with each membership plan. There are perks like the educational weekly podcast packets, the sequential online jazz piano curriculum, which is loaded with comprehensive courses, there are online weekly masterclasses to enjoy. There's an online interactive Fakebook. There's a private online jazz panel skills community which hosts a variety of engaging forums. And of course, there's unlimited and private, personal professional educational support to enjoy as well. All of these perks, all of these benefits are waiting for you. Wanting to help you discover, learn and play jazz piano. So when you have a free moment, scoot on over to jazz panel skills.com. Check it all out, and of course become a member. Okay, the question of the week. I love this right. This is a new segment I started a few weeks ago. And it's great because these questions come in. And it's these questions are universal. You know, there are many people that have the same question. So that's why I love sharing these with you because I'm sure some of these questions are the very questions that you're asking as well. So this question comes from Pete Cunningham, who resides in Hannibal, Missouri, love Hannibal. And in fact, I used to pass through Hannibal, Missouri, when traveling north from Texas from down here in Dallas to go home to visit my parents in Illinois, and I always stop to eat At the Mark Twain diner in downtown Hannibal, Missouri, right off the Mississippi River. You know, the old Huck Finn, Mark Twain. I loved it. Hannibal, the home of Mark Twain. Great town, great people. Anyway, anyway, Pete asks, what is the best approach to practicing scales? As an aspiring jazz pianist? Wow. Okay, what? What right? Sounds like a simple question. But man, I could devote an entire episode to this question. And it's a question Believe it or not, which, it's rarely, it's rarely asked, quite honestly. And I think the reason for this is that we all kind of go with the flow when it comes to scale practice. In other words, we, we all tend to learn scales, starting with the first note of the scale. In fact, this is how we're taught scales, right. So we're, we start with the first note of the scale, and then play the scale one octave, or, or, or more, right, we start the C scale on the notes C, and we, and we in the C scale on the note C, we start the F scale on the note F, and we end the F scale on the note F. And we do this over and over and over again. We typically not intentionally, but we typically reduce scales, down to a technique exercise, that helps us learn keys, and develop fingerings. And they certainly do that. But they do a whole lot more than just that. And unfortunately, the whole lot more that they do, gets overlooked. Due to the way we approach practicing scales. So the first thing I would say, and for those of you who have been following jazz piano skills for some time already know this. But the first thing I would say, is never practice a scale using the same note as your entry point and destination point. In other words, stop practicing the C scale from C to C. When we do this, we unintentionally disengage our ears. Our ears are not listening for anything specific, like a fifth, or seventh or ninth, and so on. And as jazz musicians, we want to actively engage our ears to listen for specific sounds like a major seventh are dominant seventh, minor, nine minor love, and so on. So if you are practicing scales from root to root, then stop and begin determining a specific entry point and destination point that you want to explore. When practicing scales, I encourage students all the time practice from the roots of the seventh or from the third to the ninth, or from the fifth to the 11th, the seventh to the 13th. These are different regions of the sound that you need to be familiar with. Conceptually, visually, and of course, with your ears orally, right. So stop practicing scales, the first thing I would say is stop practicing scales, from root to root. I know it's tough, because we're taught that way. But as a jazzer, you want the ears to be actively engaged in everything that we're practicing, including scales. Now, the second thing I would say, is to begin thinking of scales as a melodic representation of a musical sound, right, major dominant, minor, half diminished and diminished. begin practicing scales that represent these sounds. And again, your ears will become actively engaged with your scale practice, because they are now listening for a specific sound. And of course, a specific destination like a seventh, the ninth, the 11th, and so on. The third thing I would say, is to stop thinking of scales as a linear line that simply goes up and down the keyboard. Right, begin practicing scales using various shapes, like the Triet or intervals like thirds, right? So if I was to practice a C minor scale, and try as it might sound something like this so arpeggiated motion within there but that's all scale. related. I have to know of the scale in order to pull that off, right? For practicing thirds right, you have to know the scale in order to play patterns. So again, begin practicing scales using various shapes, your mind becomes actively engaged, your ears are actively engaged, your hands are actively actively engaged. All three working together to develop your technique your ears, and guess what? Your improvisation vocabulary.

Dr. Bob Lawrence  10:34  
Now my fourth point is to use some type of software like I real pro or band in the box. So that you can easily create backing tracks for practicing scales. You want to play scale content into a musical context. So listen to me very carefully here scales are musical, and should be played as such should be practiced this such their musical, practicing scales, in time, with a specific groove from various musical genres is a must. It's not optional. It's a must if you want to develop your musicianship, especially your jazz musicianship. Right. So develop your musicianship through scale practice using application technology like a real pro or band in the box. Right? Again, scales are not listen, scales are not an exercise. So do not approach them as such. So I hope this helps, there's a whole lot more that I could jump into regarding scale practice. But I hope this helps Pete for now, and I may indeed, be devoting an entire episode to this very important topic very soon. Great question. So thanks, again for submitting that. And I encourage everyone if you have any questions, please send them send them along, right can shoot shoot them off to me and an email Dr. Lawrence, Dr. Lawrence at jazz piano? skills.com. And who knows? Your question may be next. Okay. Let's discover, learn and play jazz piano. Let's have some fun with Charlie Parker's ornithology. Let's start, as I always like to with every podcast lesson, let's start with a little lesson rationale here. All of us, all of us at the beginning of our jazz journeys invest a lot of time, effort and energy, searching for the secrets to learn how to play jazz. We don't do it. We try all kinds of approaches. We buy all kinds of books we buy and all kinds of gimmicks, and hopes that we discover a shortcut that shaves years off of our developmental timeframe. We have all done it. And today it's believe me today, it's easier than ever, with the internet, youtube and a gazillion other sites out there. That will have you quickly running down a million different rabbit holes in search of the secret formula for playing jazz. Trust me, if there's a secret formula out there, I would have found it because I did my share of searching. I promise you that. But in doing so, when we run down these rabbit holes, and we end up with a ton of what I call data fragments, right? Just a bunch of information. Good information, right? Quite honestly, there's a lot of good information, some not so good, but most of it good information. But, but no idea of really what it means and how to connect the ideas together, or determine if they should be even connected at all right? We just have a bunch of data fragments. Now on the other hand, the technology, right has been enormously beneficial for aiding in our musicianship development I just mentioned earlier, like the various software applications that us that allow us to create backing tracks play alongs that simulated ensemble experience, right. It's amazing because we can, we can take something like scales and actually drop them into a musical context. So without question technology has had it's it's got a downside but it's also got its upside right. But sometimes, sometimes the old fashioned ways are still the best ways. And when it comes to developing good technique, articulation fingerings improvisation vocabulary, the plain of bebop heads, melodies that are already out there, they still remain the very best approach, right? The bottom line if you want to get good at playing jazz piano, there is no better way than studying it historically. And historically speaking, I've said this before historically speaking, there's no better period of jazz that will help you develop your time feel articulation fingerings, and improvisation vocabulary than the Bebop period. So for those of you who are new to bebop, if I'm mentioning a genre of jazz that you're not familiar with, I just want to take a second and give you a little brief history on Bebop. It's a period of jazz that developed and flourished during the 40s. Okay, and the Bebop style jazz features tunes using fast tempos, challenging melodies, which you're gonna find out today. Tons of chord changes, some of them very complex, that move in and out, move in and out of numerous key centers within a single tune. Right. This is so important that I just want to kind of go through this checklist again, bebop, fast tempos, challenging melodies, tons of chord changes, numerous key centers. Bebop is the perfect formula for developing jazz chops no doubt about it. There is no need for you to look down any in any further rabbit holes. Right your internet search is over everything about jazz that you need to know and develop is found within the melodies of bebop tunes. And that is why I refer to and you've heard me refer to this the Bebop this way in the past, I refer to bebop as jazz, gold. So the educational agenda for today is as follows number one we are going to explore Charlie Parker's ornithology you know, out of all the bebop tunes is if you had to put together a list of the top the most the top 10 most popular bebop tunes. ornithology would definitely be in the top 10 If, quite honestly, if not, number one. Number two, we are going to examine the core changes in harmonic function of Ornithology. Number three, we will of course play the melody of ornithology and of course, explore proper fingerings number four, we will extract four classic patterns from the melody of Ornithology to use for discovering and developing our own very own jazz vocabulary. And number five, we will be playing various temples today, ranging from 120 to 160. But that's just for the podcast purposes. Of course, you hear me say this all the time, practice that much slower temples but today, I'll be doing some demonstrations at 160 and other demonstrations at a much slower tempo of 120. So if you are a jazz piano skills member, I want you to take a few minutes right now hit the pause button. I want you to download and print your podcast packets, the illustrations the lead sheets, the play alongs. Again, your membership grants you access to all the educational podcast packets for every weekly podcast episode. And as I mentioned every week, you should be using these podcast packets when listening to this lesson when listening to this episode. And of course you should be using them when practicing as well. So if you're listening to this podcast on any of the popular podcast directories and I know there's a gazillion out there Apple, Google, Amazon, Spotify iHeartRadio Pandora, the list goes on and on. Then I want you to go directly to jazz piano skills podcast.com Jazz panel skills podcast.com To download your podcast packets and you will find the download links in the show notes. One final, very significant message here that I include in every podcast episode. If you You are listening, and you are thinking that the various skills that we are about to discover and learn and play. As we explore Charlie Parker's ornithology, if you're thinking these skills that we are about to explore are over your head, then I would say to you sit back, relax, breathe in, breathe out, no worries. Continue to listen, continue to grow your jazz panel skills intellectually, by listening. Alright, that's

Dr. Bob Lawrence  20:29  
all you have to do. Every skill has technically overheads when first introduced, but this is how we get better, right? We don't run, we actually place ourselves instead of running away, we place ourselves smack dab in the middle of the conversations, where we are hearing things that we've never heard before. And we are forced in doing so we're forced to grow intellectually. Right? I say it all the time. All musical growth begins upstairs mentally, conceptually, before it can come out downstairs physically in your hands. So if so, listen to this podcast lesson now. Right to just discover and learn. The play will worry about the play later and it will come in time. I guarantee it. Okay, now that you have your lead sheets in your hands, I want to walk you through them. You will see that lead sheets one and two present the chord changes and harmonic function for ornithology to help you truly discover and learn the changes in harmonic function for ornithology, I strongly recommend using the lead sheet templates found in your illustrations podcast packet. Okay. Now lead sheet three has the chord changes along with the melody, right? Check out lead sheet four. It has the melody as well but it also includes fingerings these are the fingerings I use when playing ornithology, spend time, a lot of time playing the head, the melody over and over and over and over right at various temples. To learn the melody, okay to learn it, and I will be modeling this for you here shortly. Now lead sheets five through eight deal with four patterns that I have extracted from the melody of Ornithology to use as launch pads for developing jazz vocabulary. No, of course needed for improvising. So we got a lot to get through today. So we need to get down to business. So first things first, I want to listen to ornithology Charlie Parker's ornithology now this is from this is actually I'm actually pulling this from the 1988 film directed by Clint Eastwood called Burr and if you haven't seen it, I recommend absolutely recommend watch it and it's the life story of Charlie Parker. So grab your lead sheet grab your lead sheet three or four of the lead sheet with the melody and sit back and follow along as we listen to ornithology check this out. This is fun.

Dr. Bob Lawrence  24:12  
Never gets old I don't know how many times I've heard that tune in my life and it just never ever gets old. Right. It's fantastic. So okay, so now that we've listened to ornithology, now we're going to start breaking it apart. So, if you have lead sheet one, you have the chord changes, I just have the lead sheet with the chord changes no melody, just the chords. And you might recognize that may you may already know this you may not but but ornithology this is based off the tune how high the moon okay so Charlie Parker took the standard how high the moon the chord changes and wrote the melody for ornithology over the top of of the chord changes for how high the Well, so what I'd like to do is I'm going to play these changes. When I sit down to learn any new tune, I usually typically Believe it or not. I approach it harmonically. Typically first and then melody second. So I like to play the changes, maybe that's because I'm a piano player, I like to play the I like to learn the chord changes. And then I like to learn the melody. So, in when doing the chord changes, I'll play through chord changes. And if I'm looking at lead sheet one, if I'm seeing the chord changes in front of me, I'm thinking harmonic function. And if I'm, if I have lead sheet two in front of me that has the harmonic function laid out, I'll play from the harmonic function, but think chord changes. So what I'm saying is I'm always thinking the opposite of what I am saying. So if I'm seeing chord changes, I'm thinking harmonic function. If I'm seeing harmonic function, I'm thinking chord changes. So grab lead sheet, one lead sheet to play some side by side, I'm just going to play the chord changes for ornithology and follow along right follow along I'm going to play through it three times. So maybe one time follow along with chord changes. Second time through follow along with the harmonic function. Third time through take your pick whichever one you feel most comfortable with. Follow along but challenge yourself to try to think the opposite of what you are seeing. Okay, all right, here we go. Let's bring the ensemble in let's listen to the chord changes of ornithology?

Dr. Bob Lawrence  29:10  
Pretty cool, now I was playing that's the tempo of 160. If you start playing the chord changes, of course I play in 160 just for the sake of time, this podcast episode, but I would encourage you to play them at much slower tempos. I was using two handed voicings that I teach and I have taught through several previous podcast episodes that you can check out. But I'm using the two handed voicings I'm copying there as if I'm playing behind. instrumentalist playing the melody of Ornithology. So okay, I cannot stress enough to you the importance of hanging out with lead sheet one and lead sheet two as much as possible, right learn the harmonic chain that the chord changes in the harmonic function of rnfl Do you have any tune that you're starting to learn and really digest that mentally, physically in orally? Okay, now, we can turn our attention to the melody. So, you'll see lead sheet three, I have the melody of Ornithology, printed out for you. And lead sheet four, I have the melody with the fingerings. notated as well, so you have a clean copy of the lead sheet with no fingerings that you can utilize to write in your own fingerings if you wish, or to modify the fingerings that I present to you in lead sheet for. So I'm now going to play through the melody as if I was practicing and learning the melody. And again, when I do this, I like to play the melody, no chord changes in my left hand, I've played the melody in my right hand. It's great that we have the technology to have a backing track and ensemble plan behind me as I learned my melody so I can drop that melody into a musical context but I will literally sit on my left hand and play the melody in my right hand. So I'm going to play it at a tempo of 120 I'm going to slow it down and I'm going to I'm going to just play through the the head of Ornithology three times. And each time I'm just going to continually try to improve upon my articulation and how I'm treating this melody at 120. So let's bring the ensemble and have your lead sheet three and four in front of you now as I play the melody of Ornithology three times here we go check it out.

Dr. Bob Lawrence  34:12  
Wow you not easy right not easy when we try to play these bebop heads and to make them swing and play with a nice articulation. Legato type articulation right not to staccato we don't want it we we want it to sound like jazz and not like a junior high school jazz band. Right. So it's hard in the slower tempo I think sometimes, these bebop heads are even harder to play slower than at faster tempos. However, you do want to work them at slot 121 10 100 really focused on those fingerings and playing with them with a nice legato articulation with these lines. is not easy. So this is why I encourage you to repeat the melody, the play this several times, okay. In fact, I would encourage you to record yourself playing the melody, and listen to it. be brutally honest with yourself with what you're hearing, and then make those corrections and changes that need to be made in order to play that melody with an authentic jazz articulation. Okay, so we have looked at lead sheets one and two with the changes and function, we've looked at lead sheets, three, and four, which with the melody and fingerings. Now, lead sheets, 456, and seven. Now, I'm sorry, lead sheets 567, and eight, lead sheets, 567, and eight all deal with melodic ideas that I am yanking out of Ornithology. So if you will look at skill five, lead sheet five, pattern one, and this comes directly from measure three, measure three, and you will see that is just literally going up the scale. That's it. How incredibly simple is that line. But how incredibly iconic that vocabulary. So what you see I have laid out here on skill skill five, I have that melodic idea played over the G minor as it is in measure three, then I have shifting to C minor, and then to F minor. And then you'll see a note on the lead sheet that says Continue moving around the circle of fifths, we don't have time to do that today for every one of these patterns. So I have three keys laid out. And then it's your responsibility to kind of move through the rest of the circle. So I'm gonna bring the ensemble in and I'm going to play this exercise as written. I'm going to play it twice through so you're gonna see me play through G minor, four times C minor, F minor, and then I'll repeat it again. And the second time I go through the the exercise, I will be flying the line in both hands, kind of like Oscar Peterson ish, you know, we're doubling that you do not have to do that. For those of you that are ready to do that fantastic where you can play this idea in the right hand, and then you can double it in your left hand. Super, it's wonderful. But do not feel that you need to do that you can just focus right now on playing this melodic idea in the right hand only. So let's bring the ensemble in and let's listen to measure three of Ornithology yanked out of ornithology and treat it as an improvisation idea that we're going to move around the circle of fifths. So here we go let's check it out.

Dr. Bob Lawrence  39:48  
Next, right now this is going to be the format that I use for the remaining patterns that we take a look at as well right. I'm going to play through them in three different key centers, and then your job is to move them over round the circle of fifths. Okay. So now let's take a look at lead sheet six or skill six. I'm taking now the melody or the melodic idea that is played in measure five. Okay, so this is played over an F major sounds like this classic right? Notice how it's just the triad on the first half of the measure C, A and F. And then we, he in circles, the third of the F major, that the a natural with the B flat and a flat, classic jazz vocabulary. And then ends it on what tonic, right? Holy moly, you can't get simpler than that. And it sounds so hip. And this is the thing I think when we're learning improvisation that we all have to come to grips with, we always tend to, I think initially think of improvisation as being some kind of complex formula. And when you start looking at bebop heads, and you start looking at transcriptions, you start to discover, wait a minute, it's not what I initially thought, this is pretty straightforward. But it's played with a great articulation and a great feel. It sounds fantastic. So I'm going to take this same melodic idea and they're going to play it over F, B flat E flat course you need to move it around the circle. I'm gonna play through it the first time, just that idea in the right hand. Second time I go through the exercise, I will double the melodic idea in my left hand. Okay. Again, you do not need to do that. But I'm just doing it as an illustration for those of you that feel like you're ready to play both wine the wine in both hands. Okay, so here we go. Let's check it out.

Dr. Bob Lawrence  43:37  
Love it classic vocabulary. Okay, so now let's take a look at skill seven, lead sheet seven, this pattern I am taking from measure 14 on the E dominant seven. And you see that it's an arpeggio that starts on the third of IE seven, the G sharp, and it literally goes up the fifth to the seventh to the flat nine. So you get this. Again, I could just stop right there, right, you can just practice that little idea over all your dominant chords, you'd be doing yourself a huge favor. And developing jazz vocabulary if you just practiced arpeggios from the third of the dominant up to the flat nine, classic. So then, but then it resolves right kind of right. You beautiful. So now I'm going to take that same idea. And then take that same idea of that on E seven presented and measure 14 or played over a seven and then D seven. And again, you're going to move it around the entire circle of fifths, or play through the exercise twice. First time with the melodic idea in the right hand only. Second time melodic idea played in both hands. Okay, Okay all right let's have some fun and listen to pattern number three check it out.

Dr. Bob Lawrence  46:46  
All right, so now for the last pattern of the day skill eight lead sheet eight, grab that this is coming from measure 27. And I picked this one. This is interesting, right? It's descending arpeggio, this time starting on the ninth of the sound starting on a over the G major. And again, it outlines the basic triad, right, you start on the nine, but then the rest of the arpeggio descending arpeggio is the root, the fifth and the third. But then check out what happens and F natural on that on that G major seventh, which is the dominant seventh. And then the half step approachment, to the fifth with the E flat going to the D. But why pick this out is because you would never write, you would never think that you should be able to play a dominant seventh or minor seventh against that major seventh in the melodic idea. And this is exactly what Charlie Parker has written. And it creates a nice tension, and then he resolves that tension to the fifth. So I'm gonna play it over G major over C major over F major, same idea. Again, I'm going to play it through twice first time with the melodic idea and the right hand only. Second time through. I will double the idea play the idea in both hands. Okay. So this is a measure 27 again, over G major seven to start then C major and then F major. So let's bring the ensemble in and let's check it out. Here we go.

Dr. Bob Lawrence  50:02  
Pretty cool, right? That's just four little ideas and what's interesting if you take those ideas, if I would have presented those ideas to you without presenting it presenting ornithology, you would have thought, wow, those are just nice little melodic ideas that I can begin utilizing to help me develop some jazz vocabulary, right? You would have never connected them to ornithology. So, my point being is that in these bebop tunes and these bebop heads, there's all kinds of gems. And there are several more inside of Ornithology that I could have highlighted an illustrated that you could use for developing improvisational vocabulary. I just happen to select those four, right. So you know, wow, we could go on but you know, we've already unpacked a ton of information in this. Like I said, a very fast hour. And I cannot stress I cannot stress to you enough, the importance of practicing and playing bebop heads melodies, for developing fingerings and technique, time and articulation again, this jazz goal. Take advantage of this. There are no better etudes there are no better exercises for developing your jazz playing than bebop tunes. So do not skim over studying and learning the chord changes in harmonic function for ornithology as well, right? Just as important as the melody. So spend time focusing on the chord changes the harmonic function, I think I feel before even tackling the melody. Right after all, it's the foundation that the melody rests upon, so it needs to be solid. Again, use your illustrations podcast packet to help you gain a command of these essential skills of understanding the harmonic structure of Ornithology both from a chord changes perspective, and then a harmonic function perspective. Alright. And once you do have a command of the changes in harmonic function, then begin practicing the melody. And of course, do so at slower tempos even slower than what I modeled for you today, much slower. Finally, finally, I always love to take apart bebop melodies to find invaluable melodic ideas just like we did today, and then convert those ideas to improvisation patterns that I move around the entire circle. Right? So I use these patterns to discover and learn and play my own jazz vocabulary. Right? These are lots serve as launch pads and other words, and most importantly, as you're working on chord changes, harmonic function, melodies, improvisational patterns, right, it's important to mention Be patient. Developing mature and professional jazz piano skills takes time, a lot of time. So begin structuring your studying, study and practicing after the demonstrations that I modeled for you today in this podcast episode, and I guarantee it, you will begin to see feel and hear your musical progress. Well, I hope you have found this jazz piano skills podcast lesson exploring Charlie Parker's ornithology to be insightful and of course I hope you have found it to be very beneficial. And don't forget if you are a jazz panel skills ensemble member I'll see you online Thursday evening at the jazz panel skills masterclass. That's going to be 8pm Central time to discuss this podcast episode lesson exploring ornithology in greater detail. And of course, they answer any questions that you may have about the study of jazz in general. Again, if you are a jazz piano skills member, be sure to use those educational podcast packets, your illustrations, lead sheets and play alongs for this podcast lesson, as well as use those jazz panel skills courses. Alright, they are awesome one two punch to maximize your musical growth. And also make sure that you are an active participant in the jazz piano skills community. Get out there, get involved, contribute to the various forums, and most importantly, make some new jazz piano friends. It's always a fantastic thing to do. And you can reach me again by phone 972-380-8050 My extension here at the Dallas School of Music is 211 You can reach me by email Dr. Lawrence, drlawrence@jazzpianoskills.com. Or you can use the nifty little SpeakPipe widget that is nestled throughout the jazz piano skills website. Who else there is Mike Yeah, that's it for now. And until next week, enjoy Charlie Parker's ornithology and, most of all, have fun as you discover, learn, and play, jazz piano!