The Art of Jazz Piano for Beginners to Intermediate with Wayne McConnell

1. The Art of Jazz Piano Introduction : Welcome to the jazz piano, cause My name is Wayne McConnell. I've been a professional jazz pianists for 25 years, and I've worked with some amazing musicians. I've learned from every single one of them. On I'm here. It's really to help you on your personal jazz piano journey. I'm here to tell you what not to do, what to avoid, What's a practice, how to practice it. Many different topics. Things like chord voicings playing the blues walking bassline, solo jazz piano, a whole plethora of juicy topics to get stuck into. I'm a firm believer that jazz is an oral tradition, and it comes from African American culture on rooted in the blues. So we're gonna build it up from there. We're gonna really get into some great topics, and hopefully, by the end of this course, you will be a much better jazz pianist with firmer understanding of many improvisational topics. So when you're ready 2. Prerequisists for the Course: Okay, So before we get stuck in, we need to double check some basics here. Need to make sure that you know your major scales in both hands. Two or four octaves on. You need to understand. Basic triads, hopefully, even seventh chords. We are gonna cover seventh chords in the next video, but you need to have a basic piano technique. You need to know how to warm up. A little bit of reading Music is good, but like I said, this is an oral tradition. So we're gonna be doing mostly by copying and listening. So yeah. So if you have got all these things, let's go on to the next video get started. 3. The Basics - Seventh Chords: the basic harmonic building blocks of jazz come from seventh chords. And this thing five different types. Five main types. We have major seven minus seven, dominant seventh half diminished or minus seven, flat five and frilly diminished. We're gonna focus on the three basic ones right now. We're gonna make sure that we can play them in different keys or keys on guard. Gonna show you how to practice that as well. So let's take our major seventh chord. First, we're gonna start in the key of C major. We're gonna play C E G B Natural thing sound is on major seventh Sound. We need to practice that in every key. I recommend you do that around the cycle off fourth on. The reason for that is because a lot of jazz records while follows these modulations. So if we do that, we're kind of killing two birds with one stone. So here's how you gonna do it. You're gonna pray. A C major seven f major seven beef like maybe seven e flat major seven. A phone made seven D flat on so on so forth around the whole cycle when you could do that fluently, then you can try and practise them. Chromatic lee, up and down you can start to play core progressions. You can start to, you know, test your knowledge of those major seventh chords and just make sure that you're fluent in every single key. Okay, so when you've done that, we're gonna be want to mind the sevens? 4. The Basics - The minor 7th: Okay, so we're gonna talk about minor seventh chords. Now, if we play, see major seven. To get the minor seventh, we need to flatten the third and flatten the seventh. So now we have C E, flat G and B flat. Now, this cord can't come from the key of C because we have two black lines in it. So I'm gonna elaborate on this in a later video. But for now, we can think of this is being caught too off a major key. So that means C minus seven could come from the key off B flat, major. Okay, so hold onto that thought again, we're gonna apply the same thing. So we need to practice this in every key. So they got to f minor B flat, minor, flat minor on DSO woman so forth around the cycle and again try them dramatically up and down. Keep them all in route position just to just to make sure that you've got that knowledge. You can even try them playing in the right hand as well. But really left hand is okay. Andi. Yeah. Any difficult keys. Focus on that. Make your practice about doing things that you find difficult. That's the most efficient way on. Remember, once you've learned this stuff properly, you never really have to learn it again. It will stick that because we use these things so often you're gonna return that information. Okay, so take your minus seven, surround the cycle, and then when you're ready to move on to the dominant chords, let's do it. 5. The Basics - The Dominant 7th Chord: Okay, so the dominant chord is in the Kiev while starting on C is C e g on B flat Again. This court cannot come from the key of C because of that b flat in there. Okay, so what does it come from? We have to think about this. Court is being caught five off key. So if we go down five notes, we get to F. So C seven comes from the key of f major. So that means that this Court five wants to resolve back to Court One creating this perfect way here that at the end of songs at the end of musical phrases, it's very, very common to hear this kind of thing. Okay, so we need to practice all dominant chords again in every single key. We do that by playing them around the cycle of fourths. Or if it's on, we go. 777 e flat over a flat seven. So one and so forth. Get Randall 12 keys. Make sure you know that Really well practiced them chromatic lee on dat kind of it. You have now mastered major minor and dominant seventh chords, which means you could play almost any song in a real book. There's one slight problem on it is that we're playing reposition cords here on, and they don't sound particularly jazzy. So we need Teoh. Rearrange some notes and some notes in, Take some notes out, play around with them on, getting to sound richer on more like what you hear on your favorite jazz records. So once you have mastered these 3/7 courts, let's move on to the half diminished chord on the frilly, diminished court. 6. The Basics - The Half Diminished Chord: Okay, so now we're gonna talk about the half diminished chord. So another name for that is the minor. Seven, flat five. Let's create that chord on the note. See? So we're gonna play a minor seven, first of all, so C E flat, G and beef lab. Now G is our fifth, and all we're gonna do is flatten that fifth. We get this court thing is the half diminish court on behalf. Diminished Chord is coming from the key. A semi tone above the court that you're wrong because it is the seventh chord in a major scale. Okay. And I'll explain more about this a bit later on. So our see half diminished comes from the key off D flat, major. Okay, so don't worry. If you don't fully understand that yet we will cover this again in a later video in much more detail. So you guessed it. We need to practice this around the cycle of fourth in every key. Make sure we know them when you've done that. Let's move on to the diminished court 7. The Basics - The Dimished Chord: Okay, so the diminished chord is a really special type of court. Actually, it's got a very distinctive sound and is created by stacking minor thirds on top of each other. So let's try it on. See way up. I minus 35 minus two on then up minus, said to A. I think this is a diminished chord on a lot of people. So think of villains or old kind of black and white movies when they hear this court is quite an old fashioned sound. But as we'll find later wrong, we can really make for use of this court. So this is not called. We're gonna focus on much in this course, but we will in a more advanced course coming up soon. Eso for now. Of course, you need to practice it in all 12 keys. But if you want, just practice it in the 1st 4 keys for now, then that's fine. The good news is, once you've practiced it in three keys, you're actually gonna be finding that you're playing the same shapes. Okay, so explore that. See if you can catch on with what I mean. If you can't, don't worry, we'll explore it later on. But when you're ready, let's move on to the next video 8. Let's Improvise! Bill Evan's Peace Piece: Okay, so the time has come to get you improvising to really start doing this right now. Even if your knowledge is limited, it doesn't matter. We need to get you improvising. Improvising is the most natural thing in the world. We do it every day as humans, where every time you speak, you're improvising every time you interact with people or things you're improvising, your mind is using or its knowledge to try to create the best outcome for that situation. And that's basically what jazz improvisation is as well. We're drawing upon all of our musical knowledge in order to create something that is unique to that one moment in time. That's a beautiful thing. That's the thing that I love the most about Jazz is that it's here in an instant, and then then it's gone. Unless, of course, it's recorded on. Luckily, Bill Evans Waas, a pianist who was heavily recorded throughout his whole career, he brought a beautiful sense off craftsmanship. Talk to the piano. He was classically trained, so he knew how to really use the pedal. His touch was beautiful, Aunt. He studied a lot of music coming from the impressionistic composers like Deb, UC Rivelle, Bar Talk, Stravinsky. And so he brought that influence into jazz. There's an album by Miles Davis called Kind of Blue. Andi, Really this main build very, very famous on you can hear on the introduction to the track. So what? You can hear some of these beautiful chords that he plays. We're going to start with the piece that just happened to be recorded. Bill. Was it a recording session on? He was testing the piano Well, he was just wanting to see if it's in June and what the upper registers and the lower registers were like. And so he just sat down and started to play. Fortunately, the studio engineer press record on the result waas This beautiful piece called Peace, Peace like his in world peace, a piece of music on It's all in the key off, See Major while it starts in the key of C major. And then he wonders off improvises on bond. Get into some really interesting places, which will explore. So when you're ready, let's check out the left hand of peace. Peace. In the meantime, don't have a listen. Listen to it a few times, close your eyes. Let the music seep into you. Let your imagination go on and enjoy that process, but when you're ready to learn it, let's go to the next video. 9. Let's Improvise - Peace Peace Left Hand: Okay, so we're gonna check out the left hand off Peace, Peace, and it's relatively simple. So the whole thing starts with a G in the left hand, descending down to a C on. Okay. And then that hand comes up to the mid range of the piano and it plays. The first court is like a C major seven chord, but it's in the, uh, fourth inversion. So we have Sorry third inversion. So it starts on G, and then we have be natural. C and E. Okay, It's a really nice sounding chord. It sounds like that there's any to court in this piece. The next chord is like a G seven suss nine court sounds complicated, but it's not really It sounds like this. We've got a G and A C and F you sound of this cord. Very pretty is very ethereal. Andi has this sort of suspended sound. It's so mysterious sound, it doesn't want to stay there. It wants to kind of move on somewhere, but it's a very pretty beautiful sound. You can play around in different octaves on its lovely, So let's combine that so it should sound something like this, Theo waving to the whole thing. Just repeats again on In terms of the timing is very, very loose. There's not really a sets the tempo. You don't need to count in your head. Um, you just sort of play around in this free time. So you wanted to be structured, so you don't want it to be kind of too relaxed. So something like this like that. Also, I'm adding in some pedal so that I can get from the sea. No, up to the first court. So on my pedal now on Matt's things as I play the next court or the first court, I'm releasing the pedal, pressing the pedal again to change. Releasing it as soon as I play pedal back on to take me down to the G okay is actually quite complicated to describe it like that. I'm sure you'll figure it out. So listen to the way I'm playing it even better. Listen to the way Bill Evans is playing it. Try and recreate that sound on your own. When you've done that, we're gonna move on to some right hand stuff in the next video 10. Let's Improvise - Peace Peace All the White Notes!: Okay, so hopefully now you have the left hand working. Really, really solidly. Let's check out what we can do in the right hand in terms of improvising. So Bill Evans doesn't really play a set Melody. He's improvising right from the start, But if you want to go and learn some of what he's doing, I really recommend doing that because, you know, you're learning from the master the straight from the horse's mouth, so to speak. So yeah, so you can do that. Transcribe little phrases that he plays. Try them out. But also, I wanted just to explore the range of the piano. Andi, just have fun with this. I don't want to think too much. We're gonna get into Cem concepts about what to do over this in the next few videos. But for now, I want you to get the left. I'm going. I really just wanted to improvise. Using the white knights of the key booth. Try ranges. Try lower ranges. Try phrases that along. Try phrases that a short repeat phrases leave space. All of that stuff haven't go in. And just think about the white keys on the piano. You could maybe record yourself, listen back and be a little bit critical not to critical. What could you do? Better? Very the dynamics. Very the speed on DSI. How creative you could get just with that one technique. And when you're ready, let's move on to the next video and exports in different concepts. 11. Let's Improvise - Peace Piece Scales in 3rds: Okay, So as I mentioned 11 starts, why kind of playing in the key of C? So that means the C major scale. I'm really not a big fan of thinking too much about scales when you improvise, because a scale is a set. Thing goes from the root note you know to the octave, and it's in that order. It sounds so. There's no a lot of music in that when you listen to solos, you do hear skate or fragments, but you never hear a complete stay or from start to finish. So when you improvise, that's the problem I have. I don't think you should really think about scales in their entirety. So what you can do, though, is think about scales in thirds. A lot of music is built up in thirds triads, major sevenths, minor servants. These are all different types of thirds. It's very musical is like thirds. So we it makes sense to practices. Scale inserts like this down much more musical than just straight up and down the scale. So try that way so they go. So really simple idea scales in thirds when you're ready for the next concept, let's go to the next video 12. Let's Improvise - Peace Piece - Triadic Shapes: Okay, so now we're gonna think about some shapes that are available to us on. We're building on top of the third, so we're gonna add just one more notes. And now we can play tryout. Try addict shapes on dumbed. We can play this shape and move it up in the C major scale. A lot of these courts will fit because they're all from C major. So these are great little shapes that we can use. Teoh create structure. When we improvise, let me show you what me and of course, we can play in versions of those triads descending, ascending anything we like. So they're really nice shapes. It does two things. It it makes our is Think about a structured sequence of notes, so notes that are familiar to us on we can move up and down in the key of C relatively easily and quickly. So it creates this sort off flow of ideas. So I wanted to try that. Get the left hand going, try and play some of those triads. Make me in different inversions in the right hand. See how they work with the courts on when you're ready to move on to the next concept. Let's go 13. Let's Improvise - Peace Piece 4 Note Seventh Chords: Okay, so now we're gonna talk about seventh chords based on the diatonic scale of C major. So here we go. This is our major seven. We can move up the C major scale away on until we get to see on. We've got all these notes that we can play kind of either. Like an ascending op ed year alternating between Teoh. Let's try that with the way, Way on. So on, so forth. So that's another technique you can try. Have a go again. Don't sacrifice the left hand for the right hand. We need to keep that left hand really solid on musical and beautiful sounding. So try that. And then when you're ready to move on, let's go to the next video. 14. Let's Improvise - Peace Piece Chromatic Leading Tones: So one of the things you'll hear Bill Evans do is that you lead into an arpeggio from, like, a semi tone below. So if we take c major arpeggio soc May just seven c g b. He will meet into it using the B s semi time below the sea. So something like this and this is kind of like a simple bebop. The sound be. But, my dear, it's a cemetery leading turn into a court time. So, for example, you might play something like this thing on. You can try this on any of the court, tens of semi tone like below, So I could even do Eve. Let's see what that sounds like. This is gonna give it a slight, bluesy sound which may no be the desired effect. But let's try anyway. Way eyes try leading into the G natural 15. Let's Improvise - Peace Piece Adding Tension and Beauty with the Lydian Sound: So I like to think of music as representing the human condition on Do you know what the human experience? So it's no good. You know, this darkness in this world, there's sadness, there's despair. There's all of these emotions that really belong to music because we don't want to just create, you know, Rose college music. We want to create things that have tension and release and have a narrative have a story. So we need some ways of creating Cem dissidents in peace, peace. One way of doing that is to think about C major as coming the court of C major as coming from a different key. Now this is really interesting. So if you've studied basic harmony, you'll probably know that C Major seven goes with the C major scale. Now, when you learn the cords moving up in a diatonic key, each degree of the scale gives us a particular type of cord. So as you can see on the screen, here we go see major seven. The next court is D minor seven the next quarter's E minus seven. The next chord is as major seven. The next court is G seven. This is our dominant chord. Next court is a minus seven. This is sometimes known as the relative minor or the natural minor. And then we have be half diminished or B minor seven flat five and then we're back. Teoh the key off back to the court of See again So you'll notice the court four is also a major seventh chord. So that means if we play s major way could think about this is coming from the key of F in which case is gonna have a beef Latin on We can also think about it is coming from the key of C major, in which case it has to have a B natural in, I think is a really common sound in jazz is called the Lydian Onda. It's the fourth mode off the major scale, so we need to apply that to peace. Peace. So instead of thinking of C Major as being caught, one we're going to think of it is being called for. So that means it comes from the key off. G major. That's where this F sharp comes from. Free play G major. The white notes plus in f sharp. If we play that scale. Starting on C, we get seen. I think this is a really beautiful sound. We use it all the time and jazz it. It has this ethereal sound, so that's the kind of sound that we're trying to invoke. It's a little bit darker than just a straightforward major sound, so we know now that we can add in an F sharp to create a little bit of dissonance. So something like this we owe into all the other things that we've learned, combined them together and just have fun exploring. Tried going up into the high registers on Explore that dissidents there on When you're ready, let's move onto the next one. 16. Let's Improvise - Peace Piece Triad +1 : Okay, so here's a nice little trick for you. So we were talking about the Lydian sound in the previous video on. That means if we apply it to peace, peace, it's gonna be the f sharp on the C major. Now, when we moved to the d Suss seven chord, you probably noticed that the seat, the F sharp, doesn't really work on that court. And that's because we've got this direct clash because CDA G seven has an f natural in, of course way. So it doesn't mean you can't play. It just means you have to be a little bit careful when you're on that court. Okay? So you'll find yourself maybe starting on the shop and resolving it turned down a semi tone to F when you change to that G court. Okay, so anyway, let's move this on. So if we want to combine different notes of C major, here's a neat little trick. So if I play, see major 70 my right, my left hand, and then I want to create a rich sounding chord in my right hand. On top of that, if I play a d triad, I get the ninth the shop 11 and the six. So it's like a d triad, Okay? And we play this together, get a beautiful chord. This is like for May. It sounds like the clouds are opening up in the sun is coming out on again. You could try this in a few different keys. Let's take it to F so f is gonna yield off a G. Try it. So we're playing the major triad a tone up from the root note of the cord So F major in the left hand on a G tried in the past On again you can play in different conversions. Let's go to B Flat Major made during the left hand turn up is C So we're gonna play a C Triad in the right hand C major seven. But just to see Triad let's try one more go to e flat. So that means we're gonna play an f Try it a really beautiful sound. Anyway, let's get back to peace. Peace. So another sort of extension of this is a triad. Try it again. We can play these in a while. Three inversions way can also add a note, sometimes called try and plus one. So let's take our d Triad in the third impression here. Some playing a D EFS shop with still my c major in my left hand I'm gonna add in a courtroom. Scott, add in this G natural, which is right next to f sharp and then I'm gonna play like an arpeggio moving down again. Another beautiful sound going up eso That's cool. Try a plus one and what it does Is it just It just takes a little bit of the edge off the dissonance on Brings it back into a sort C major thing. Beautiful sound. So, guys, I hope that has been useful. What you need to do is combine all of these things, tried them out individually, combined them, think about the measure play and then set aside some time when you're just playing just exploring sound. You're just letting your imagination run wild. I'm just having fun creating music. Don't forget to leave space. You know, this is so important. If you overcrowded, it's gonna sound messy. So leave some space. This is a light and airy peace. Breathe that into it on. Have some fun. We're gonna talk about how to build a solo in the next video. So when you're ready, let's move on to the last video where we're focusing on peace, peace. 17. Let's Improvise - Creating Structure in your Solos: Okay, so a common question I get is that Okay? I've let all of these concepts and all of these cool things that sound great on their own. But how do I put together a solo that is convincing? How do I construct a solo? How do I make it last mean? Eleven's solos, essentially for 6.5 minutes on peace. Peace and it never sounds boring. So there has to be an underlying logic of how to build a solo, and it's really quite easy. If you think of any good story. A story has an introduction or a beginning has a middle, and it has an end. So something happens between the point where the story starts and where it finishes in the middle. Okay, so this is a really basic structure that we can use. So to start with, keep it really, really thin. Keep the textures thin, keep it beautiful, keep it spots the middle part. Maybe that's when you start Teoh, gradually build things up, maybe employ some of the more dissonant No choices like the f sharp. Andi, you know, build up the dynamics, build up the density of the notes and then for the ending. You know, you want to take all that down, you want to start to come back and bring people back to see Major, bring them back down to reality on bond, then finish off, you know, and be dynamically interesting as well. So it's kind of just like an arm like that on. That's a really nice way to structure your solos. And now you should have enough concept enough material to be able to do that. And if you want to, you can plan this out relatively detailed. So you can say, OK, I'm going to start with, you know, playing in this range of the piano. I'm gonna use notes in the C major scale. I'm gonna use small interval. It jumps leading into some triads developing into some seventh chords on. Then I'm gonna add that passing. No technique. Maybe Then I'm going to start to add some chromatic passing notes in. Then I'm going to start to get into my Lydian sound. That's the dissident part you know on. Then I'm gonna reverse that. Bring it back and a while thinking about dynamics as well. So, while we don't want to plan things when we improvise women learning. I think it's a good way to enhance, enhance the sound, enhance the structure. Andi, you'll be surprised how much dynamics could really, really affect the mood of the peace and how much response you get back from your audience. So I really urge you to record yourself. Listen back. You could even try. You know, why not try making this piece as long as it is on the record. So six minutes of you improvising on C major, can you make it sound interesting? Give it a try. It's a really challenge. It's not easy. But, you know, maybe you could half it and start with three minutes on, then gradually increase it. Employ these techniques. Get to the point where you can just sit down and play. Maybe now you can start to play two people. You know, jazz is a very social music. People love it when people just sit down. Play. You don't need any music for this. You can create a beautiful piece. Uh, okay. Is based on the 11 song, but I doubt people will know that on really, because it's improvised. It's your piece anyway, It's just based loosely on, you know, the left hand part of peace. Peace. So make it your own plane to people, see, or what we actually get a guarantee will be positive on, uh, really enjoy the fact that now you have this brilliant freedom to play. Just sit down and play. You know, maybe you could try in a different key, and then you could try modulating for one key to the next and see how that goes. The possibilities really are endless. So guys hope that has all made sense. And I'm really proud that you could now improvise on. We're gonna get a little bit deeper into things in the next video. So once you've once you've completed this, let's move on and get stuck in. 18. The II V I Progression: Okay, So in this video, we're gonna talk about the 251 Now, the 251 is the most important court progression in jazz. So let's explore it. First of all, we're gonna play in route position so we can understand it. Very, very simple. So we take the key of C major. First of all, so court to Roman numerals like to, uh, two eyes together. Just means that we're gonna create a course starting on the second note of the scale. So if I play uh, d f a and C, that's gonna give us d minor seven. This is core to off C major. Okay, it's a D minus. Seven way. Wanna play core five? We start on the fifth now, which is G on again. We play the notes in thirds from the major scale way. Get G seven G, B, D and F Natural. This is Court Five. This is our dominant chord on then. Of course, court one is just see Major seven k said court to seven Chord five g seven called one C major seven on. Then we go to the next key around the cycle we go to the key of F. Now we gotta remember that we're not starting on the F major. Seventh chord. We're starting on the second court. So this key, we're gonna play G minus seven on. Then we're gonna play called five of F, which is C seven on. Then we're gonna play the court one, which is F major seven. Okay. And then we go to the next Keep B flat to the 2/4 C minus seven up to five, which is F seven back to one, which is B flat, major eso You need to practice that in every key. We're gonna check out some voicing some simple voicings in the next video. But really, you need to get around all 12 keys in brute position first. So do that before moving on to the next video. 19. II V I Shell Voicings - A Position: okay. So as we know, our reposition cords don't sound particularly jazzy on. Part of the reason is because if we play the 25 100 position like this way are jumping around all over the place. So because we're governed by the route No. So what we need to do is eliminate that. So we're gonna play the route No, in the left hand. So I'm gonna play D G and then see in the right hand Let's start with court to I'm gonna play in the third and the seventh off D minor. So this is now what we call a show voicing because it has pretty much the bare minimum number of notes in order to make it d minus seven. So it sounds like this. So a nice sound on this is where the magic happens to get to G seven. Of course, we need to go to G in the left hand, but in the right hand, all we need to move do is take this top note down a semi turn to be on. Did you hear how smooth this sounds? And then we're gonna go to court one on again, very small movement. The F the bottom loathe already. That's starting to sound much, much better because off the voice leading, we've got this smooth transition between the cords. So let's try in the key of F. So we're gonna play G minus seven C seven f major seven. But using these shell voicings. So the third of G minor is B flat. The seventh is F. So this is our first chord. Now I think about the top moving down a semi tone T e on the bottom of B flat, moving down, Teoh one go up again. Teoh B flat major seven. So court to is C minus, top down. Okay, let's go up to the flan F minus seven A. Around the cycle you get really familiar with that sound. You can use that muscle memory Top note. Moving down the cemetery bottom leg. Moving down the semi tone and master that in all 12 keys. And when you're ready to go to the next one 20. II V I Shell Voicings - B Position: Okay, so hopefully you've got Randall 12 keys with those shell voicings. Now we're gonna do a very similar thing. Still gonna keep the left hand playing the route notes, but in the right hand, we're gonna play. We're going to invert the two nights. So instead of playing the seventh and third, we're not gonna play. So instead of playing the third and seventh, we're now gonna play the seventh and third. So D minus seven. Instead of being here, it's not gonna be here. So see, first and then f now, logically, you probably already worked this out. But now the bottom no is gonna move first to the dominant chord, and then the top name is gonna move down to the major seventh chord k, this train f major said G minus seven. Sense of G minor, third of G minor K tried B flat C minus seven Bottom Afghanistan. So again, Now you take that through all 12 keys. Sometimes these are called position A When it's voice from the third and position be when it's voice from the seventh on. This is gonna form the basis off are bigger, ruthless voicings that a now common practice common sound in modern jazz piano, so we're gonna apply that to a song as well. So once you are ready and you're familiar with those in 12 keys in both positions, let's move on to the next video. 21. II V I Shell and Colour Notes: Okay, so it's about time we talked about cord extensions. Now, court extension is literally adding a note from higher up in the cord. So we know that cords don't just stop at seven. They carry on until they get back to see. So if we build a cord up, see major seven. After the b natural, we go to D natural. This is the second note. Or rather, we call it the ninth on the ninth at a really nice rich tone to courts. Any court, in fact, major, minor or dominantly add richness. So what we're gonna do is we're going to play the left hand is still doing the route notes in the right hand. Now we're gonna add that ninth in, so I'm playing 35 Sorry, I'm gonna play the third on the seven, and then I'm gonna add the ninth in with my little finger here, Like that way are gonna keep this ninth of C minor there. Because when we go to F seven, this'll now turns into the 13th 6 f seven and again the nine in the 13th are really rich. Most they had body and power on color to the to the court, so this is really good. So we're gonna play this, then we're gonna keep everything where it is. Except for the B flat. Gonna drop that down a semi time thing is now f 13th but we still call it F seven on. Then way are going to then drop down to We don't need the doubling of the route in the major court. So we're gonna get rid of that. And we're gonna aunt think Ninth. So we can now gonna play something like this again root note in the left hand. But now we have See, um c f in a again you could at the third in here if you want things creates this nice sort of sounding chord here. Beautiful. Okay, so let's just try that in the key of C. I don't know why I started to be flat there, but anyway, so let's try and work this out together. So we've got the root of D minor. We're gonna play the third in the seventh. We're gonna add the nine. The ninth, remember, is the same as the second. So it's just the next note from D on. We're gonna play that on top. So we're gonna go here on, remember to get the G seven we're gonna keep that night there, which becomes the 13th. We're just gonna move the seventh D down to the third GTO on, then a couple of options. So we could either just play the third in the sense of C major or again, like I said, we can at the ninth. Well, if you want eso explore that, try that in order 12 keys. Get familiar with the ninth in the 13. Than what? The sound, what effect it has on the sound. And then we're going to start to apply it to a well known song. Just the 1st 8 bars. 1st 4 bars, actually of autumn leaves in the next video. 22. II V Is Autumn Leaves with Shells and Colour Notes: Okay, so now we should have explored those shell voicings with the color note on the top. So with the ninth and then the ninth turning into the 13th. So we're gonna apply this to the song Autumn Leaves. Andi, we're going apply as if we are comping and comping stands for accompanying. But my cama teacher always used to say it actually stands for complementing, which I really like. So we're gonna imagine that maybe we've got a singer or guitar player playing the melody or someone else playing the melody on We are playing the chords behind. Okay, so we need to know the 1st 4 bars of autumn leaves. It's basically a 251 in the key of B flat. We're gonna do this. Autumn leaves in G minor. That's a really popular key. So it's a 251 and B flat on, then called for off B flat. So now we can play our 25 one's pretty quickly. We need to do is at that nine things. So we're gonna play this. This is our first court on then called five. We're just gonna move this C 77 on. Then we're gonna move, Teoh make like that. And then we are gonna move to e flat minus seven. Sorry. Five major. Seven way. The next four bars are going to go into the minor key. Okay, so you could find standards that use to five ones. Andi, apply this technique. Of course I can play this in the other position. So if I start with the seventh and third of my C minor like this, maybe I can add the ninth in right below the third so I can play. This thing is a nice, crunchy sort of sounds. I'm playing the 7th 9th and the third very close to each other. Keep that d there as we go. Just seven like that. And then maybe let's do something like this on B flat. Major on. Keep everything. Where is he? Just moved the A down to G E. Flat Major. That's a really nice You can try playing around with that when you're ready. Let's move on to the next video 23. II V I Rootless Voicings Position A: Okay, so we have reached a very important part off the off the course here. We're now going to start to look at idiosyncratic. It's ovary long word voicings that you will hear on record. So far, we've just saw studied the basic. So we're looking at the reposition and then the shell voicings on, then adding one color note. Now we're gonna fully extend the courts. Teoh what we have what's become known as the standard way of voicing chords on these air predominantly for the left hand on their sometimes called ruthless voicings. Because, well, they don't have rooted. We would have a bass player or play along going along at the same time. So we're gonna look at this in the key of C. I am gonna play the roots, and I encourage you, Teoh. Practice them with the root note in the left hand to start with and then transfer them into the right into the left hand with no re notat. All the reason for that is let's look at the first court. So we're gonna play to 51 and see deep down here 3579 de que or d minor. So if I get rid of that D I look at this cord and it looks like an F major seventh court when you play it on its own, it sounds like in F major, seventh court, unless you you're hearing that d automatically and that's what you need to do. You need to be able to hear this minus seven. So that's why we need the room in there. Okay, So in the previous couple of videos, we've already explored the sea moving down a semi tone to get to G seven and all the other notes staying where they are. So that's still the case. G seven. Keep everything where it is. We just move the middle note down the seven semi turn t be. I think this is a really nice big fat G seven court, and it has the ninth in, and it has to 13. Former top. Really nice. We're gonna resolve this c major by playing 3579 off C major. So it's gonna go here on again. If you look at this corn on its own, it looks like an e minor seventh chords. So we really need that. See, in their initially train our ears to hear that as C major nine. Okay, so what? 251 and see Now sounds like this. Let's take that up. Forth into the key off f. So we're gonna play G minus seven c seven f major seven. So 3579 g minor looks like B Flat major seven, but it's no a little note Dallas and returned to E O. C. Seven. Begin with Mind the 13th moving down to F major 3579 of F mate. Let's go up again. The fourth to be flat So a C minus 73579 of C minor looks like E flat major. Seven. A little note down the semi time to give us get with 39th and then playing 3579 off B flat . Major way. Got some call sounding courts. Let's make this a bit interesting. Let's make it a musical exercise. Go back to the key of C. We're gonna invoke a nice, relaxed Latin feel. We're gonna do that by just using the route and the fifth in the left hand way again. Practice that round the cycle you might want to break this up into three groups of four again. So do the 1st 4 keys 2nd 4/3 for Andi really mastered that. When you're ready to move on the next video, we're gonna talk about another position for these voicings typically called the B voicings . 24. II V I Rootless Voicings B Position: Okay, so you've taken the a voicings around the cycle. You're familiar with them in most keys. Now let's move on to the second position, which is the B position now waken still keep the base down in this region. But we're gonna wanna play this voicing kind of in the mid range of the piano. Maybe for middle C. So the numbers are 7935 of D minor. So C E f A. Because we've already practice the shell voices, you should automatically know that the sea is gonna drop down a semi tend to be natural. So g seven. So again, we have the same 1913. But the order of the notes are changed, and then it gives us a different sound. Okay on. Then we get to see Major 77935 C major, it's gonna sound like this way to the next Kiki of F G minus 77935 Every time I see seven Theun 7935 Next key. 35 C minor. 3 13 79 On the dawn in court. And then through 7935 again for okay. And then we could try a Latin rhythm again. So same baseline. Okay, so you'll also notice that there's still quite a lot of jumping around going on. So what we can do now is use both positions A and B to create the shortest distance of ham movement between those 25 ones. Let me show you what I mean. So, Stein, see, do you mind? 77 c major seven. Now, we now want to play a to 51 in the key of F going Teoh, obviously the first court being G minor. So it's much quicker for me to go to the B position. G minor chord thing is right next to our C major seven on way going up to be flat. It doesn't make sense to go up here to the B position. It makes sense to go to the A position. See, let me do that again. So you guys can see that a bit more detail. So now to five F Shortest way is here. Now we go into a 251 in B flat. Shortest way is to go to be a position. Okay. And then you can practice this starting on the other position in your notice that it's alternate. So on, then a position G minor position C minor for 25 okay, so now we're kind of using the two different ways of playing these voicings to our advantage when we're minimizing the hand moving around. The law is very efficient. It also creates a nice, smooth sounding chords. Very musical. Okay, so let's move on to the next video. Once you've tried that around in a few different keys and you're familiar with the hand kind of finding very short cuts. 25. II V Is Transfer to the Left Hand: Okay, so you guys, I know this is taking quite law work. I know that you're working really hard on this. I know that. It's no easy to start with. Every jazz pianist has gone through this, so I just want to give you some encouragement. You've got this far. Keep going with it. It's no easy but regular practice. Little and often is the answer. Every day, twice a day for 10 minutes. 1st 4 keys, you know, work on the harder keys. Now, maybe you need to spend a little bit longer 20 minutes twice per day. Do that. Maybe for three days, you know, and then do the final 12 key Final Four keys. So break it up. You don't have to just do all 12 keys all the time, but yeah, rest assured, I know that it's tricky. I know that it takes a lot of practice and dedication, but do it logically. Do it slowly. Master it, and these skills will stick with you forever. Okay, so we need to transfer those voicings into the left hand now. Okay? And don't worry. We are gonna place a music. We are going to kind of come out of this a little bit of a kind of intense, not really theoretical, because it's it's a practical skill, but we need to apply this to a song. We need to start enjoying our practice like fully fully understand that this is not the most exciting thing to practice. But it's about to get exciting, because we can now use play alongs if we transfer these into the left hand. So let's try that just in the key of C A position to 51 and see. Let's try it. This five court on one. Okay, let's try Be position. Try position, you know, and don't ramble. 12 keys. Get used to the feeling of it being in your left hand. Now, these shapes should be quite familiar, but it is a different thing, transferring it to the left hand the way we feel. Things between the hands is different, so you do need to get used to it. You can put a play along. I'll put a link somewhere so that you can go in practice 251 Play along and really just enjoy comping in the way. It's a different rhythms. Experiment with it, but get those voicings into the left hand. Nice and secure. When you've done that, let's move on to the next video. I would say you don't have to fully master everything right now in all 12 keys before moving on. I think your knowledge will be good enough. Now that you know what you need to practice. You know what your weak keys are? So keep doing that in the background. Keep practicing that every day. It might take a month. It might take two months before you're really familiar. But we can also practice something else at the same time. Now there were at this level, so yeah, let's move on to the next video. 26. The Blues - Introduction: So in this the next series of videos, we're gonna be checking out the blues Now the blues is the basis or jazz the blues. I'm not gonna give your four history lesson, but it's important to know where this music comes from. Eso the blues directly comes from Africa on as you probably know, uh, African people were taken to North America by boat against their will use the slaves and mostly a lot of them taken to New Orleans, which is a big port city, some of them also to Memphis and higher up in the Mississippi River and also to the west of the East Coast of America. But yeah, So the slaves of the African people brought their musical traditions to North America on You know, North America in the turn of the century is a big melting pot of different people Native Indians, African people, European people, Appalachian mountain people. So a whole load of cultures going on at the same time. Your beans is the birthplace of jazz. We do know that much on what happened there is that we had an integration off the African slaves on Europeans who were wealthier. They had musical training. Um, so what happened is the marriage of these two very different worlds eso the African music very much based on pentatonic blues based on vocal music, improvised Korean response, he shouts on replies. You know all of this stuff European classical music much more based on instrumental technique, reading music, you know, complex music from from composers. So we had the marrying of these two cultures together, creating jazz music in your leans. There's lots of offshoots of jazz, you know. For example, Rack Time is essentially a classical piano style, with influences from the blues on gospel music. So things like the entertainer Maple Leaf Rag these things are improvised. These have written down These are set pieces you don't improvise on but a chap by the name of Jelly Roll Morton took elements of the blues, took elements of classical music, took elements of ragtime, put it together into his own, your leans kind of style on uh, this was really the beginning of jazz piano. Alongside that, we also had a blues folk style of piano playing in your leans so on. That sort of developed into, you know, the professor long hair school of playing the Doctor Johns on in Tucson and Fats Domino later on. This kind of started playing, so we're gonna look at some of those elements were going to check out some of the blues blues licks, some cab Marie. And then we're gonna go into how Jazz took that form and made it more complex and started to create a more complex language based on Bebo That happened in the 19 forties. Anyway, this is no history lesson, but it's important to know where this music comes from. You could read about it online. I highly recommend the Ken Burns's jazz history box set DVDs, and I think that's on YouTube is, well now. It gives you really good insight into how this music is created. Essentially, this music is a black African American music. It's created by black African Americans, and we need to really celebrate that. We need to acknowledge it. Of course, it does not mean that white people cannot play jazz. That's ridiculous, but we need to acknowledge where it comes from, okay, so when you're ready, let's move on to the next video and get started with the blues 27. The Blues - Boogie and New Orleans Styles: Okay, so in this video, we are going to learn about some different blue styles. But we're going to start by trying to understand the structure and the form on the harmonic nature off the blues. So the first thing to know is that when we talk about the different chords in a blues, mostly their dominant chords, that does change when we get more into jazz. But when we have a simple three chord blues over 12 bars, normally called one is Dominant called for is dominant on Court five Dominant. So cold one in the key of C is gonna be a C seven. Okay, Court four in the key of C is going to be F seven. Court five is gonna be G seven, so that might sound a little bit confusing. Based on you know, the previous videos that we've done The blues is a special kind of a form on. We allow sort of breakages of those rules. So technically c seven is not ready. Court one. It's called five, but because we're in the key of seen the blues, we still call it called one. I hope that makes sense. Don't don't for over it too much. Okay, so we're gonna learn a very simple, typical left hand pattern for a blues that is based on the sound off the railway trains. Okay, it's originally a guitar riff on It's an Octave. So it's C on, see? And then with the G in the middle of what it does G moves up to the sixth e a and then it moves up to the dominant seventh B flat. And it does this in a rhythmic way. That sounds like a train. So it's kind of like this on the C seven and just try and get a nice swinging feeling. We don't want to be stiff like this, laid back and relaxed. - So there is the typical sort of left hand pan. We can combine that in the left hand. We can play a kind of Kordell sort of a lick, if you like. On all it does is it goes up through the arpeggio off C seven. So it goes, See, try at you can slide off the flat goes to like, uh, you could see it is being like an F major. Instead, inversion and then up Teoh G and B flat again sliding off the blue Note the F sharp way. Try and put those both hands together like this, - the beginning, so that's a typical, like boogie Woogie style blues. And if you want to go and check out some original boogie Woogie pianists, you need to listen to people like Albert Ammons, Meade, Lux Lewis, Pete Johnson, Jimmy Yancey. These are masters of that style, very much around the turn of the century 19 twenties, that sort of period. Your leans then went on to develop lots of different styles of blues because of the influence off. You know, Latin America, the Caribbean. So people like Professor long hair really sort of innovated this more Caribbean like sort of style. So we get this calypso feel on the baseline is just going to use the RPG of the Triad on this kind of rhythm. Okay, so yeah, this is a quite a specialized, specific type of blues. New Orleans it's well worth studying. In fact, Dr John has some great tutorials, I think on homespun, where he demonstrates and talks about, you know, all the different styles. Texas Blues, Mrs. If You Blues, New Orleans Blues, Chicago Blues All these different piano styles. And yes, so thing about the New Orleans starlet has a bit of a polyrhythmic thing going on. So it's a little bit like this Teoh way way. So you know, I'm not really expert in this way of playing, so check out Dr John, check out Professor Long hair. Andi. Yeah, it's quite easy. Teoh. Copy this style because it z relatively simple, harmonically. But it's all about the rhythm. It's all about spirit. It's all about the feel, the groove. So, yeah, go and check some of that out. Get some of that into your playing on when you're ready will move on to the next video. 28. The Blues More Left Hand Styles: Okay, So if you want a slightly mawr less energetic version of the blues you know a slower kind of blues then you could use the left hand in a slightly different way. You can actually play like shell voicings. You can play the route the third in the seventh on maybe occasionally go down and play a root note Come up and play the third in the seventh. So something like this, Yes. So, invoking a sort of a slower blues, we can then add in brings based improvisations in the right hand. We're gonna talk about the blue scale a bit later. Wrong. Other things you can do in the left hand is your room is voicings. These are gonna make it sound a little bit more jazzy so I can play things like this would say, See, 7373 should be familiar to you by now. G seven. Another thing I can do is to you can reach it to play tense. So I've got a route. No, down here, I've got a b flat, got a e on the top. It's a big span on then. The same thing on seven. G 77 That's quite a nice full sound if you don't want to kind of always be jumping around in a pseudo stride sort of a pattern. But you know, it's quite hard to get those chance. If you if you've got small hands, you can roll them effective as well on again, you know, added some right hand stuff. We're gonna talk about that separately, but you know, you can play a slow kind of out of time blues, something like this way to things that really kind of bring out the flavor of the blues. And that's this. Some very typical turn around where we play at the end, I guess involved. 12. It would be 36. You can also dio on, then to end pine like a defect. Seven. Resolving to a C seven, which gives us a nice, complete sort of finish at the end there. So it's really important. As I keep saying to go listen to these masters, try and find this, you know they're gonna be playing in different keys, but find one and see to start with, transcribe some of their ideas, press play and just play along with them, trying to figure out what they're doing. Andi have fun with it. It's It's really important because it falls the basis of the swing feel on. But more importantly, the spirit of jazz music, the conversational element, that storytelling element that makes jazz sailors much more, uh, effective and meaningful. So I hope that makes sense. Guys, when you're ready, let's move on to the next video. We're gonna check out some stuff to do in the right hand. 29. The Blues - The Blues Scale: Okay, So I'm sure most of you already know what a blue scale is, but we're gonna cover it anyway, just to make sure. So first of all was worth saying that the blue scale is a mere simulation of a sound. So blues music comes from vocal tradition, and it comes from like the guitar tradition as well. Both of those instruments. You can bend the notes so I can bend the note with my voice. If I played guitar, bend the string. Unfortunately, we can't do that on the piano, so we have to simulate the in between the cracks of the notes. If that makes sense, we could do that by playing two notes at the same time. We can do that by sliding race notes on creating a sort of a blood. If you play it fast enough, it I kind of always sounds like it's in between the cracks. So that's kind of what the blue scale is in the key of C. If we compare it to a C major scale is gonna be seen up to the minor Third, the fourth shot for the fittest seventh thing. Anyway, this is just a scale but to start with, if you've never played the blues before, get one of those left hand figures going that we did in the previous video just noodle around on that scale. That scale will sound good on all of the courts. So again you can place the way. So I'm trying to think in little short phrases, maybe a bar phrase musical idea and then answering that idea. I'm using repetition on the idea of corn response so you don't have to make it sound like a scale. And you shouldn't because it doesn't sound good if you do this, Theo. You know, it just doesn't have much structure much shape. You could do that sometimes, but you really want to be playing coherent, strong musical ideas that really aren't based on the scale. So give that a try on when you're ready. Let's take it up a notch. 30. The Blues - The Hybrid Scale: Okay, So our analytical minds should be taking over now and saying, Well, hang on. You know, we've got a C seven here on. I know that C seven is called five. So can we play the major scared of the court one over that cord? And of course, yes. The answer is yes. Will essentially be playing what's called the mix of Indian Mode, which is essentially, Let's take C seven C seven, as we know, comes from the key of F major. So I'm gonna play F major starting on C. It gives us this scale. This is the mixing in scale s. So this is a perfectly valid scale to use as well as the blue scale. Why don't we try and combine those two scales? So instead of just playing the blue scale, we can now start to use the major third. And that's a really important no. So let's reinvent the blue scale. So we're gonna go Teoh Natural F g b flat and see. So now we have the major third as well as the miner said, that's gonna open up the possibilities a bit more. So now, instead of doing this, all the time, I can now make more of a major sound. Wait, do that. A lot of the courts so say on F seven can now target Third and bring out the major sound of F some kind of my planet. Had you on may be, I'm gonna go for B Natural G seven. It's in the way. - That's what you could do. Get away from just playing the blues scale. Now start to incorporate some of those mixer. Lydian sounds the major thirds on the courts on Blend It All Together on. You'll be sounding great. I know it. Don't forget to keep listening to those masters. Keep copying, just like learning a language, you know you want to absorb it on. Get the rhythm in their get spirit on When you're ready, let's move onto the next one. 31. The Blues - C Jam Blues by Duke Ellingtonmp4: Okay, so the blues idiom is a huge, huge subject area. You could do an entire course you could spend a whole lifetime studying it on. Do you know, I would take us much as you can. Like I said, it's the basis of jazz music. But we are going to start to turn things into the sort of jazz direction. We're gonna do that through a wonderful piece called C Jam Blues by Duke Ellington. Andre is very, very simple. Is that to know Melody? But we're gonna change the harmonic sequence of the blues a little bit, so let's check it out so you can see on the screen. Now we've got C seven for one bar instead of four bars. This is just a break up that four bar of the one chord. So one bar, one Boris Fort record Wythe on. This is where it changes. Instead of going straight to Court five, we're gonna go to a D minus seven, which is called to off see on Jesus on C seven. So this is like a 251 going to cease a D minus seven. This is bond nine g seven going tiu C seven. So this opens up a little bit more kind of different tonality, different improvisational possibilities on the blues. So let's so learn the melody and it's very, very easy. It starts on a gene and it goes. 1234 1234 s Go away and listen to the big band arrangement. Listen to some trio versions. The Oscar Peterson trio playing C Jam Blues is just sublime. Not many things swing harder than that on when you're ready. When you've absorbed the sound of the melody and the rhythm and you've tried it out, move onto the next video. We're gonna get both hands working at the same time. 32. The Blues - C Jam Blues - Voicings and Melody: Okay, so now we're gonna play the melody off C Jam Blues But with our left hand ruthless voicings So we're gonna play very simple We're just gonna play Will be one to start with and play the melody without right hand A bit like this one Teoh, Do you mind? Hey, on them back to the beginning. We could take that upper level We can double the melody in the right hand, Maybe put 1/5 in a swell So I'm gonna play G C g d and G on. Then we're gonna keep the same rhythm in the left hand as well. So we're gonna create this kind of block cord effect. It's not really a block called, but it kind of sounds a little bit similar. So it's gonna summon this. Want Teoh? Okay, so this is maybe the style of kind of red Garland or Bobby Timmons. They used these shapes with left hand voicings. It thickens up the texture makes it sound a bit more fuller. Eso give that a try. Try. Try playing it with a play along as well. I'll give you some links to some. Play along as you can try, and yeah, when you're ready, let's go to the next video 33. The Blues - Walking Bass Lines: Okay, So before we go any further, we're gonna talk about baselines and teach you some basic rules on how to practice them. We're gonna do this on a blues in C So C jam blues on. Yeah. So let's get right into it. So now we know the cords. We should be familiar with the cords off blues in C now. And this is sort of a rule Be one Needs to be the root No B two and three need to be scale or court tones. And before needs to be a passing note going to the next room. Okay, So for example, see seven toe s seven. I might play something like this. Something like that would work really well, I could also dio, uh, downwards different different ways of doing it. Eventually, baselines can become improvised. But I find you recommend that at least to start with, you compose a baseline for a C blues and stick with it and try and get the left hand working at the same time. And we'll start with a four feel so four crotch. It's per bath. 4/4 notes. So that's gonna sound something like this. Teoh way s so Yeah, it's baselines. Should sound melodic if you listen to the great bass players. Poor chambers. Ray Brown, Any Gomez? You know, the more modern players as well, when you transcribe their baselines and you listen to them. If you were to transpose them up into the mid range, they would sound like beautiful melodies that not just plunking away down there, you know, they are creating a counterpoint melody. So be as musical as you can on dumbed avoid really large jumps most of the time. But occasionally you can throw in an octave jump triplets or feel like, uh, you know, that's a typical sort based mine trick. But listen to bass players. That's the best way trying to emulate the sound of the base. Try and see, you know, direction. They go in, you know. How often did they go out? How often do they go down is equal? You know, all that stuff, really study it In the next video, we're gonna check out how to do a to feel with CGM. Please 34. The Blues - Walking Bass Lines - 2 Feel : Okay, so what is it to field is basically, instead of playing four beats in a bind, a walking bass line, you just played two. So two minutes on its decrease in the texture. So it gives more space, allows you to go some way to go into a four fields like changing gear. So it's actually, I think it's harder to swing in A to feel, so it requires a bit more practice. I think so, Yeah, because you're you're you're playing half assed, many notes giving half assed, many half assed much information out if you like, so we need to be quite selective as to how we do it. So just give it a try. So maybe you could use one called the Route Now and the fifth, or something like that will route known third to start with and then just see how you can go. So let's try 1234 way, - way , Yes, give that right guys on. And don't forget, it's gotta be swinging. Listen to bass players. Do it. Listen to how they construct the line. Listen to the rhythm. You might find that, you know, sometimes you hear like a a larger jump, maybe like Route five, Octave down in like a triplets over way. So, like so that's like it's actually an arpeggio down to the from the top route. No faith and things like that. But there's no substitution for really listening to bass players trying to emulate them. Players like Ray Brown. He's my number one, of course. Poor chambers. Eddie Gomez, track Chuck Israel's. There's so many off them, just home in on what you like and listen. Try to emulate the base and bring that out in your left hand on, yeah, unless we want to the next video. 35. The Blues - Walking Bass Lines over II V Is: Okay, so we need to practice a baseline over 25 ones. Eso his a sample. You could just walk up. So 123412341 So that would be a bar each so something like this, something like that. So that's kind of cool. You could walk downwards as well. Um, up. Yeah. Obviously there's loads of different ways you can do it. Experiment with it, Onda, and try to then, uh, seamlessly change key. So again, you have to think a little bit ahead. You have to be really familiar with 25 ones in your mind and also the voicings. But try and do something like this one Teoh way, you know? So you're after a seamless kind of link between three free or four keys and then try and go maybe to the heart of keys on, then trying Seaview in comp around a whole 12 key cycle with your left hand voicings on a baseline going on again, try to feel as well, Andi. Yeah, Try and get that smooth. Always swing. Record yourself. Listen back and you have some fun with that on. We're gonna check out some turnarounds in the next video guys. So when you're ready, let's move on 36. The Blues - A Simple Turnaround: Okay, So a turnaround is simply a term that we use to describe how to get back to the beginning of the court sequence. So a T end of every song. There's usually some kind of a turn around, a core progression that will take us back to Court one on in the Blues. It's very common. Teoh play 16 to 5 now. This is not just in the blues, but very common. Turn around in major keys, minor keys and, of course, the blues. So at the end, off our C Jam blues save on nine D minor getting off the turn around one way I see seven on , then, actually, will you go to the dominant cause we use all dominant chords. So called six dominant seven Jesus 16 to 5. So again, from online back to beginning off the blues. So you need to try and practice that in a few different keys, of course, Or 12. But you know, around the cycle, let's try in the key off F c g minor, c seven F seven d seven g seven season. So, like this B flat is gonna be way beginning a typical walking base pattern for a turnaround of this nature, 16 to 5 is one down a tone, the six chord passing notes to the to court. Just like the way I do like this again, trying in different keys way practice them because they're really, really important. I think we've done enough for now on cords and harmony and walking bass, and I want to focus on the right hand and improvising, especially on the blues. So we're going into in the next video talk about jazz blues, talk about addicts and 25 ones in and then really get stuck in Teoh to improvising. And, yeah, kind of opening up what is possible on the blues. So when you're ready, let's move on. 37. The Blues - C Jam Blues - Targeting the 3rds: Okay, so now we've taken care of a walking bass line, The cords, the form of the blues, blue scales, mixer, Lydian scales, arpeggios, all of that stuff we can really start digging into improvising over blues in C Let's keep it and see for now. And we're not gonna add too many chords yet. We're gonna just keep the simple Seagram blue where it goes to call to Inbar nine on Bond. Yeah, we're gonna talk about what we can do. So of course we know that we've got the blue scale way got mixed, Lydian scale the courts. OK, but what we really need to do to invoke the jazz sound is to start targeting the thirds off the courts when the courts change. So if I play something like this, but I'm purposely targeting the A, which is the third of F when the court changes things way you turn around as well. So targeting the third's a good way to practice. It is literally just play a walking bass line or your left hand voicings on. Just play the third on B one. Just get used, Teoh finding this third quickly. Sell it. Want Teoh way really good. And then what you can do is we want to may be delay the resolution to the third. We can do that by adding in an approach toe. Now, this is some. Instead of landing directly on the third, we're gonna land on a note, a semi tone above or below the third. So it's gonna sound like this. I'll do a little bit slower way . There we go. My find a little bit tricky. When you have two chords per Barbot, practice it slowly on getting automatic. We don't want to be thinking about this woman playing. We want to be following the melodies in our head So I'm just gonna improvise. I'm gonna combine everything together and it should sound a little bit more jazzy than the previous blues is that we've done so we Oh, wait. So a bit more jazzy There's many more things we can do to make that even more jazzy But of course. Listen, Teoh the great jazz pianists playing the blues We're gonna analyze a wonderful solo by the great Hank Jones on a Tree. A version of Now's the Time by Charlie Parker. A bit later Wrong on We're about to delve into the usual format of a jazz blues. So if you go to a jam session, a jazz jam session and someone says, Let's play a blues, they're gonna play The core changes were about to learn in the next video. So once you can play some jazzy ideas over a simple blues with court to in Bond nine on C Jam Blues, then let's move on to the next video. 38. The Blues - The Jazz Blues: Okay, so we are going to start adding some 25 ones, too, are blues. But we're also gonna change key. We're gonna go to the Kiev F So we're gonna play a blues in the key of F and you'll see a chord chart right here on Let's just go through the courts. So it's a little bit different to the one that we did for C Jam Blues. It's a little bit more advanced. Still start some called one on goes to court for instead of two bars, of course, one. Now we're gonna play a to five going to court for which is B flat. So we need to play a to five in ble B flat. So C minus seven Texas directly to be flat, very common instead of playing just two bars of beef like seven here to play a be diminished chord which axes like a sort of a passing chord on it also gives a little known to the gospel sound on we go back to court one way. Have a to five going to court to so call to his G minor. So we need to play to five going to G minus. So that's gonna be a minus seven D seven six. Okay, so make sure you could do that with a little simple baseline and some voicings Onda. Then try a full walking bassline in the right left hand on your this voicings in this way. Okay, so it's about time we learn a new song. So we're gonna learn a new song in the next video that will fit over this core progression . So once you have that down, once you've internalized it, let's let us on. 39. Introduction to the Bebop Language: Okay, So the song that we're gonna learn over our Tor bar jazz blues in F is called Bags Groove And it's by Milt Jackson. Wonderful vibraphone player, absolutely genius of improvisation on. It's quite simple. It starts on the five off the first court to see so f seven. So it starts on C, and then it kind of just goes around the blue scale three times. So it's like this. That's something like that. Have a listen to the original. You'll hear people embellish it a bit. Place in triplets like way , way, way to get a bit of bebop language here on Yes. So this is a great vehicle, Teoh. Learn how to play bebop. Um, obviously, I can't give you, you know you again, like the blues. You could do a whole course on Be Bob on you wouldn't you would still only scratch the surface. I recommend going and listening to a lot of Charlie Parker a lot of Bud Powell on. We're gonna talk about some of the techniques that they use when playing a blues and in fact, not just the blues, but a general sort of sense of the language of bebop in the next few videos. But yeah, do a lot of listening, Onda and enjoy playing over blues. You can start to use a play along comp in your left hand solo in your left in your right hand. Learn some be bop heads like Billie's Bounce is quite a simple one. So really sponsors by Charlie Parker. Sounds like this. Theo Theo. Yeah, we're gonna get into the bebop language. So when you're ready, when you've done some listening, let's move on to the next video. 40. The Bebop Language Approach Tones and Chromatic Notes: Okay, So as I mentioned, it's kind of impossible for me to tell you everything about bebop. You could do an entire course. Maybe I will. So we're just going to scratch the surface a little bit here to give you some ideas about how to create that sound on again. As always, the best way is to transcribe your favorite solos. But he is a few techniques, so the 1st 1 is these approach notes. So leading into the third's way, the oh so purposely playing in a quiet, simple way just targeting those third. So what I'm doing is I'm leaning into the thirds either virus in return, below above on delaying the resolution. We talked a little bit about this in a couple of videos ago, Um, but if you throw in some more chromatic notes as well, you can create even more of a blended sort of a sound. Theo that sounds extending the approach tones by sort of adding chromatic notes. So instead of just one chromatic, I'm kind of having maybe three or four, you know, but you don't want to get too carried away because you don't want it to sound like the o because then you're not really playing. The core changes. So you gotta make sure that you have core turns in there on that. You could do this chromatic approach to any of the core turn. So through 35 or the seventh, Teoh give you a sort of a B Bobby sound. Have a go at that. Absorb it. You know, again, just put it into practice. Spend some time. This is not a theoretical concept. This is a concept to listen out for tea. Try out on you when you're ready, will move on to the next video. 41. The Bebop Language - Encircling Thirds: Okay, so another device we can talk about is a thing called encircling. Now it's important to know that all of these terms were coined, you know, after the art form was born. So the innovators of this music did not think of it in this way. You know, they have their own ways of thinking about it and developing it. So this is kind of like post post analytical sort of terminology. If you like, they wouldn't have spoken about in circling. They probably would have talked about court turns and maybe Chromatis ism on and flat fives and try times things like that. So in certainly is basically quite a nice way of visualizing extending this approach time. So a Tory the target notes. So for examples on F seven are talking notice the third on we want to get there virus set, return above and then a semi time below. So we creating like this circle movement that thing on, then maybe would you the same thing on beef Theo. So now this is a nice way off, sort of delaying the Resolution Mawr and building up the tension on it's a very sort of be Bobby sound so we could do stuff like this. Teoh, - get still. Use the blue sky. We still are playing a blues head. You want toe invoke that feeling as well. So there you go. So a little bit of bebop language. That's probably as far as will go in this some this video course. But once again, the most important thing is to listen, Andi, we're gonna do a little bit of analysis in the next video. We're gonna look at Solar by Hank Jones Onda Check out what he's doing. Really analyze it. Analysis is a good way off determining how a player is thinking on Duh. Of course, if you get inside the brain of someone like Hank Jones or Oscar Peterson or Charlie Parker , then we know that you're on the right track, you know? So if you play things that are reminiscent off those great masters, you're doing it the right way. You know, we cannot just be creative from theory is just impossible. You're never gonna sound good. So we really need to try to understand how they think from a musical perspective on analysis and transcription is the best and quickest way to do it, even though it's it can be hard to start with. So, yeah, so play around, play with a play along. Play with the band. Don't sit in a jam session on the Blues. Try these concepts out on when you're ready, we're gonna analyze a really beautiful solo by the great Hank Jones. 42. Bebop Language Analysis of Hank Jone's Solo on Now's The Time: Okay, so we're gonna check out one chorus of Hank Jones playing Now's the Time, a song by Charlie Parker is a 12 bar blues in The Key of F Hey, Jones is one of the Grand Grand Masters or jazz piano. Hey, comes for an incredibly musical family. His brother was the great Elvin Jones, the drama who really just changed the face of drumming with John Coltrane. Quartet polyrhythms, African influence absolutely incredible. And his older brother, Waas, the trumpet player, composer and arranger Fat Jones, one of the most prolific composers in jazz. So, yeah, pedigree jeans there. So Hen Jones again, really both so much the jazz piano voicing soloing style. But he was family in the bebop sort of tradition, and this solo really exemplifies just his beautiful touches, swinging feeling on his his love for playing things that a simple and effective while still really giving off the bebop sound. So here is the first chorus off Hank Jones playing on Now is the time Here we go way chorus . We're just going to check out the first course that, but you can feel Free Teoh to do the rest. I've transcribed a couple of choruses. I'll give you the entire score at the end and you can analyze it yourself. But let's just take a look at first the first lead into the first bar. So hey plays like a triple double triple it sort of figure. And it helps if I play the White Knights thing. This is really establishing just F seven, and it doesn't even play the seventh. But he kind of really highlights the third there in the first beat of the first bar on going down to the 20 really kind of nice. A strong, bold statement. Beef at seven, he delays. You know, we've got some rest there, got some space and then he plays this beautiful line. Very clever, starting on the seventh off B flat seven, but then passing through what I think is really an F seven, setting up that landing for when the court changes to F seven, landing on the seventh. So he's playing left seven idea before we've reached F seven, which is a very typical thing to do by the Great Masters. Then he launches into this beautiful chromatic line because so beautiful, long chromatic blind so way and then This is really an approach tone to the third off Beef at seven. And again, he's going there a little bit early. But setting up that really strong octave that he plays in the next ball. Ah, uh, eso again, like the first by he's establishing the fact that he's on a big beef. Seven chords there. Okay, Then he starts using some of the court extension. So maybe, like you could think of the e natural against the beef fat there is being sharp. 11 I I see it and hear it more is a kind of like an f major seventh like a me, The being major seventh going to f seven. I'm really landing on that G is bringing out the sound of the ninth in my eyes, which is straight up the like an f major seven arpeggio And yet the cord is F seven. So the masters, you know, they do this thing all the time. They break the rules. So we've got the court symbol f seven, but yet he's playing e natural Should have worked, but it does, and it's beautiful. Um, so then setting up the 25 going to G minor we've got this lovely little chromatic line again you could think of it is starting on the seventh of a minor on landing flat line of de seven eso. That's a really nice line there and then g minor. We've got this passing chord passing note going into an arpeggio way. C seven. We are back on the shop shop. I mean, it's just so playful, so beautiful. What makes this really impressive is that it has this natural flow. Each idea flows into the next, and that's really the secret. To me, this is a conversation or jazz solo. The that highlights the cords it's swinging is it's interesting, embraced of rules, you know, it's got everything I love about jazz in in 12 measly bars. It's absolutely beautiful. So this is a very short kind of analysis off it. I want you to maybe listen to the rest of the solo, try and analyze it. It gets a little bit deeper into B box, so the stuff in the second chorus, but yet just a great great solo learned to sing the whole thing, slow it down on YouTube and learn to internalize the solo singing learned to play. It only used to score as a sort of a reference, you know, to make sure you are playing the right notes. I would really usual is yourself. Transcribe it yourself, and then the score is useful to analyze. You know the transcription afterwards, so that's being useful. Andi, I love to hit you guys. Play this. You know, if you want to send me an email with with the video of you playing it happily, take a listen and give you some advice if you need it or give you a big old pat on the back , because I'm sure you guys will sound great. Anyway, let's check it out. Let's go on to the next video when you're ready. 43. Chord Alterations - Altered Dominants - Flat 9: Okay, so you heard me talk about things like Sharp 11 on flat nine in the previous video. So it's about time we talked about cord alterations. We've already talked about court extensions, and, as you know, corn extensions come from the key, whereas alterations come from notes outside of the key. They're still in the court, but they are higher up, and they've been altered. So in other words, we've changed the way we think about the cord to create more dissonance. Anyway, it's a lot easier to hear rather than to explain the maths off. So let's take a good old C seven now. First of all, dominant chords are the most commonly altered towards you can alter Major, as we know by having the sharp 11 you could do altered major earth. Sorry, no altered. But you can dio augment it major colds as well, which some pretty dark and mean great, great sound. But we're gonna focus mostly on the dominant court on go through each alteration. So the first alteration that is available on a dominant court is the flat nine. Now again, you can play your left hand voicing for Let's just do see seven way should know by now that top no is the night. So you just flatten it to D Flat on this would invoke a bit of a diminished sound. So if you play it sort of playing the 13th if you play a G. So I'm playing, See G B flat dif at this. Looks like e diminished. Okay, But really, it's C seven flat nine. I'm gonna do an advanced course where we talk about diminished scale harmony. It's quite involved. We're going to scratch the surface a little bit here. So a flat nine chord we're gonna play the diminished half whole scale on All it is is you start on the notes of the chord in this case is see on we go up a semi turn up a tone semi time, Senator Things is an eight note scale thing way often used in the bebop period. And, of course, more modern, more modern jazz as well. Coltrane, Freddie Hubbard. Really sure as well. So this is the scale that you typically play on flat nine chord thing. There's all sorts of patterns and things that you can work within dominant flat mine cords , which you know everything is transposed with minor thirds. Again, I don't want to get too involved in the theory of why that works right now. But if you see a flat mine, use the half whole diminished scale. Eso, let's say G seven flat nine. I'm gonna play video on There's loads of patents and Asai mentioned, We'll get into those in a more advanced course. So that is the sound of the flat nine got a diminished, the sort of sound. It results, really mostly to the one way 50 in the top, like either What's really well, So that's the flat nine. Let's move on to the shot line. 44. Chord Alterations - Altered Dominants - Sharp 11: Okay, so the next alteration is the sharp 11. We've talked about the sharp 11 before, way back when we first brought you improvising, but that was on a major court. Now we're gonna do it on a dominant chord on this is often called the Lydian dominant for that reason. So again, let's go to see seven way. Know that the Lydian note is f sharp, so we need that. We know that that's sharp 11 but we can't play a major scale because it's a dominant chord . So it's quite easy to work out, isn't it? Because we know that we can play Mixer Lydian on a dominant chord. So what happens if we play a mix of Lydian Scale, which is F major starting on C? But we add in the shop 11. That's exactly the right scale we need to use. So it's this thing. Super super comments sound in jazz. This is the Lydian dominant scale, and it happens to be the fourth mode off the melodic minor scale. So again, if you think about it like this, so seen seven. Sharp 11 is the fourth court, so we need to play G melodic minor Gee, melodic minor is like G major with a minor third way. See, it gives us that scale What we discovered. A mix of living with a shop for sense. Hope so. So if ever you come across a Lydian dominant chord, which you will, that's the scale you need to play. So think about it as either the fourth mode of the melodic minor or just stick in a sharp 11 on a mix of Lydian scale on, uh, that will that will do the trick. Don't forget, though. Scales are just the way off unlocking the sound and understanding where the cords come from . You still need to turn their scales into music, so practiced them in thirds. Find triads that occur naturally. Triads plus one we owe, you know, on with bebop stuff as well. Arpeggios don't just think about scales. That's the wrong thing to do. Okay, so when you have messed around with that in a few different keys, let's move onto the next alteration 45. Chord Alterations - Altered Dominants - Flat 13: Okay, so the next alteration available on a dominant chord is the flat 13. So again, let's go to the key of C or rather see seven on fat. 13 is basically the flat. Six. I'm gonna play a flat beef and let's go D with Adam Mine thing as well. On a scale that goes with that is a whole tone scale. So that play just whole tones. I'm going up so six nights together three times that. Go with that. But that's the sounds that you play on a flat 13. Andi is very distinctive. It's got that sort of dreamy like sound. Uh, yeah, so again is very common in modern jazz To hear that sort of sound. Thelonious Monk loved the whole 10 scale. You will play ripples. He's these often said that you know month filling this month doesn't have a great piano technique. But if you try and play like him, you quickly understand. Wow, he really in play some stuff that not many people complain, including, you know, these whole 10 scales incredibly clear and fast. I mean, hey had a knack for it. Onda. It's kind of a humorous sound. I think as well, especially when he does it is got this lovely, warm sense of humor in his playing. I adore him and yeah, so that's the fact. 13 sound. Let's go on to the final video, where we start to combine those different sounds together. 46. Chord Alterations - Altered Dominants and Tritone Substitution: Okay, so maybe you've heard me talk about altered accords, the altered dominant chord. Now what this means is it's a chord that has Bean altered in every possible way or at least two ways. So let's take G seven. For example, if we play a flat nine, we know that's the diminished half holding minutes scale. If we play a sharp nine, we know that's the ordered scale. But what about if we combine things? What about if we say combine a sharp nine on a flat 13? Now this has a particular name, a particular sound Onda whole theory behind it on it kind of goes a bit like this. Every dominant chord has a sister court, and the reason for that is because let's take G seven, third and seventh of G seven is be on F. There's another chord that where the B is the seventh on the F is the third, so like an inverted cord. If you like, that cord is a tri tone away from the quarter that you're on. So this is G seven, but try to run away from G is D flat. Doesn't matter which way you go is the same distance. So that means when we see a G seven chord weaken, substitute that chord for D flat seven. It's gonna sound cool. So let's try this in a to 51 So D minus seven G seven c major seventh. That is our typical 251 We've heard it a 1,000,000 times. Now we could completely replace the G seven with D flat seven. Sounds like this. Wait, of course, when you improvise your playing over deflect Maximilian and the effect is really, really cool. So that's one scenario. Now, if we want to invoke a G altered sound one easy way of getting to a G Bolton court, we don't want to have to think about my God flat line. Sharp line shop 11. Flat 13 is too much. We can think about a voicing for D flat seven. We have two choices we have from the A position boys from the third. So 3 13 7 on nine of deflect. But of course, we've got a G in the base. This'd that beautiful sound. That is just that s what this is. Is the fact 13 7 on the shop mine and this is the G seven altered chord. We can also play in the B position from seven like defects. Seven. Like this again with G in the base eyes seven. Sharp nine. Third flat 13. Beautiful that works on every dominant chord. So let's do it on C his C seven with thinking this is a bit too box standard. I want to play an altered C seven So a try turn from C is G flat. I know two voices. Fergie flat. This is the way you should be thinking I can play a B position g flat seven things on With the sea in the base it's gonna be see altered, So that makes sense. So in a to 51 situation, you can play 251 you can play to you could replace with try to court. So defect seven way can play too on then g altered, which is G flat over g d flat over G. Hope I said that. Right. So like this way beautiful, beautiful sound. We're gonna be focusing on the altar sound quite a bit in an up and coming course for, you know, a bit more advanced level. But yeah, the altered scale. Now that goes over that court again comes from the melodic minor scale. You want to play the melodic minor scale a semi tone above again Because it's the seventh chord off the melodic minor so g altered is gonna come from a flat, melodic minor. A flat melodic minor is this thing on G is gonna be like this, Theo results beautiful down to a major or minor anyway, So try that person to 51 Movements look for opportunities where you want to darken up that dollar cord. Make it sound a bit more rich. Bit more hip on. Apply those old it scales. Of course, the way to practice off these is to take each individual, uh, alteration practices around the cycle. So C seven flat, nine F seven flat, nine b flat, seven flat, nine altered diminished scales. Do the Lydian dominant C seven sharp, 11 F seven sharp 11 Beef at seven. Sharp 11 Lydian Donut scale and of course, altered as well. You could do a whole tone and diminished as well if you want to, but really, you know, it's all kind of quite academic until you would start applying it to a song. Take autumn leaves applied towards him. Leave, see what you can do. In fact, we'll do that in the next video. So when you've understood some of this and you can think about it quick enough, come back and check it out on autumn leaves. 47. Basic Chord Substitutions on Autumn Leaves: Okay, so we need to learn some standards. We need to be able. Teoh, you know, understand how standards are put together from the bottom up in order to improvise over them. We're just gonna look at the 1st 4 bars of autumn leaves because that's plenty of material on because it's a 251 Let's do it in G minor. So that means a to 51 in B flat major, followed by Court four. You'll see the court sharp here on DE So we can play like This Way can play the B position way can play the voices in my left hand play that way. So So we should be able Teoh do that. So we're gonna talk about substitution is and you know, changing some of these things up to make them sound a little bit more hip. Because you know, the 251 is great that it can get a little bit predictable. So the first thing we can do is wait. Could do a tri tone substitution on the F seven because it's part of a 251 So instead of playing F seven tri tone down from seventies B seven so I'm gonna go so instantly. I thought it's quite a different sound. This is the original. This is now our substitution on. You'll notice that the baseline now is chromatic instead of jumping up fourth on down 1/5. So now we just have this movement, which is super cool. So we've gone from improvising something like this. I want todo way, Theo. I always need to try these things a few times to get warmed up. It's quite hard, Teoh. Just jump into these little demonstrations. So excuse me while I try and play that way. The O. B seven that time Something like this. Quite exactly what I did. So that's a different sound you can invoke. I could also think about a seven, the whole toot. So, um, playing a b seven voicing what base? So that gives me access to the flt scale, which is G flat, melodic, minor, starting thing on de. So I can play something like this. Teoh, I think I think the so Yes, I'm thinking about F altered really nicely down landing on the third off B flat, Major seven, the fourth chord E flat Major is the fourth major cordon in beef fat so great opportunity to use our major Lydian sound. So let's revise that. So if at Major could come from E flat major. But because we're already in the key off beef, it makes more sense. It makes more logical sense that E flat major is coming from the key of B flat. So that means instead of having a flat way so again, it's a slightly different sound. Beautiful sound. So let's try our place something slowly so you guys can try and see what I'm doing. Some thinking about see my like Dorian. But passing through thank G seven altered. Would you mind? Major S. O. S? That's a vivid insight into improvising, using fighting more exotic harmony on trying to implement it on a standard. 48. Finale: take things slowly. You know, we're coming towards the end of the course here, so we're talking about quite advanced things. There's a ton of stuff to practice, you know? There's so much material in this course, and I really hope it doesn't overwhelm you. You know, keep bearing in mind that every jazz pianist is still a student of jazz piano, you know, until they expire for good. You know this. This is a nonstop process. You never get to the end. There's never a golden pot at the end of the jazz piano rainbow. But you know, So Herbie Hancock is What is he, 80 something years old? He still practices, you know he's a genius. So if he is still practicing, that means there's more stuff to discover. That means that it's never ending. That means that you don't have to obsess over learning everything, cause you'll never get to the end, you know, so you can do is practice to the best of your ability. I recommend really practicing, focusing on the things that you can't do. You know, as we get older, our time seems to speed up. We tend to be more busy. You know if you have kids and maybe a full time job, then practice time is precious time. It's it's it's rare time. So if you have an hour, it's much better to practice stuff you can't do rather than to just play stuff you can already do. Does that make sense? So practice work, work on the hard stuff. You know, after a practice session, you should have a little bit of a headache on what will cure that is. Give yourself 10 minutes of just playing the piano and enjoying the sound. Enjoying your own playing. Don't be critical of yourself. Just play. Enjoy the sensation. Play for other people as well. Play for your family. Go out and do some gigs. If you can get a band together on really enjoy this awful and one final thing to say is that it's all about listening. It's all about listening to music, listening to jazz, specifically homing in on the great great recordings, getting to know that those recordings you don't need a huge record collection. You just need some of the classic albums absorbed them. Follow what you love. If you hear something that you really love, that's a clue to how you learn on you should focus in on it. You should zoom in, pick it apart, take it apart and discover what it is that you love about it. So, guys, I really hope you've enjoyed this course There's more coming. I'm very open to suggestions. I'm here for you guys. Andi, I've really enjoyed putting this together. You can email me if you have any questions or any. If you need any advice, please do Onda? Uh, yeah. Keep on practicing. Refer back to these videos Any time on bond. Enjoy the process. It's been a pleasure, guys, and I'll see you very soon. Take care.