Bookatlas Piano Rabbit Hole: Improvisation Theory & Practice

00The Theory Map — Structure of the Modules 01The Keyboard as a System 02Major Scales, Scale Degrees, Key Signatures, and the Circle of Fifths 03Minor Scales, Relative Keys, and Why Minor Harmony Behaves Differently 04Triads, Inversions, and Voice Leading 05Harmonic Function: Tonic, Predominant, Dominant, and Why Chords “Want” to Go Somewhere 06Cadences, Phrase Structure, Harmonic Rhythm, and Hearing Musical “Punctuation”07Harmonizing a Melody 08Piano Accompaniment Patterns: Turning Chords Into Music 09Voice Leading and Chord Voicings 10Seventh Chords: The Language of Jazz, Pop, and Richer Harmony 11ii–V–I: The Core Progression of Jazz Harmony 12Secondary Dominants: How to Make Chords Pull Toward Other Chords 13Extensions: 9ths, 11ths, and 13ths 14Diminished Chords in Practice 15Chromatic Harmony, Borrowed Chords, and Modal Interchange 16Improvisation from Chord Tones: How to Stop “Running Scales”17Melodic Decoration and Jazz Vocabulary 18Scales and Modes for Improvisation: What to Use, When, and Why 19Playing Melodies by Ear 20Finding Chords by Ear 21Reharmonization: Changing the Chords Without Losing the Song 22Chord Substitution: Different Chords, Same Job 23Intros, Fills, Turnarounds, Transitions, and Endings 24Jazz Ballad Style: Turning Harmony Into a Complete Piano Sound 25Blues: Form, Language, and Piano Vocabulary 26Pop Piano: Simple Harmony, Strong Arrangement 27Waltz and Classical-Style Accompaniment 28Latin and Bossa Nova Piano: Rhythm First, Harmony Second 29Counterpoint and Independent Voices 30Melodic Transformation: Changing the Tune Without Losing It 31Meter and Rhythmic Transformation 32Build Your Own Arrangement from Scratch 00From Lead Sheet to Musical Freedom — the Workshop Map 01Workshop 1 — Build a Real Arrangement from Level 1 to Level 16 02Workshop 2 — “Autumn Leaves”: ii–V–I, Circle Motion, Minor Resolution, and Real Jazz Language 03Workshop 3 — I–vi–ii–V: Turnarounds, Standards, and Making Four Chords Do a Lot 04Workshop 4 — “Fly Me to the Moon”: Long Circle Motion, Major/Minor Centers, and Making the Harmony Sing 05Workshop 5 — 12-Bar Jazz Blues: From Three Chords to a Full Improvisational Language 06Workshop 6 — “All the Things You Are”: Moving Through Multiple Key Centers Without Getting Lost 07Workshop 7 — “Misty”: Lush Ballad Voicings, Melody-as-Extension, Rubato, and Harmonic Restraint 08Workshop 8 — “There Will Never Be Another You”: Faster Changes, Secondary Dominants, and Thinking in Harmonic Flow 09Workshop 9 — “Take the A Train”: Dominant Color, ♯11, Secondary Dominants, and Writing Lines Through Static Harmony 10Workshop 10 — “My Funny Valentine”: Minor Color, Suspensions, Descending Bass, and Reharmonizing Emotion 11Workshop 11 — “Body and Soul”: Chromatic Harmony, Delayed Resolution, and Hearing the Melody as the Top Voice of the Chords 12Workshop 12 — “Someday My Prince Will Come”: 3/4 Jazz, Waltz Feel, Harmonic Motion, and Improvising Across Meter 13Workshop 13 — “Blue Bossa”: Minor ii–V–i, Latin Feel, Modal Color, and Playing Simply Over Two Tonal Centers 14Workshop 14 — “The Girl from Ipanema”: Major-Key Bossa, Chromatic Dominants, ♯11 Color, and Making a Simple Groove Sound Sophisticated 15Workshop 15 — “Satin Doll”: Turnarounds, ii–V Chains, Dominant Movement, and Comping Like You Mean It 16Workshop 16 — “Autumn in New York”: Chromatic Major-Key Ballad, Borrowed Chords, Secondary Dominants, and Elegant Inner-Voice Motion 17Workshop 17 — “All of Me”: Secondary Dominants Everywhere, Turning a Simple Tune into a Functional-Harmony Laboratory 18Workshop 18 — “Have You Met Miss Jones?”: Sudden Key Centers, Major-Third Modulations, and Staying Oriented When Harmony Jumps 19Workshop 19 — “On Green Dolphin Street”: Modal Vamps, Pedal Points, Functional Harmony, and Switching Between Two Different Ways of Thinking 20Workshop 20 — “I Got Rhythm” / Rhythm Changes: AABA Form, Fast Turnarounds, Dominant Chains, and Thinking One Phrase Ahead 21Workshop 21 — “Stella by Starlight”: Ambiguous Tonal Center, Non-Diatonic Harmony, and Hearing Function Without a Comfortable Home Key 22Workshop 22 — “There Is No Greater Love”: Major-Key Fluency, ii–V Compression, Secondary Dominants, and Making a Standard Feel Effortless 23Workshop 23 — “Night and Day”: Pedal Tones, Chromatic Descent, Repeated Motifs, and Making One Harmonic Idea Sustain a Long Phrase 24Workshop 24 — “My Romance”: Major-Key Lyricism, Diatonic Substitution, Deceptive Motion, and Making Simple Harmony Sound Personal 25Workshop 25 — “My Funny Valentine”: Minor Line Clichés, Chromatic Bass, Pedal Points, and Making Tension Feel Inevitable 26Workshop 26 — “’Round Midnight”: Chromatic Melody, Diminished Color, Altered Dominants, and Making Dissonance Sound Beautiful 27Workshop 27 — “Nardis”: Modal Minor, Phrygian Color, Non-Functional Harmony, and Improvising When the Chords Don’t Behave Like ii–V–I 28Workshop 28 — “So What”: Pure Modal Jazz, Quartal Voicings, Dorian Improvisation, and Building a Solo Without Chord Changes 29Workshop 29 — “Maiden Voyage”: Sus Chords as Stable Harmony, Parallel Planing, Quartal Color, and Hearing Chords Without Major/Minor Labels 30Workshop 30 — “Footprints”: Minor Modal Vamp, 6/4 Feel, Cross-Rhythms, and Creating Tension Without Faster Harmony 31Workshop 31 — “Giant Steps”: Coltrane Changes, Major-Third Key Cycles, Ultra-Fast Tonal Reorientation, and Surviving Harmony That Moves Faster Than You Can Think 32Workshop 32 — “Naima”: Pedal Points, Slash Chords, Upper-Structure Harmony, and Hearing Vertical Color Over a Stable Bass 33Workshop 33 — “Dolphin Dance”: Ambiguous Tonal Centers, Lydian Colors, Slash Chords, and Harmony That Changes Its Meaning While You Listen 34Workshop 34 — “Invitation”: Minor-Key Gravity, Descending Bass, Dominant Chains, and Hearing Long Harmonic Sentences 35Workshop 35 — “Stella by Starlight”: Ambiguous Function, Deceptive Resolutions, Local Key Centers, and Navigating When the Harmony Refuses to Behave 36Workshop 36 — “Caravan”: Phrygian-Dominant Color, Dominant Pedals, Harmonic Minor, and When a Dominant Chord Becomes the Home Sound 37Workshop 37 — “St. Thomas”: Calypso Groove, Anticipation, Rhythmic Independence, and Making Simple Harmony Feel Sophisticated 38Workshop 38 — “Cantaloupe Island”: Funk Vamp, Sixteenth-Note Groove, Ghosted Attacks, and Improvising Over One Chord Without Sounding Empty 39Workshop 39 — “Watermelon Man”: Blues-Funk Vocabulary, Dominant Vamps, Riffs as Harmony, and Making Repetition Feel Inevitable Instead of Boring 40Workshop 40 — “The Sidewinder”: Hard Bop Groove, Dominant-Blues Harmony, Riff Layering, and How to Make a Vamp Feel Like a Full Arrangement 41Workshop 41 — “Chameleon”: One-Chord Funk, Clavinet Logic, Syncopated Ostinatos, and Building Harmony from a Bass Line 42Workshop 42 — “Take Five”: 5/4 Meter, Asymmetric Groove, 3+2 vs 2+3 Grouping, and Improvising Without Losing the Barline 43Workshop 43 — “Blue Rondo à la Turk”: 9/8 as 2+2+2+3, Additive Rhythm, Switching Between Odd Meter and Swing, and Keeping Form During Metric Changes 44Workshop 44 — “Afro Blue”: 6/8, 3-Against-2, Hemiola, Polyrhythmic Independence, and Hearing Two Meters at Once 45Workshop 45 — Afro-Cuban Piano: Son Clave, 2–3 vs 3–2, Tumbao, Montuno, and Learning to Place Every Note *Around* the Clave 46Workshop 46 — “Spain”: Phrygian Color, Fast Latin-Jazz Motion, Sudden Key Centers, and Keeping the Groove Alive While the Harmony Moves 47Workshop 47 — “Freedom Jazz Dance”: Displaced Accents, Motifs That Refuse the Barline, Quartal Harmony, and Making 4/4 Feel Unstable Without Changing Meter 48Workshop 48 — “Actual Proof”: Metric Illusion, Superimposed Groupings, Advanced Syncopation, and Staying Relaxed When the Rhythm Sounds Like It Changed Meter 49Workshop 49 — “Footprints” Revisited at the Advanced Level: 6/4, 3-over-2, Ostinato Independence, Metric Displacement, and Keeping a Groove Stable While the Phrase Floats 50Workshop 50 — “Nefertiti”: Repetition as Development, Harmonic Motion Under a Fixed Theme, Metric Ambiguity, and Learning to Change the Background Instead of the Melody 51Workshop 51 — “A Night in Tunisia”: Pedal Bass, Phrygian-Dominant Color, Afro-Latin Ostinato, Bebop Contrast, and Switching Musical Worlds Without Losing the Form 52Workshop 52 — “Moanin’”: Gospel-Blues Harmony, Call-and-Response, Block Chords, Locked Hands, Riff Construction, and Building a Shout Chorus 53Workshop 53 — “C Jam Blues”: Minimal Material, Maximum Swing, Space, Repetition, and Making Two Notes Carry an Entire Chorus 54Workshop 54 — “Mercy, Mercy, Mercy”: Soul-Jazz Harmony, Gospel Cadences, Backbeat Feel, Repeated Hooks, and Making Simple Chords Sound Warm Instead of Plain 55Workshop 55 — “Honeysuckle Rose”: Stride Piano, Tenths, Two-Beat Swing, Bass–Chord Independence, Walking Between Roots, and Breaking the Pattern Without Losing the Style 56Workshop 56 — “Mack the Knife” Prelude: Walking Bass, Two-Beat-to-Four-Beat Escalation, Chorus Building, Modulation, and Making Repetition Grow 57Workshop 57 — “Mack the Knife” Arranging Laboratory: From Two-Beat Cabaret to Swing, Walking Bass, Stride, Block Chords, Modulation, Latin, Funk, Ballad, Minor Reharm, and Full Performance Architecture 58Workshop 58 — “The Bare Necessities” Arranging Laboratory: Swing, New Orleans, Stride, Boogie, Blues, Bossa, Funk, Waltz, Gospel, Minor Parody, and Playful Orchestration 59Workshop 59 — Behind the Beat: Neo-Soul Pocket, Microtiming, Grace-Chord Slides, Inner-Voice Motion, and Rich Harmony Without Losing the Groove 60Workshop 60 — “Butterfly”-Type Floating Harmony: Deep Pocket, Pedal Centers, Upper Structures, Parallel Voicings, Common-Tone Motion, and Making Harmony Feel Suspended Rather Than Functional 61Workshop 61 — Melodic Minor as a Practical Color System: Altered Dominants, Lydian Dominant, Minor-Major Harmony, Locrian ♮2, and Choosing Tension by Destination 62Workshop 62 — Harmonic Side-Slipping: Chromatic Planing, Approach Chords, Outside Playing, Semitone Detours, and Returning Home Without Sounding Random 63Workshop 63 — Triad Pairs and Upper-Structure Improvisation: Getting Modern Jazz Color Without Thinking in Seven-Note Scales 64Workshop 64 — Pentatonic Superimposition: One Five-Note Shape, Many Harmonic Meanings, Modern “Outside” Color, and Improvising Without Sounding Like a Scale Exercise 65Workshop 65 — Motivic Development Across Harmony: Sequence, Inversion, Fragmentation, Rhythmic Mutation, and Making One Small Idea Survive an Entire Form 66Workshop 66 — Melodic Development Through Guide Tones: Making 3rds and 7ths Sing, Connecting Chords Horizontally, and Building Lines That Explain the Harmony 67Workshop 67 — Bass-Line Reharmonization: Creating New Harmony by Designing the Bass First 68Workshop 68 — Harmonic Rhythm as an Arranging Tool: When Chords Change, When They Don’t, and How to Create Momentum Without Adding More Harmony 69Workshop 69 — Chord-Melody Architecture: Four-Way Close, Drop-2, Block Chords, Melody on Top, Inner-Voice Logic, and Turning a Single Line into a Piano “Section”70Workshop 70 — From Lead Sheet to Full Solo-Piano Arrangement: Melody First, Bass Second, Inner Voices Third, Chord Symbols Last 71Workshop 71 — Countermelody and Inner-Line Arranging: Writing a Second Voice That Supports the Tune Without Fighting It 72Workshop 72 — Orchestral Thinking at the Piano: Register, Density, Doubling, Texture Rotation, and Making Two Hands Sound Like an Ensemble 73Workshop 73 — Transitional Harmony and “Glue Chords”: Connecting Sections Smoothly Without Over-Reharmonizing 74Workshop 74 — Rhythmic Reharmonization: Keeping the Chords but Changing Their Placement, Anticipation, Delay, Pedal, Syncopation, and Groove Identity 75Workshop 75 — Intervallic Improvisation: Fourths, Fifths, Wide Leaps, Octave Displacement, and Making Modern Lines Sing Without Losing the Harmony 76Workshop 76 — Long-Line Improvisation and Phrase Architecture: Breathing Across Bar Lines, Building 4–8 Bar Ideas, Delaying Resolution, and Making a Solo Tell a Story 77Workshop 77 — Playing *Through* Changes Instead of *On* Changes: Harmonic Landmarks, Guide-Tone Networks, Common-Tone Paths, and Hearing the Form Ahead 78Workshop 78 — Upper-Structure Voice Leading in Motion: Keeping Rich Extensions Smooth Across Chords Instead of Treating Each Voicing as a Separate Shape 79Workshop 79 — Harmonic Density vs. Melodic Freedom: How Much Harmony Is Enough, When to Leave Space, and How to Avoid “Over-Explaining” Every Note 80Workshop 80 — Harmonic Ambiguity and Delayed Identity: Sus Chords, No-3rd Voicings, Slash Chords, Pedals, and Letting the Listener Discover the Harmony 81Workshop 81 — Polychords and Bitonal Hearing: Two Harmonic Worlds at Once, Upper Structure vs. True Polychord, Controlled Clashes, and Making “Wrong” Chords Sound Intentional 82Workshop 82 — Symmetrical Harmony and Harmonic Geometry: Diminished Cycles, Augmented Triads, Whole-Tone Motion, Major-Third Systems, and Escaping Ordinary Tonal Gravity 83Workshop 83 — Voice-Leading Reharmonization: Building New Chords from Melodic Lines Instead of Substitution Lists 84Workshop 84 — Modulation Architecture: Pivot Chords, Direct Modulation, Common-Tone Modulation, Sequential Modulation, and Making Key Changes Feel Inevitable 85Workshop 85 — Extending the Form: Intros, Interludes, Turnarounds, Tags, Vamps, Codas, and Writing New Material That Still Belongs to the Song 86Workshop 86 — Through-Composed Solo Piano: Escaping “Head–Solo–Head,” Connecting Sections Without Resetting, and Making the Entire Performance One Continuous Narrative 87Workshop 87 — Harmonic Rhythm as Narrative: Accelerating, Decelerating, Delaying, and Reframing Chord Changes to Shape Form 88Workshop 88 — Harmonic Memory: How Earlier Chords Change the Meaning of Later Chords, How Repetition Rewrites Function, and How to Make a Listener Hear Long-Range Relationships 89Workshop 89 — Independent Clocks at the Piano: Separating Bass Time, Chord Time, Melody Time, and Phrase Time Without Losing the Groove 90Workshop 90 — Rhythmic Motif Development: Turning One Tiny Rhythm into a Whole Solo, Accompaniment Language, and Arrangement Identity 91Workshop 91 — Rhythmic Counterpoint: How Two Rhythmic Ideas Can Coexist Without Becoming Clutter 92Workshop 92 — Groove Transformation: Turning the Same Harmonic Material into Swing, Funk, Bossa, Waltz, 6/8, and Half-Time Without Losing Its Identity 93Workshop 93 — Tempo Architecture and Rubato: Ritardando, Accelerando, Fermatas, Metric Modulation, Free Time, and Returning to Pulse Without Losing the Listener 94Workshop 94 — Touch, Articulation, Dynamics, and Pedal as Structural Tools: Making the Same Notes Speak in Different Voices 95Workshop 95 — Arranging by Ear from a Recording: Extracting Melody, Bass, Harmony, Groove, Texture, and Form Without Depending on a Lead Sheet 96Workshop 96 — Real-Time Harmonization by Ear: Going from a Melody You Can Sing to a Full Piano Arrangement Without Stopping to Analyze Every Chord 97Workshop 97 — Audiation and Inner Hearing: Hearing the Bass, Chord, Resolution, and Next Phrase Before Your Hands Play It 98Workshop 98 — The Flexible Arrangement: Fixed Landmarks, Improvised Connective Tissue, Real-Time Decisions, and Playing the Same Arrangement Differently Every Time 99Workshop 99 — Accompanying Another Musician: Following a Singer, Leading Without Controlling, Recovering from Unexpected Changes, and Making the Piano Behave Like a Listening Partner 100Workshop 100 — The One-Take Arrangement: Building a Complete Performance in Real Time from Melody, Function, Form, Groove, and Ear 101Workshop 101 — Arrangement as a Generative System: Rules, Constraints, State Changes, and How to Design a Performance That Can Recreate Itself 102Workshop 102 — Reduction and Recomposition: Strip a Finished Arrangement to Its Musical Skeleton, Then Build a Completely Different Arrangement from the Same DNA 103Workshop 103 — From Arrangement to Original Composition: Building a New Piece from Motif, Bass, Harmonic Function, Form, and Constraints 104Workshop 104 — Writing Strong Original Melodies: Motif, Contour, Repetition, Tension, Climax, and How to Make a New Tune Feel Inevitable Instead of Random 105Workshop 105 — Composing the Harmonic World Under an Original Melody: Making Chords Feel Inevitable Instead of Merely Interesting 106Workshop 106 — Composing Bass Lines That Carry the Piece: Root Motion, Counterpoint, Groove, Inversions, Pedals, and Bass as a Source of Harmony 107Workshop 107 — Composing Inner Voices and Counterpoint: Making the Middle of the Texture Carry Meaning Instead of Merely Filling Chords 108Workshop 108 — Composing Form: Turning Good Phrases into a Complete Piece Through Repetition, Contrast, Return, Development, and Long-Range Memory 109Workshop 109 — Composing Transitions, Interludes, Introductions, and Codas: How to Connect the Important Parts Without Writing “Filler”110Workshop 110 — Writing Development Sections: How to Take One Idea Farther Without Losing Its Identity 111Workshop 111 — Composing Harmonic Rhythm and Pacing: How Fast the Harmony Changes, When It Stands Still, and Why Timing Can Matter More Than Chord Choice 112Workshop 112 — Composing Texture and Register: Turning the Piano into an Ensemble, Controlling Density, and Making the Same Notes Feel Like Different Music 113Workshop 113 — Writing Original Chord Progressions: Functional Logic, Voice-Leading Logic, Modal Logic, and How to Avoid “Chord Collection” Syndrome 114Workshop 114 — Composing Groove and Rhythmic Identity: How to Make a Piece Move Before You Add More Notes 115Workshop 115 — Writing Original Improvised-Sounding Lines: How to Make Composed Melodies Feel Spontaneous Without Becoming Random 116Workshop 116 — Building a Complete Original Piece from Nothing: An Integrated Workflow from First Seed to Finished Piano Composition 117Workshop 117 — Editing and Revising Your Own Music: How to Know What to Cut, Preserve, Simplify, Intensify, and Leave Alone 118Workshop 118 — Memorizing Music as Structure: How to Stop Depending on Finger Memory and Learn a Piece So You Can Recover, Transpose, Reharmonize, and Play It Flexibly 119Workshop 119 — Writing and Hearing Tension Arcs: How to Control Dissonance, Expectation, Delay, Release, and Emotional Pressure Across an Entire Piece 120Workshop 120 — Writing Complete Endings and Cadences: How to Make a Piece Feel Finished, Suspended, Open, Circular, or Inevitable 121Workshop 121 — Improvisation as a Composition Engine: How to Capture Spontaneous Ideas, Recognize What Is Worth Keeping, and Turn a One-Time Performance into a Real Piece 122Workshop 122 — Building Your Personal Musical Language: How to Combine Harmony, Rhythm, Melody, Bass, Texture, and Form Without Sounding Like a Collection of Borrowed Styles 123Workshop 123 — Composing Outside Your Comfort Zone: How to Write in Unfamiliar Keys, Modes, Meters, and Tempos Without Losing Your Musical Identity 124Workshop 124 — Turning Your Music into a Lead Sheet and Performance Map: How to Notate Enough to Preserve the Composition Without Freezing Every Detail 125Workshop 125 — The Final Integrated Capstone: From Empty Keyboard to Finished, Memorized, Flexible, Transposable Solo-Piano Piece

5.62C13 5.61Guide-tone comping 5.60Call-and-response comping 5.59Basic comping rhythm 5.58Comping: don't play every chord symbol 5.57Blues tag 5.56C6/9 final 5.55Why C6 can be better final chord than C7 5.54Blues endings 5.53Passing diminished into C7 5.52Diminished dominant relationship 5.51Don't substitute every V 5.50Hear both chromatic cadences 5.49Tritone substitution into IV 5.48Tritone substitution in bar 12 5.47Preserve blues identity 5.46Compare basic versus jazz blues 5.45Bar 12 turnaround 5.44Bar 11 split 5.43Jazz-blues bars 9–12 5.42Bars 8–10 5.41Bar 8 A7 5.40Hear the bass 5.39Why F♯°7 works 5.38Bar 6 passing diminished 5.37Play bars 3–5 5.36This is tonicization 5.35Bar 4: ii–V into IV 5.34Jazz blues starts decorating the skeleton 5.33Walking bass principles 5.32Approach bar 9 5.31Approach bar 5 5.30Walking bass version 5.29Keep LH simple first 5.28Shuffle subdivision 5.27Shuffle LH 5.26Space is especially important in blues 5.25Three-chorus development plan 5.24Don't play 12 unrelated bars 5.23Example motif 5.22AAB phrasing 5.21Form-target exercise 5.20Bar-9 drill 5.19Bar-5 drill 5.18Chord targeting beats “one blues scale”5.17Blue third over V 5.16Blue third over IV 5.15The blue third 5.14Major pentatonic 5.13Minor pentatonic 5.12Blues scale review 5.11Hear the difference 5.10Quick-change blues 5.9Hear the voice leading 5.8Third chorus — shell voicings 5.7Second chorus — block chords 5.6First chorus — roots only 5.5The tonic itself is dominant 5.4Basic chord notes 5.3Why bar-count awareness matters 5.2Memorize the bar numbers 5.1Start with the basic 12-bar blues

2465 / 18210 · Workshop 5 — 12-Bar Jazz Blues: From Three Chords to a Full Improvisational Language← prev ⊞ all next →

5.63F13

LH F.

RH: E♭-A-D

E♭-A-D

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5.64G13 5.65Don't overuse 13ths in traditional blues 5.66Solo Chorus 1 — Minor pentatonic only 5.67Solo Chorus 2 — Add chord thirds 5.68Solo Chorus 3 — Mix major/minor pentatonic 5.69Don't treat the mixture mathematically 5.70Solo Chorus 4 — Chord-tone targeting 5.71Solo Chorus 5 — Motif development 5.72Solo Chorus 6 — Jazz-blues changes 5.73Over Gm7 → C7 5.74Over F♯°7 5.75Over A7 → Dm 5.76Over Dm7 → G7 → C7 5.77Chorus architecture 5.78Bar 9 is a natural climax point 5.79Don't peak in bar 2 every chorus 5.80Stop-time chorus 5.81Example stop-time 5.82Two-handed dialogue 5.83Parallel sixths 5.84Repeated notes 5.85Tremolo 5.86Grace/crush-note technique 5.87Articulation matters 5.88Swing eighths and triplets 5.89Blues + jazz balance 5.90Blues + classical technique 5.91First complete arrangement 5.92Alternative intro 5.93Walking-bass performance version 5.94Independence ladder 5.95Ear-training drill: identify bar 5 5.96Ear-training drill: sing the thirds 5.97Ear-training drill: distinguish basic and jazz blues 5.98Transpose to F 5.99Transpose to B♭5.100The deepest lesson •Homework — Workshop 5 •Workshop 5 mini-test