Wave, Melodic Analysis

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Jazz Piano Skills Community

Keywords
Jazz Piano, Melodic Analysis, Music Education, Jazz Skills, Antonio Carlos Jobim, Practice Strategies, Chord Inversions, Improvisation, Rhythm, Music Theory, Jazz Piano, Melodic Analysis, Transcription, Wave, Music Education, Improvisation, Fingerings, Music Phrases, Target Notes, Treatments

Summary
In this episode of Jazz Piano Skills, Dr. Bob Lawrence discusses the importance of melodic analysis in jazz education, particularly focusing on the tune 'Wave' by Antonio Carlos Jobim. He emphasizes the necessity of a structured practice strategy and the seven facts of music that serve as a foundation for understanding and mastering jazz piano skills. The conversation also addresses common challenges faced by students, such as retaining chord inversions, and provides practical exercises to enhance their skills. In this episode, Dr. Bob Lawrence provides a comprehensive approach to the melodic analysis of the jazz standard 'Wave.' The discussion covers various aspects including transcribing the melody by ear, understanding fingerings, identifying musical phrases, and exploring different treatments of the piece. The episode emphasizes the importance of ear training and offers practical exercises to enhance musicianship.

Takeaways

• Melodic analysis is essential for understanding jazz tunes.
• A structured practice strategy is crucial for progress.
• The seven facts of music guide the learning process.
• More information can overwhelm and stifle growth.
• Chords and inversions are foundational to jazz playing.
• Listening to various artists enhances musical understanding.
• Transcribing melodies aids in improvisation skills.
• Different treatments of a tune can expand musical expression.
• Regular practice of chord inversions is necessary for mastery.
• Simplifying the learning process is key to becoming a better musician. It's a pretty thorough, it's a pretty complete approach.
• We will learn the melody of wave by ear.
• This melody is very complex.
• These become like the goalpost, if you will.
• It's very hard, very challenging to take wave and play it as a ballad.
• It helps us internalize the song, it develops our musicianship.
• Don't forget, there is a rhythm challenge that you need to check out.
• I hope you have found this episode insightful and beneficial.
• Enjoy Wave on Melodic Analysis.
• Have fun as you discover, learn, and play jazz piano.

Titles

• Mastering Jazz Piano: The Art of Melodic Analysis
• Unlocking Jazz Skills: The Seven Facts of Music
• Navigating Chord Inversions in Jazz Piano
• The Journey of Jazz Piano: From Harmony to Melody
• Jazz Piano Essentials: Practice Strategies for Success
• Exploring 'Wave': A Melodic Journey

Sound Bites

• "It's time to discover, learn, and play jazz piano."
• "More information actually stifles growth and advancement."
• "Without the facts, you're rudderless."
• "The seven facts of music are our rudder."
• "You cannot skip over or gloss over the chords and inversions."
• "Chords and inversions are the harmonic foundation."
• "Let's discover, learn, and play wave."

Chapters

• 0:00 Introduction
• 10:48 Discover, Learn, Play
• 11:41 Invite to Join Jazz Piano Skills
• 15:04 Question of the Week
• 30:26 Lesson Rationale
• 32:44 Today's Educational Agenda
• 34:21 Premium Content Message

Transcript

Dr. Bob Lawrence (00:32.897)
Welcome to Jazz Piano Skills. I'm Dr. Bob Lawrence. It's time to discover, learn, and play jazz piano. Well, here we are again, week two of the month, the month of April, which means, as week two always means, it's a melodic analysis week. You know, last week we took our tune of the month, the Antonio Carlos Yobe Mbassa wave, and we did our standard harmonic analysis, examining the form.

We looked at the traditional changes, harmonic function, common harmonic movement, and of course, voicings. Block voicings, traditional shells, contemporary shells, and two-handed structures. We always follow our harmonic analysis with what? A melodic analysis. And we do a melodic analysis to discover, learn, and play the lyrics, melody, fingerings, phrases.

various standard treatments. Basa, of course, ballad and swing. Every month we take a tune, we get comfy with it through a harmonic analysis, then we add a melodic analysis, and then we do a little improvisation exploration, and on top of all that we add a rhythmic dimension to every one of those studies. We have four camps, right, four camps that every aspiring jazz musician

and not just pianist. want to stress that every jazz musician, not just pianist, must gain a functional command of, right? Conceptually and physically. Those four camps, right? Harmony, melody, improv, rhythm. Well, how do you gain this command? Well, it begins with establishing a very well thought out and constructed practice strategy. And that's what we do every week here at Jazz Piano Skills.

we construct a very well thought out practice strategy. We always have a very good game plan. Remember, I like to say people don't plan to fail, they just fail to plan. And we're not going to let that happen, right? But I'll tell you, that age old adage rings very true when it comes to the study and practicing of jazz. And I've made that point numerous times throughout the years that jazz education, wow.

Dr. Bob Lawrence (03:00.233)
it has become saturated with information. Jazz tips abound, mean, all over the place, articles, books, internet, social media, websites, podcasts. I'm just, you know, I'm in awe with the volume of information available to jazz students. On one hand, I'm incredibly jealous because I wish I had exposure to that information when I was young. But at the same time,

I was overwhelmed with the information that was available in the 70s when I began my jazz journey. And it seriously has done nothing but exploded since the arrival of internet and the various ways in which we connect through it. But regardless of the volume of information bombarding us, what hasn't changed is the necessity of having access to correct information first and foremost, and then having that information presented coherently and strategically.

that's where the problem lies, right? Tons of information, more than ever, books, websites, apps, blogs, podcasts, videos, they're everywhere. But the information is not presented coherently and strategically. It's information for information's sake, right? It's presented as here's some more information. And of course, more is always better. That's kind of the mindset.

premises that the more information you have, the more you will know, and the more you know, the better jazz pianist, the better jazz musician you will become. After all, more is better. Not so. In fact, one could make a very legitimate argument that more information, the overwhelming information that is available now actually stifles growth and advancement.

that argument certainly could be made. And that is why it is so important to know what I call the facts of music. Because without the facts, you're rudderless. I mean, really, you really are. You are rudderless. You cannot, you cannot formulate a coherent and strategic practice plan if you are not aware of the facts of music. So without the facts,

Dr. Bob Lawrence (05:22.325)
You'll be in a constant state of information gathering. You're an information gatherer, a constant state of the pursuit of information, right? And here's another adage that rings true in jazz education. I mentioned this last last month that if you don't stand for something, you fall for everything. So the seven facts of music that I have been stressing since the start of the year, that's our rudder that keeps

us from falling for everything. Right? So let's go through them again. What are the seven facts of music? What's what keeps us what keeps us focused on what what allows us to be able to on a week to week month to month year to year basis establish a very well thought out and strategic practice plan. Well, here they are.

Seven musical facts. Music is the production of sound. Major, dominant, minor, half diminished, diminished. It's also the production of silence. So music is the production of sound and silence. Number two, when producing sound, we produce it harmonically and melodically. We have harmonic shapes, we have melodic shapes. Number three, when the sound is produced harmonically, we're playing what we call chords or voicings.

Number four, when sound is produced melodically, we are playing arpeggios and scales. Number five, when playing arpeggios and scales, we are moving in one of two directions, up or down. And six, we decorate our arpeggios and scales with tension or chromaticism. And then fact number seven, to make facts one through six interesting,

we add rhythm. These are the seven facts of music. I hope that you regular listeners to Jazz Panel Skills by this time can recite those seven musical facts along with me every week when I present them. It is imperative that you think about these seven facts a lot to the point that you actually see and hear music, think about music,

Dr. Bob Lawrence (07:47.283)
in accordance with these seven facts. And once this tipping point happens for you, that you actually see and hear and think about music in accordance with the seven facts, well, then you can identify everything that you encounter musically in relationship to those seven facts. And if you see everything,

that you encounter in relationship to those seven musical facts, then you have simplified the music learning process. Right? You know, I've said this many times in previous podcast episodes as well. You know, the difference between an amateur musician and a professional musician. A professional musician is constantly seeking ways to simplify their approach to music, the way they think about it, the way they practice it, the way they study it, and the way they play it.

it seems like the amateur musician does the opposite. They're constantly looking for ways to complicate their playing. So these seven facts are indeed our rudder, and they allow us to continually simplify our thought process, our study process, our practice process, and our playing process. This is why I started Jazz Piano Skills, right? To help

everyone simplify the learning process. Not complicated, right by swimming in a bottomless pit of musical ideas, concepts, lakes, progressions, theories, information, right? That's what complicates it. Just this bottomless pit of autonomous musical ideas or information. Right? So

That's why jazz piano skills exist to help keep you on track, simplify the thought process, simplify the learning process, simplify your playing process. And this is our approach every month, every week, right? Every year, we center our studies around the seven facts of music using our harmonic analysis.

Dr. Bob Lawrence (10:08.45)
our melodic analysis, our improvisation development, and then of course our rhythm studies as well. Bottom line, I'm thrilled because we have an established, educationally sound, three tier, three phase, three study approach that is formulated and anchored in the seven facts of music, right? In the seven facts needed.

to illuminate essential jazz piano skills needed to successfully discover, learn, and play tunes. So all of that to say, all of that to say that today we are doing a melodic analysis. And today you're going to melodically discover wave. You are going to learn the melody, phrases, various target notes of wave. And we're going to play wave using three standard jazz treatments. And of course we'll

cop it all off with a rhythmic challenge to develop your transposing skills, your ability to play musical concepts in different keys. So as I always like to say, regardless of where you are in your jazz journey, a beginner, an intermediate player, an advanced player, or even if you are a seasoned and experienced professional, you're going to find this Jazz Panel Skills podcast lesson exploring the great bossa nova.

by Antonio Carlos Yobeam, wave to be very beneficial. But before we get started, I want to, as I always do, welcome all of you first time listeners to Jazz Piano Skills. And if you are new to Jazz Piano Skills, you're new listeners to the Jazz Piano Skills podcast, I want to welcome you and invite you to become a Jazz Piano Skills member. Your membership, first and foremost, keeps Jazz Piano Skills 100 % ad-free which has been my goal from the very beginning. No ads, all education, so important. And it offers you a lot of other perks as well. For example, as a Jazz Panel Skills member, you have access to premium podcast content. What this basically means is you get to listen to the entire podcast episode. The first half of every podcast episode is free for everyone to enjoy. We deal with the question of the week, we lay out the educational agenda, the lesson rationale.

Dr. Bob Lawrence (12:35.051)
The second half of the podcast, members only, we deal with the lesson content, the demos, the demonstrations, and of course, the weekly assignments. You also as a Jazz Panel Skills have access to the educational podcast packets, which are designed and developed for every weekly podcast episode. these are the materials, the illustrations, the lead sheets, the play alongs, or the backing tracks that I put together to help you get the most

maximize the educational benefit for you from each podcast episode. You also as a Jazz Panel Skills member have access to the online interactive courses, comprehensive self-paced sequential courses that are online. You also have access to the online weekly master classes that I hold and conduct every week Thursday evenings, 8pm Central Standard Time. And I know that this time is not

best for everyone around the world, of course, but the master classes are recorded. And so for those of you who are in time zones that make it very difficult to attend the weekly master classes, you can watch and rewatch the videos as often as you wish. As a Jazz Piano Skills member, you also have access to the online private Jazz Piano Skills community, which hosts a variety of forums that are education.

episode specific forums, jazz specific, general jazz forums. And of course, it's a great place to meet new friends, receive member feedback and assistance with any questions that you may have, and also lend a helping hand as well with your feedback and assistance. You as a Jazz Panel Skills member, you also have unlimited educational support, private, personal and professional support.

as often as you need it. So all of these amazing perks are waiting to help you discover, learn, and play jazz piano. So I would encourage you to take a few minutes, visit jazzpiano skills.com, check it all out, and of course become a member. And once you get to the site, if you have any questions, any questions at all, please do not hesitate to reach out to me. I'm happy to spend some time with you answering any questions that you may have.

Dr. Bob Lawrence (15:00.485)
course, just help you in any way that I can. Okay, so on to our question of the week. This week's question comes from Nadine Horn. Nadine Horn, living in Austin, Texas. All right, we got a Texas girl here. Fantastic. And Nadine asked, I know it's probably a me thing, but

I cannot retain inversions. No matter how much I practice chords and the inversions, I find myself always falling back on route position. Some of the inversions stick, but honestly, most of them do not. I'm hoping you can provide me with some drills that I can do to help me learn the inversions for good.

If it is a me thing, please be honest and tell me. Thank you for all of your lessons. I look forward to them every week. Okay, Nadine, I gotta tell ya, gotta tell ya, your question is so sincere and so honest. I just wish I could give you a big hug right now. I'm telling you, what a great question.

But let me begin by saying, and please listen very carefully, okay? It is not, and I repeat, it is not a you thing. I have been teaching for a very long time and I can tell you that everyone, and I mean everyone,

that I've had the privilege of teaching over the past 30 plus years has experienced the very same struggles and frustration. And let me tell you, I'm talking about a lot of people. I'm talking about a lot of students. When I say teaching over the past 30 plus years, I'm talking about teaching every day over the past 30 plus years, every day, every day but Sunday. So

Dr. Bob Lawrence (17:19.901)
I'm talking about a very large sample size, a sample size that includes people of different skill levels and different talent. And so when I say it is not a you thing, I'm not just simply trying to be nice or kind. I'm, I'm just simply telling you the truth. So, so first things first.

take comfort in knowing that it is not, I repeat, it is not a you thing. So just stop thinking that. Okay. Quite honestly, quite honestly, those are like little musical demons just trying to get you to stop playing the piano to get you to stop doing what brings you enjoyment. So just just wipe it out of your mind. Forget about it. Because it is not a you thing. In fact, it is an everyone thing.

Okay, so, so with that being said, let's, let's talk about some various ways you can approach practicing the chords and their inversions. Now some of these exercises you may already be doing, right? And I hope that some of them that I present here now are new ideas for you. But I will say that I am thrilled to hear that you are committed to learning the chords and inversions because

you need them. You cannot skip over or gloss over the chords and inversions. Many people try to do it, right? They try to go around, go around it. Right, but you can't. Because if you do, you will be given a constant reminder that you do not know them every time you go to learn a tune, and especially when you attempt to improvise. So

Congrats on taking the chords and their inversions seriously and congrats on tackling this very essential jazz piano skill head on. Okay, so let's go through some exercises. The first exercise is what I call a chord family exercise. And this is just simply where you're going to take all your C chords or all your F chords or B flat chords and so on.

Dr. Bob Lawrence (19:44.561)
group them together. So you're, in essence, you're going to have C major, C dominant, C minor, C half diminished, and C diminished. Okay. Now I just played all five of those sounds in root position, but I could certainly go through that process again and play all five and use first inversion, right? C major, C dominant,

C minor, C half diminished, C diminished. I could move it to second inversion. C major, C dominant, C minor, C half diminished, C diminished. And then of course, third inversion. C major, C dominant, C minor, C half diminished, and C diminished. Now, you know, academic

we talk about chords in root position, first, second, third inversion, and that's fine. I tend to think of them as C major with the root on the bottom, or C major with the third on the bottom, or the fifth, or the seventh, right? I see them anchored a certain way, and that may help as well as opposed to thinking academically, first root position, first inversion, second inversion, third inversion.

Okay, so chord families, if you haven't been practicing that the chords grouped by family, and then practicing them in their different positions, right, I would strongly recommend starting there. Now, a second way that I group the chords is by type or by quality, right? So I'll put all the majors together, all the dominants together, the minors and so forth. So in doing so, I would then apply a pattern

to that grouping, right? So for instance, if I take all my major chords and I group them together, I may practice them chromatically. If I start on C major, I can go up by half steps, D flat major, D major, E flat major, E major, and so on. Okay? I can then put them in root position and do the exact same thing. C major, this is in first inversion, I'm sorry. Now I've placed the chords in first inversion.

Dr. Bob Lawrence (22:11.001)
D flat major, D major, E flat major, E major, and so on. I can then place the chord in second inversion, C major, D flat major, D major, E flat major, E major, and so on. And then finally, the last inverted position with the seventh on the bottom, C major, D flat major, D major, E flat major, E major, and so on.

this is a great way to practice your chords and change up and their inversions and change up the pattern. So another pattern might be play all your major chords or dominant chords and so forth. Play them instead of using chromatic scale, use the whole tone scale, C major, D major, E major, G flat major, A flat major, B flat major, and back to C major. And then

go through the various inversions that way as well. I also like to practice my chords using minor thirds as a pattern, right? So I'll do C major, E flat major, G flat major, A major, and then invert them and do the same thing. And then finally use the circle of fifths, right?

So start with C major, go F major, B flat major, E flat major, A flat major, and so on. Put them in first inversion, go around the circle again, second inversion, go around the circle again, and so on. Okay, so grouping the chords by type or by quality and then using various patterns like the chromatic scale, whole tone, minor third, circle of fifths. Great way to challenge yourself to see these chords in various

moving in various ways. Okay. Another way to practice chords in the D and their inverted shapes, of course, chords by progression. So you can practice your two five ones, right?

Dr. Bob Lawrence (24:19.511)
start the two chord in root position, you're to go to your G7 chord in an inverted position, back to your C major, and then you start your D minor or your two chord in first inversion, go through the progression. Start your D minor in second inversion, go through the progression, and then finally start your D minor in third inversion, go through the progression. Okay, so

I would recommend doing chords by progression as well. And I would start with the two five one progression. And then I would also expand that to include the three and the six. So three, six, two, five, one. Now these are all very good ways to approach becoming familiar with the 60 chords, right? The 12 major, 12 dominant, 12 minor, 12 half diminished, 12 diminished. And of course, they're inversions.

No doubt about it. I highly recommend that you incorporate these approaches, these exercises into your practice routine. But, but if I had to pick one exercise, one exercise that I could use for nailing down the four shapes of each chord, root, first inversion, second inversion, third inversion, then I would select what I call the mother of all inversion exercises.

an exercise that packs a huge punch. And when doing this exercise, you will be learning the following essential jazz piano skills. Are you ready? You're to be learning chords and their inversions, of course, right? That's the primary objective. You're going to be learning common harmonic motion, circle of fifths, and you're going to be learning great voice leading as well. So

This exercise, like I said, packs a huge punch. So the way this is going to work, if you start, let's say you start C major in root position, okay? And if you just take your right hand and you play C major root position, I'm playing at an octave above middle C. And when I get done with this exercise, I'm going to be on middle C playing C major in

Dr. Bob Lawrence (26:44.46)
position. Okay, so I start with C and I'm going to now move around the circle of fifths, which will require me to only move two notes at a time. So I'm to be going C major, F major, B flat, E flat, A flat, D flat, G flat, B, E, A, D, G, C. Okay.

So what happens is you're starting that C major in root position. You end up going to F major in second inversion. Back to B flat in root, E flat in second, A flat in root, D flat in second, G flat in root, B in second. It just alternates back and forth. E in root, A in second, D in root position, G in second inversion, and then finally back to C. OK?

do this starting the C major not just only in root position, but you would actually start your major chord in first inversion and go through the same cycle, second inversion and third inversion as well. And of course, not only do it for the major chords, but you do it for the dominant minor half diminished and diminished as well. And not only in one hand,

but in both hands. ideally, Nadine, you want to be able to use both hands. C major, F, Bb, Eb, Ab, Db, G, B, E, A, D, G, C. Okay, both hands. Practice hands separately, of course, at first, then hands together. Right? So, you know, this exercise is so important that I want to make sure

I want to make sure you're doing it correctly. So you know what? Here's, here's what I'm going to do. In fact, I will do this later this evening or, or first thing tomorrow, I will create a video for you of how to practice this exercise so you can see, so you can see, can hear it and of course see it and hear it in action. And I'll post this video on the Jazz Panel Skills website on the homepage. Like I said, later today or tomorrow morning,

Dr. Bob Lawrence (29:01.533)
this way Nadine, you and of course all the Jazz Panel Skills listeners can watch the video and then begin incorporating the approach into your practicing. Right? So you know, I wish I had actually your question is so good. I wish I had more time to thoroughly dive into the study and practicing of chords and inversions because your question is that important Nadine? It's that important and I should and I probably will.

devote an entire podcast episode to this topic because chords and versions are the harmonic foundation that everything else you study in jazz depends upon. If your chords and versions are weak, then everything you do will be weak. I guarantee it. Okay, so Nadine, it's a great question. Again, not a you thing. It's an us thing. And be sure to

Check out the video on the Jazz Piano Skills homepage either later this evening or tomorrow. And after watching the video, if you still have questions or further clarification is needed, then give me a shout. I'm happy to spend some time with you, help you gain a command of this very essential Jazz Piano Skill. All right.

So let's discover, learn, play jazz piano. Let's discover, learn, and play wave. Let's do a little melodic analysis. Okay, so when studying and learning a tune, right, we approach it the same way. At least I approach it the same way. I hope you're starting to approach it the same way as well. And of course, I hope genre makes no difference, right? Whether it's a jazz tune, rock, pop, country, folk, R &B, makes no difference.

we go about it the same way. Number one, we listen, we always listen. Listen to as many artists from as many genres as you possibly can. I like to start with vocalists, work my way through instrumentalists, and then of course, pianists. Then I start with a harmonic analysis like we did last week. I study the form of the tune, the changes, harmonic function, common harmonic movement, and of course, voicings. Then I move on from the harmony.

Dr. Bob Lawrence (31:21.89)
to the melodic analysis. I'll transcribe the melody like we're going to do today. I'll look at the phrases found within the melody. I'll look at the various target notes within those phrases that I need to be aware of that will help me digest those phrases and be able to improvise through those phrases eventually. And then I'll explore and have some fun with various treatments. And I typically turn to the three standard treatments that we deal with in jazz.

the bossa groove, which wave is, a swing groove, and then a ballad. And then finally, after the melodic analysis, I'll turn my attention to studying it improvisationally, how I'm going to approach improvising through the tune. And of course, I will look at the chord scale relationships, determine, you know, arpeggio and scale movement through the various sounds, what tension can I use, chromaticism, and so forth. So anyway, it's

It's a pretty thorough, it's a pretty complete approach from listening to the harmonic analysis, melodic analysis, improvisation development that I utilize each and every time that I decide I want to study a tune and make it part of my repertoire. So this week, right, we are going to do our melodic analysis of the tune. And so our educational agenda today is as follows. Number one,

we are going to listen to definitive recordings of wave, of course, as always. Number two, we will learn the melody of wave by ear. We will transcribe it. Number three, we will look at my suggested fingerings for the melody of wave, which is a pretty tricky melody. It's a wide range that we need to deal with today. And then four, we will identify the melodic phrases found within wave. Number five,

We will apply the voicings that we discovered last week with our harmonic analysis to the melody of wave. And then we will explore three standard treatments to wave as well. So if you are a Jazz Piano Skills member, I want you to take a few minutes right now, hit the pause button. I want you to download and print your podcast packets. These are your illustrations, the lead sheets.

Dr. Bob Lawrence (33:48.245)
the play alongs. And again, your membership grants you access to this, this content, this material, that, comes with every weekly podcast episode. So once you have your podcast packets in your hands, then we will begin the lesson. And as I mentioned, right, every week, you actually should have these in your hands when listening to the episode to get the most out of it. And of course you should have the material sitting on your piano.

as well when practicing this tune. Okay, so now that you have your podcast packets in your hands, I want you to grab your lead sheets, and you should have six of them in your packet this week. Six lead sheets. And lead sheet one, let's just go through them quickly. Lead sheet one is our fill in the blank exercise where we were going to use to transcribe to figure out the melody of wave. Lead sheet two.

is a clean, melodic lead sheet of wave. In fact, it's what we will use to kind of assess how well we did with our transcribing efforts. Lead sheet three has the fingers, fingerings that I have, that I would recommend when playing this melody. Lead sheet four identifies the various phrases found within wave. Lead sheet five

looks at the various target notes of those phrases and why they're important. And then of course, lead sheet six, we applied the left hand shell voicings from our harmonic analysis last week, and we dropped our melody in on top of those voicings. So as always, right, we have a ton to dissect today. So we need to get after it. So here we go. Okay, typically, at this time, I would

As you know, if you've been listening to the podcast for some time, I would play a definitive recording, but we've I have moved the definitive recordings, plural, not just one to the forums this year. So that way, I could number one, I can suggest more than just one, one rendition to check out. And number two, I want to preserve as much time as possible.

Dr. Bob Lawrence (36:07.07)
within each podcast episode for educational content. Right. So I would recommend really before going any further, I would recommend heading on over to the community community and spend some time listening to the recordings that I have dropped in there. If you haven't listened to last week's renditions, I would do that as well. And there'll be several more new renditions placed in there this week for you to check out as well.

Once you have listened to the recommended recordings, grab those lead sheets, grab Lead Sheet 1, and let's take a look at our fill-in-the-blank lead sheet to begin transcribing the melody of wave. Okay, so Lead Sheet 1 is literally a fill-in-the-blank. You know, I give you some guide tones here to help you with the transcribing process.

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