You are right, Dan, about the tempo in swing. I guess what I am trying to figure out is the logic behind how one would take a basic pattern and add the types of flavor that makes the basic pattern come to life. Going back to the example of Mary Had a Little Lamb. I mean, how much more simpler of a song can you get with that? But, by the duo's third round of the phrase they are just bouncing all over and having a good time with it.

Being a guitarist, and looking at a chart that has the dry chord configs of say 1-6-2-5, what possible alternatives should I be seeing that would bring that loop to life? I just chose swing as a means of tempo. It can be Bossa, straight 4, 6/8, waltz, etc.

When you say b2 for example in the key of F are you referring to a "Gb" chord or adding a b2 to the Gm chord?

Thanks, Dan, I appreciate you taking the time to guide me in this area. I have been really enjoying the jazz practice songs that came with BIAB. But, I as I study the movements, nothing has jumped out on me yet within the several songs I have looked at. Take any genre and you can immediately find the pattern. Oldies: 1-6-4-5, Blues, 1-4-5, etc. I am trying to see establish an understanding when I hear a Jazz player speak of using a "turnaround" what that actually interprets to in that ending phrase for example. I am sure there are dozens of them. What I would like to know is the logic behind how these turnarounds came to be. Often they are playing a chord or two outside the key of the song. So, the logic of standard key signature conventions are thrown out the window. I hope I am not losing you on this.

Thanks,
RickeG