I'm Peter Martin.

And I'm Adam Anas.

Welcome to the You'll Hear It podcast. Today we're going to give you five creative improv hacks guaranteed to improve

your bebop solo. Now, am I taking it too far with the guarantee, Adam? Now, normally I would

say that you should undersell and overproduce,

but I think that in this case, you are not overselling at all. We will improve your bebop solos

with these great hacks. Okay, good, because I think that, you know, beb, even if you're not

playing straight bebob, I think it's such an important skill to have in so many places. It's almost like the

foundational language of this music in a lot of ways. And it's just great to kind of have it

in your vocabulary. So it's cool to have some different ways to be creative with it. Now, let me start

out if that's okay with one that's very simple, because I love starting simple. and that is to not start on the one.

Now this, we're talking about rhythm of course. This seems easy but if I play a line like this, one, two, three, four.

That's okay, right? Yeah, it's like six out of ten. Six, six. I was going to say six point five, but okay, that's cool.

But now if I go one, two, three, four.

That's groovy.

Yeah, now we're at a seven maybe, you know.

And I realize I played a little bit different line, but it's just a lot of times I'll hear players playing good stuff, you know, and everything's like starting on one.

It just gives it that segmented playing.

So if you took a line that you like doing, one, two, three, four, one, as opposed to two, three, four, where it's just a little bit square or something. Yeah, yeah, yeah. And that's not to say that you should never start your phrases on one, but switch it up. You know, if everything is starting on one, starts starting on the end of one. If you're starting to do everything on the end of one, go back to one or go to two or something like that right because I mean the notes that we have available are the same all the time and the lines we can get creative with and change them up of course but sometimes just starting on that and one instead of on one and then of course you can extend this to the end of three the end end of two. There's all different ands to add it to.

So speaking of switching it up, that brings us to our second point, which is creative

enclosures to start a line.

Now, what's a creative enclosure?

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