Hey Adam, are you back yet? Hey, Adam, you still gone? Where you had, little buddy? Where you had, little buddy? Where that big guy? Thank you. I'm Peter Martin, and I am not Adam Bannis.

This is the You'll Hear It Podcast, daily jazz advice coming at you.

Coming at you strong and solo in 2019. Adam is still gone this week.

We are going to be making fun of him,

mocking him as much as possible,

but still giving you that daily jazz advice

that you've come to love and expect.

My name is Peter Martin.

I am here at the piano,

not in the pod cave, but adjacent to the pod cave.

I have my mid-morning snacks here, so I'm very excited about that. Hashtag plant-based for 2019. Today we are talking about, hey Peter, what are we talking about? I don't know, buddy. I'm gonna give you seven ways to swing. And I want you as I'm giving you these seven ways to be thinking about how many ways has Adam Manis given you to swing? Maybe zero. So I'm going to be seven ahead of them, just putting that out there. Okay, so swing, we talk about this all the time, you know, in jazz, and it kind of becomes this elusive thing, and it shouldn't be, because this is the foundation of what we do. This is kind of like saying, I have an American accent, I have a Canadian accent, I have an Australian accent, I have, you know, those are all for speaking English, of course.

Maybe you speak French. I have a French accent. I have a southern French accent. You know, this is just sort of how we do what we do, how we talk, how we tell our

story, sort of the foundation. And look, it's not the only way, the only kind of groove or

accent that we use in jazz, but it's a very fundamental one to many of the ways that we play

this music. So we want to have a kind of a good handle on it, but I want to hopefully demystify it too a little bit. This is not some elusive thing that you can't learn to do. You absolutely can learn to do it. And most of you that think you're not swinging probably already are. You might need to work on it. So I'm going to give you seven ways to swing as sort of examples of ways to get into it, but this doesn't need to be that difficult,

is what I'm trying to say. Okay, number one, syncopate. Okay, now what is syncopation?

We talked about this a little bit yesterday with the comping patterns, but this is just about

the juxtaposition, the rhythmic resolution of the upbeat and the downbeat.

So if I'm playing over a B-flat blues, one, two, three, four.

Like just starting that phrase, one, two, three, four.

I'm starting on the downbeat, but I'm accenting the upbeat.

So I'm starting on the down of one and then the upbeat of two.

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