Peter, if you're out there, come home.

I'm Adam Aniston, you're listening to the You'll Here at Podcast. A little bit different today

because Peter's been on the road for what feels like forever. If anybody sees him out there,

send us a line or just capture him. He's probably running some European city somewhere in a

morning run, possibly playing the piano in a concert hall.

Just grab them. Let us know where you are, and we can bring them back here to our open

studio family. And his family, too. You know, they probably want to see him. Anyway, I'm going to be

doing some solo, a couple of solo episodes, which I always really like, and I always like to do them at the piano.

And today I want to talk about chromatic enclosures, something that we get asked about a lot. And so I figure I kind of break down the basics for you here today, at least as far as I know them. So chromatic enclosures really help us to get, you know, I mean, it's a bebop's a bebop sound for sure, but it's, it's been then, you know, taken through all kinds, uh, every iteration of jazz sense. And they're really, really, uh, a fun sound. I always think of these, like when I, when I have students who, who this clicks for, it becomes this lightball moment and all of a sudden they're playing

sounds more like jazz to me and they get some stuff locked in. So what an enclosure is,

is you have a target note and you have different ways of approaching that chromatically.

So the most basic one is surrounding your target note from below and above or above and below.

So if our target note is middle C, we can surround it with an enclosure like B, D, D, F, C, or D, C.

Right? So this now opens up some rhythmic polyp D flat C or D flat B C.

Right?

So this this now opens up some rhythmic possibilities to kind of get these little turns in our lines.

So instead of doing something like, you know, that where our target note is C, we can surround it and delay that a little bit or if we start with the phrase let's say our phrases just a simple you know run up a c minor 7 chord that little delay d flat

b to the c creates this little hiccup.

Or let's say that we're doing the same phrase and, or maybe we're doing, you know,

we're ending on an A there, like you might end a two five.

Something like that, very, you know, basic, basic kind of run there.

But we can delay that with another kind of

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