I'm Adam Mness and you're listening to the You'll Hearer podcast. Daily Jazz advice coming at you.

Back at the piano today, going through this week, we have our sort of basic jazz theory

theme going on this week.

How does that work is what I'm calling it?

I got no reaction on to Ryan for that.

Thanks, Ryan.

And yeah, Peter's in Europe, so I'm here, I'm a lonely, but having fun with this. So far we've done, if you haven't caught it yet, this week, we've done altered dominance, diminished chords and scales and chord substitutions, all on how does that work. Really just kind of a primer on how these things work and how jazz musicians use them. If you're on YouTube, check it out. We have the piano. We have the overhead

cam. And so you can see some of these concepts a little bit clearer. Today, we're talking about

playing out. How does that work? So playing out is a term that you're probably familiar with if you

play at all. And it's definitely something that if you listen to most modern jazz you are into

playing out if you're into modern jazz because it's a big part of the modern jazz language

um so let's just define what playing out means playing out means playing outside of the changes

um so we learn all of these chord changes, all of these standard tunes,

all these progressions, and then we completely ignore it when we feel like going somewhere else.

And it's not rude. It's actually just part of what we do as jazz musicians. And it's been

developed over the years in numerous different ways. There's, I mean, a lot of different ways

to go about this. There's no one way to just playing out. But in general, what we mean when we

talk about playing out is not playing exactly the chord that we're supposed to be playing. So if we're

supposed to be playing a C minor chord, typically you might do the

Dorian, maybe the Aoleon, maybe the Phrygian, I don't know, there's a bunch of scales that

would be in, right, that would be playing in. But playing out would be playing like, I don't know, a D major.

Right, so that's just one example of some dissonance that you can create. Now notice that that didn't sound great just staying there. So what you hear a lot of modern players do and great players in the past too is establish the harmony inside the changes using, you know, all of the language that we talk about all the time so in

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