I'm Peter Martin.

And I'm Adam Anas.

Welcome to the You'll Hear It podcast.

Today we're going to talk about how you can continue to develop, even when you can't practice,

don't have access to your instrument.

Maybe you're burnt out.

Maybe you're in prison. There's all different situations. You know, we did talk about the jazz police last week. That's right, yeah, we've all

been there. No judgments here. That's right. So, but, you know, a lot of times I'll hear musicians

say, man, I just don't have time to practice. I don't have access to a good piano. I don't have

my trumpet with me, whatever.

We want to give you some ideas today that are going to take you out of any of those

excuses because we, you know, developing as a musician, especially as a jazz musician,

in improvising creative musician, is not just about what you're doing at your instrument.

And there's a myriad of ways that we can be attentive to our musical development, even away from the instrument. And I would just say that as pianists, you know, I don't know if you agree with this, Adam, but I always feel like pianists have to even be more attentive to this because we can't, if we're traveling on the road, you know, in the hotel, very rare hotel very rare we have much access to an instrument and i always want to feel like i'm developing

some so sometimes pianos will have the best concept if you play the piccolo you don't have any

you could probably sneak a piccolo into prison even right yeah yeah i mean you might not last very

long that's right but i mean it's like the opposite of a piano, I guess.

So let's jump right in.

And I'm just thinking, you know, the first thing that you can do to keep developing away from the instrument is to practice more before and after you're going to have that break.

So, of course, this is when you know you're going to be away from the instruments. So you can put in some extra time in those days before you go on that road trip or that vacation or whatever. And what I find when I do that is I've got more stuff sort of percolating and floating around in my brain, sort of ideas and things that then I can go on to develop away from the instrument. But if you don't put that time and that kind of homework in, that little bit of extra time, you're not going to have those ideas and you're not going to have access to an instrument maybe to develop them. Yeah, that's a great point. It's just a great idea that if you know you're going to have a long stretch without it, to really hone in before that happens. And then after, of course, you're probably going to be

probably going to be, you know, itching to get back to the piano, hopefully.

Yeah.

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