I'm Peter Martin, and I'm Madam Manus, and this is the You'll hear at podcast.

Daily jazz advice coming at you.

Yeah, and we almost didn't come at you today due to some technical issues here. Man, I'll tell you what. You're sweating there. I know. Well, you know, there's a lot going on here. We've got to come over with topics. We've got to try to entertain the folks. And then if anything on the computers don't work. We're all screwed. So your 1991 MacBook is still documenting everything correctly.

I have those ones from like 98 with the fluorescent backs, you know, the old IMAX. Yeah,

that's great. Good. So today we're going to have, we're going to delve into some issues about

arranging, I believe, right? Yeah, we got a user question on you'll hear at dot com, which, as you know, you can go to and leave us a written question or you can leave us a voice question. This was a written question from a man named Charles Nesbitt, and he says, I take arranging lessons and often reharmonized tunes for the arrangements. I'd like to be able to function a lot better in terms of playing

through these re-harmonized changes, and quite honestly, lead sheets in general. As we know,

voicings play a big role in how the harmony sounds to the ear. Do you two have any practical

tips in terms of practicing voice leading that still allows you to play great voicing. I think it's a great

question. It is. And you, I know you always preach that, you know, there's no such thing as one great

voicing, that a voicing is within context for what happened before and what happens after. And that

is all voice leading. Yes. Yeah. And I'm so glad. Thank you, Charles, for the question. I'm so

glad that you included voice leading with voicing several times within that question because I, yeah, I'm so glad. Thank you, Charles, for the question. I'm so glad that you included voice leading with voicing several times within that question.

Because, yeah, I'm a big believer in, you know, voicings being part of progressions.

And really, you know, it's, whenever we think we hear a brilliant voicing, it's always been set up by something.

That's what I was just going to say. Sometimes very simple voicings sound amazing to us because of the voicing that has taken place to get there.

Yeah. And so I mean, yeah. And so I think that the study of harmony is as much about counterpoint and, you know, how individual lines work. And then

also certainly what the harmonic function of different chords and voicings are, but then how

those work together. So we're always, I think the easiest way to think about it is horizontal

and vertical, you know, vertical being, being the harmony and horizontal being the counterpoint and that constant

kind of interplay between those.

A lot of times when we start really delving into re-harmonization and different types of

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