Hey, that's not the real changes, buddy.

What do you do?

No, it's not?

Come on, man.

What do you think this is?

I'm Adam Anis, and I'm Peter Ennis.

And I'm Peter Martin.

And you're listening to the You'll Hear It podcast.

Daily Jazz Advice coming at you.

Coming at you again from the Steinway O'Hare at You'll Here at Studios here in Midtown, St. Louis, Missouri.

I love these little Steinway seated days, man.

These are fun.

I mean, we're out of the Pod Cave. It's less musty over here than the pod cave. Yeah, weirdly, the pianist like being around a piano. It's odd. Yep. So we're back. We're back. And we're answering a user question. This is from one of our regular listeners, Mark in Vancouver, had asked about reharmes. Nice.

And I couldn't quite figure out if you wanted specific recordings of reharms, but we're

just going to talk about kind of our favorite reharm hacks.

Maybe some simple things you can implement right away on your gigs, on your playing to help you kind of add a little sparkle,

add a little color.

A little interest.

Wake up the audience sometimes. Wake up the audience. Like, what? Is that even legal? That's not a tonic. That's a gin and tonic. What's going on? Sorry. No, I was just thinking, should we say what reharm is? We're making an assumption. We are making a huge assumption. So when we say re-harm, we're talking about re-harminization.

We're talking about taking sort of agreed-upon chord changes under a melody. Agreed upon as in they were written by the composer. Agreed upon by us and the composer. It's a two-way street. I mean, hey, honestly, most jazz standards everybody plays are already reharmine. They are, exactly. They're not the original changes that you're playing. If you learned it from Miles' recording, it's definitely a re-harmed. But you can take that even further, and there are some sort of cliches and some hacks that we can do to re-harm. So if you don't mind, I'll just get right into it. Get right into it. My very favorite

reharm trick to do. My favorite reharm trick is that the last note of a standard, usually

standards end on the tonic, right, where the melody ends on the one. Yeah. So if we're in the key of

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