Hey everybody, this is Caleb Kirby in the studio and I'm so excited to bring you a very special episode of Y'all Hear It.

All right, so what do I got for you today?

Well, I'm bringing you some clips from a conversation that Adam and Peter had back on March 7th, 2022, where they took live questions from community members and answered them transatlantically,

meaning Peter was on tour in Europe. Adam was holding it down in STL, and they got into some

really fun topics, so I cut them up, I trimmed up the fat, I'm serving them up for you so that you can get right

to the good stuff, and I hope you really enjoy.

All right.

Mark asks, any advice on transitioning from basic scales to more complex modes over two or

three octaves within a solo?

Interesting. Well, one thing I just would say, not even within the solo, is like when you're getting into modes of, like especially modes, I would say of the major scale, be careful as you transition.

Like if you look at the major scale is a basic scale and it doesn't get any more basic than that but I would say even more than that it's just foundational because you can of course have a mode of any scale and certain you know like a pentatonic scale or an octatonic type of scale those modes can be very interesting too and important but you know when we talk about like sort of the foundations of the music and like learning different tunes

and core progressions and standards even and then like modern jazz standards, the modes

of the major scale are just so, they're just used so much.

But you want to be careful on the piano because I think it's important to

really learn like the fingerings and like the one three five seven nine how it sounds of

those modes separate from the major scale so in other words if you learn C major D

D flat say you're going chromatically and then you're like okay I want to learn

the Dorian so now I'm gonna jump right from C major to D Dorian you're going chromatically and then you're like, okay, I want to learn the Dorian. So now I'm going to jump right from C major to D Dorian. You're going to be hearing it like it C. You might even be trying to fingering it like it C. So it's like trying to learn it back to back like that because you want to hear, you want to finger and you want to identify that arpeggio up to the ninth and really beyond as its own separate

thing and that's again where going through chromatically can really help you but you want to make

sure that you get those those because it's not just about learning the the easiest fingering for these

scales it's about learning the function of them it's learning how that how that they're the underpinnings

of not only tunes that you're going to play but but improvisations that you're going to do. And so that's the tricky thing with Moses. They can start to be too connected with the major scale. It just becomes like a diatonic running up and down of something that you already know. Okay, I'm going to grab this one. Related to the discussion from Ed,

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