Hey Peter.

What's up, ma'am?

Is range important?

It's important.

It's also important not to use helium before in a podcast episode.

Is that even legal?

I'm Adam Manus. And you're listening to The You'll Hear Here Podcasts. Daily Jazz Advice coming at you. Coming at you with a little Easter egg there

for Open Studio Insiders. That's right. Yeah. Are Easter eggs normally announced? Aren't they?

Okay. They don't know who they are okay got it they never would listen

to us like all right well what do we have today today we have a question from an email this is a

question from katherine in melbourne australia oh i love melbourne say melbourne again melbourne

i love it yeah you know there's i might be going on australia soon so I'm excited to get over there. Melbourne. Coffee, the food, the culture, the people. It's all there. I can't wait. Okay. This is a question from Catherine. Catherine asks, when playing a piece, say a standard in the original key that I know well, but in a trio format, I often find the head now seems too high or low in range.

I also don't feel as well acquainted with it anymore as I feel like I'm less anchored leaving

out the bass notes. Also, left-hand rootless voicings can seem to get in the way of the right-hand

melody or alternatively, if I play up an octave or in

octaves, the whole thing starts to feel too high.

Apart from changing the key, what are the various techniques you would use in a trio, including

playing the root notes of chords, which some bassists and jazz educators seem to disapprove

of.

Yeah.

Supposedy bassists that are trying to play themselves, right? Thank you. Thank you, Catherine. Well, Catherine, thank you for the question. It's a great question, actually. Yeah. And it's probably something that I don't think pianists talk as much as they should about because it's really important. Yeah. And so one thing in that third paragraph, apart from changing the key, I would say the first thing I do is put it in a key that's comfortable that I think sounds good. But she's asking apart from that. Well, we're going to have to dive into that, but I think that is the, you got to be able to do that. Yeah. Catherine, the most important thing you can do is find a good key. Singers do it. We should do it too. do it too. Exactly. And we should be able to do it. We have to develop that technique. I'm not saying that you have to be able to learn to do it today. But you, you know, if you want to be a serious jazz pianist, especially if you want to work with singers, if you want to be able to play tunes and ranges that are interesting and effective, you know, of new tunes and whatever. I mean, look, a lot of these jazz standards, so-called jazz standards, are songs.

Yeah.

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