No tonal centers whatsoever.

Souls total centers.

Sautol centers. I'm Adam Menace.

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

Daily Jazz advice coming at you.

Why were we singing atonally into these microphones?

That wasn't me.

There's no evidence of that being me. Well, actually, what are we talking about today? I bet it's going to tie in somehow. Actually, we got a question from a friend. That's right. Well, all of our listeners are friends. Let's be clear on that. But Rob Indicott is someone we both personally know pretty well. Love Rob. Robbz is a great trumpet player around here here in st louis and i didn't even know he was a you'll hear a listener yeah rob is a great

trumpet player juliar graduate university of illinois graduate and a great attorney here in st louis

quite an accomplished gentleman yeah he is a but you have a podcast rob what get on a podcast man

actually it would be cool to hear rob do a podcast on like the law and the blues. That's right, right. Two things that he's very interested. Well, and another thing, I mean, he really is accomplished. He was one of the founding forces of the National Blues, the International Blues Museum here in St. Louis, which is an amazing, it's very cool. Amazing museum and venue and Rob was really instrumental in that in that

coming to fruition. Yeah, it's a really cool spot. If you're ever in St. Louis, check out

the... Yep, right downtown.

Yeah. So Rob asked, hey guys, I was interested in a show about how to approach a ballad that has a

dense chord structure, but

that is not in obvious tonal centers, i.e., there's not a lot of 251 patterns going on, which

makes it harder for me to play a structurally coherent solo. I'm working on Girl Talk now,

and my soloing sounds like I'm just running changes. How do you think about that and play a solo that flows for the listener? Love the show, Rob. Yeah, that's a great question. So I guess we're talking about, okay, tunes that, I'm trying to think of what other tunes. I don't actually, oh, I know a girl talk. But so. I don't know it, but I know it. Yeah, yeah. So we're talking about not a lot of two, five, ones,

maybe not a lot of obvious connections harmonically between the chords. Thinking like a Wayne Shorter ballad. Right. And then they're moving relatively quickly to different areas. Dolphin dance, you know. Right. even though there's two fives, but they don't go anywhere.

Right, right, right.

So I think that in almost all of these tunes, there's actually some connections that we can

start to kind of understand or try to find.

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