I'm

Bap, bop,

Boodoo do,

Boodoo do da,

Bado-de-be-de-p-d-d-d-d-d-d-d-d-d-d-doo-d-d-d-d-

I'm Adam Manus.

And I'm Peter Martin.

You're listening to the You'll Here at Podcast.

Daily jazz advice and occasional counterpoint coming at you.

Was that?

That was technically counterpoint, I guess.

It was.

I kind of slipped into more of a rhythmic baseline because I got excited, but, you know, whatever.

Such a jazz cat.

Right.

Well, I'm going to learn so much along with our listeners and along with you this episode that I'll be able to execute a little better on my counterpoint by the end. How about that? That's great. Yeah, we had a question at you'll hear at dot com, by the way, which you can go to if you ever want to ask us a question. That's right. It's a question from a listener, Leo, and Leo asks, Hey there, could you take an episode to explain counterpoint?

I hear people talk about it all the time, and I have no idea what it is or the concept behind it. I hope you are well. Leo, thank you for the question. We've done a little bit talking about counterpoint. We've never done, I think, a whole episode on it. Right. You know, it's not

something that can really be talked about in 10 to 12 minutes in full, but we can kind of give

you a brief description about what it is and maybe how you can use it in your jazz playing and

maybe some resources that we've used to develop some counterpoint ideas. Yeah, I think,

I mean, first of all, counterpoint, if my understanding of this

is correct, and if it's not correct, I'm too old to relearn it, so this is my concept.

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