I'm Adam Anas.

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

Daily Jazz advice coming at you.

Did you notice how I tried to change my pitch a little bit on that? You did, and I was trying to react as a good jazz musician would, but I wasn't classy enough because you're really classing things up today. What's up? I'm just trying to like, well, first of all, I have a orchestra gig later tonight, so I'm going to be a tuxedo. I only do a handful of occasions a year.

Is this a tuxedo. I only do a handful of occasions a year. Is this a tuxedo or tails? No, this is actually... Because a lot of these orchestras put those penguin things with the tail and everything on. You know, don't tell anybody, but it's really a black suit that I'm gonna be putting on a bow tie. You know, it's an old trick is if you take a black suit. Well, I mean, now a tuxedo can be a black suit.

It doesn't matter. But, you know, I remember we used to, like, wear a black pants, and then you'd put that, like, shiny black tape on the side, and that becomes tuxedo pants. I might do that. I think we have some right here in the studio, man. Yeah, that would be nice.

So we have a listener question today, which is also pretty classy too.

So let's take a listen to that. That would be nice. So we have a listener question today, which is also pretty classy too.

So let's take a listen to that.

Oh, Peter.

Hello, Adam.

This is Peter Watt here.

I would like to request an episode on what to do when you have a couple of bars of music which stay on the same chord.

So at the moment I'm playing with a singer and sometimes there's an empty space in the music

when the singer's not singing anything and the piano just stays on one chord.

I was wondering what kind of strategies you might use to make those empty spaces a little more interesting.

Do you throw in some diminishes? Do you throw in some chromatic approaches?

I just wondered how you would approach that kind of thing when playing with a singer.

Anyway, really enjoy the podcast. Thank you very much.

That is interesting. Yeah, that's a great question. Thank you, Peter. Well, we should be,

I mean, how many times have we both been in this situation, same as what Peter's talking about.

So we should have some good answers for this, right? Yeah, it's difficult because it really depends on the context. You know, is it a ballad and you're on a minor chord? Is it a up-tempo swing and you're just on a B-flat major 6 for four bars? Or a burner. Or a burner. Yeah, like there's a there needs to be a little context. Now, there are some options, of course. You know, there are turnarounds. You could do...

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