You'll Hear It: Full Album Deep Dives with Jazz Musicians - Beginner? Intermediate? Or A Secret Third Thing.

Episode Date: February 6, 2023

Adam and Peter open up the hotline on this episode to address different questions from YHI fans about the various stages of their playing and what to work on next. Have a question for us? Leave us a SpeakPipeCheckout courses from Adam, Peter and more at Open StudioLet us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Instagram

Hey, yo Peter. Oh, yo, Cheetah. What's up? What's up? Today is all about the most important people in this podcast. Ooh, sounds like you're talking about me. And you. I knew you were going to say that, but I'm talking about our dear listener.

That's what I meant. I'm Adam Manus. And I'm Peter Martin. And you're listening to the You'll Hear at podcast. Music advice coming at you. Hey, yo, Peter. What's up? I feel bad now.

I feel so self-centered. I feel right. into your trap on that. You did, I mean, I set you up. I teed it up and you knocked it down the fairway 320 yards. It was perfect. Of course our dear listener is the most important aspect. Without the dear listeners, what would we be? We got nothing, honestly. We just be sitting here talking. I'm not a fan of... Not loving our dear listener. You can apply that to anything. Yeah. So we wanted to send love and appreciation and peace and prosperity and everything to all of our listeners around the globe. I'm always humbled and befuddled and amazed by the many corners of

this globe that folks are listening to. It's all over the world. We have three speak pipes today, so three voicemails. If you want to leave us a speak pipe, you can go to you'll hearot.com. You can leave us your question. You could also, Peter, hit the YouTube comments. That's a fun place. Because people have been hitting the YouTube comments. I don't know if you want to talk about any of those people. Well, I was just thinking, no, we're going to do that at the end. Because we've got some really fun ones and I got some funny surprises for you. So make sure you stick into the end, because we're going to hit that. the end of this episode today.

Yeah. But yeah, absolutely. Go to the comments if you don't want to leave a speak pipe, no problem. And pretty much all of our episodes are going up on the YouTube. We'll link below to that,

but just so you know, it's a separate channel. It's the you'll hear it. There's been some confusion on that recently. It's not the Open Studio channel. It's our own, you'll hear it channel where all the good stuff is happening.

It's a bespoke channel. May, just for you, our dear, you'll hear it listener. Thank you for all the great questions. Our first question is from Jeff. That's right. Hey guys, Jeff from Portland, Oregon here. I have a question about playing on a tune with a repetitive cadence.

So something like a night in Tunisia or softly as in a morning sunrise, where you have these stretches of this repetitive 5-1 thing going on. And my question is, how do you keep things interesting on something like that? I've been finding that usually after about one chorus of playing on a tune like that, kind of feel like I'm done and like that's all I'm. have. So yeah, how do you keep things interesting? I think specifically my problem is I sort of tend to over-emphasize the change every time it goes by to the point where it feels really predictable and almost on the cusp of getting like kind of annoying because you can almost predict like if

I played five choruses on one of these tunes, I think. they'd all sound pretty much the same. So, yeah, how do you just get some variety into a repetitive thing like that? Yeah, that's a good question. That's a great question. I think that the first thing is not to be kept in obvious, but if you feel like you're playing one good chorus, but then you play five choruses and they're all the same, that's four too many.

That's four too many. And there's no shame in that. Yeah. There's no shame in that. Like, that can be a matter of, you know, just the feel of the day. and the room or the recording or whatever. Sometimes one course is all that's needed, or it could be just a developmental thing.

You're not to the point where you can play more courses that, or you can, but you can't sustain the interest. Because if you're not sustaining this story to yourself, you probably aren't to the listener either, and that's okay. But we're going to get into probably some ideas here on how you can do that. But in the meantime, don't keep playing

just because you have to fill in a slot. I think that it's like even with really accomplished players that can certainly, stretch out over multiple choruses over these kinds of tunes and play something interesting. Sometimes there's this feeling of like, well, let's fill in the space just because it's there. And sometimes, depending on what was played before you played your solo or just the feeling like of where you are within the overall set, there's a lot of different factors, some of which would point to one chorus sometimes.

Yeah. You know. I remember Betty Carter was awesome at this. She would like, she kept things so free and open in a way, but there was also guardrails in terms of like the tunes had to make sense. Yeah. Like, and they could not be, she never wanted the same every night, and she wanted everybody, like, on edge in the band in terms of, like,

what needs to happen next? And so when you're young, it's kind of terrifying. But then as you start to realize, it's like, okay, I don't have to play a bunch of courses, and she wouldn't always do that. Sometimes she'd solo for a long time. Sometimes she would do, like, one course. That's right. You know, and so I really learned a lot from that.

It doesn't tell you exactly how to do it, but it also opens up the door, but it does open up the door to just doing that. I mean, it's a lot like life, too, if you think about it, you know, If you are, Jeff, if you're feeling stale or stagnant, change up what you're doing completely. You know, if you are like, I'm just marking the five ones every single chorus, stop doing that. You know what?

Stop doing it completely. There's a million ways you could do that. You could find, you know, if you're on 19th Nesee, you find a common tone and just like be a drummer for a chorus, you know? Oh, wait, when you said be a drummer for, I thought you meant to go smoke weed for a chorus before you came back. Oh, sorry. My bad. You know, figuring out just what rhythmically is happening.

You're trying to look like your facial expression. I was. I was thinking like a drummer. But it doesn't, you know, if you're just like outlining the harmony and the changes, that's like one very small, not very important aspect of music. Yeah. Right? There's melody.

There's rhythm. There's form. There's tension and release. All of which doesn't have to involve a 5-1 cadence, even though technically on the page of the real book, it's a 5-1 cadence. All that stuff you can let go of, especially if you're feeling like it's stagnant. And you need to break out of your sheds. break out of the shell. Do something stupid.

Come on tortoise. Get out to shell. So I think... You know any stupid things I've tried? Just try to break out of a shell. But sometimes they work really... Like sometimes some great stuff happens. I think it's also instructive whenever we have something that seems like sort of a disability that's built into a tune. Like in this case, you know, five to one, like static kind of harmonic movement or repetitive harmonic movement where it's like, oh, I can't play something interesting. Try to turn that upside down and turn that negative. to a positive.

Yeah. It's like, oh, I don't have to, like the harmony is super simple. Just taking care of it for me. So now I can delve into these other things like rhythm or, you know, the thing that stays constant is we want to tell a story. Yeah. But how you tell that story, yes, you don't have built-in, like, harmonic movement. Although on the night in Tunisia, you've got a lot at the bridge.

So start thinking about, like, what can I do maybe rhythmically or thematically in those A sections to set up when I go to the bridge where I can let the harmony kind of unfold to those different places? and then go back to that static, but really interesting place to develop in other ways. And you can actually practice not being static as well, Jeff. We do this sometimes at Open Studio Pro. So there's one main sort of color that we always use as a pianist, right?

Cords on our left hand, single notes in our right. And we think, oh, that's the way everybody plays. It's actually, if you listen and transcribe a lot, that's not how everybody plays. No. So there are lots of other colors. So there's a single note in your right and chord in your left. That's one color.

What about single notes in your left, chord in your right? Is that legal? It is legal, and it can break up the monotony of what you're doing. What about single notes in your left and right? That's definitely legal. A whole different color. What about chords in your left as a melody? That's another color.

What about chords two-handed? That's another color. So here's a game you can play. Switch the color with every phrase. Let's try. One, two, one, two, three, four. Lines. going between the hands.

A little mini casino, right? A little mini casino, but just anything to really... But also, did you notice, Jeff and Peter, too, doing all that, like breaking up the colors? Like, you know,

it was kind of, you know, clinical because I was trying to do that. But a good way to practice. A great way to practice. And then when I went to what we consider, like, the main color choice on the bridge,

it felt so much better, like a relief because it was like, oh, that's not what's been going on the whole time. Yeah, and a lot of these tunes have that built-in, like in this case the bridge or whatever else.

I was saying, like you've got that harmonic interest. So you use that to your advantage, lean into that, knowing when it's coming. That's about understanding the form. That's my problem, but that's for another episode with that other tune. Because that's very static C minor, it's fine. But when it gets to the bridge,

you hate that bridge. This is not really, yeah, I don't like it. Me, no like it. So that makes it, that's more of a challenge to me, even though the harmony is moving a little bit. But I think one other thing you can think about, and this may be think of it with the two-handed stuff, maybe give me a little accompaniment like that.

I'll just show how you can really change things up and use that openness of that 5-1. One, two, three, four. It doesn't have to be two-handed. And maybe going more like kind of stray bebop because you got that built into the bridge. And then find those places that are built into the melody. Absolutely.

And the melody is always there for you too. Exactly. Find those weird places. so that you can, because you know that things are repetitive. There's a pattern. Use that to your advantage because anything that breaks that pattern is going to be super dramatic, more so than if the harmony is constantly shifting. Hope that helps, Jeff.

Great question. We've got another question here from... Boom. One down. Line them up and knock them down. Here's a question from John. Q's, you got the A's. We got the A's.

Hey, guys. Hey. How can you tell if you were a late beginner or intermediate player? Late? kind of stuck between both, and it stops me in what I should be practicing. So you could usually tell late beginners, they start to bloom in early April, and intermediates won't bloom until mid-May. Oh, mid-May.

At the earliest, yeah. Well, actually, no, you're joking, but that's an important point, I think, with this, don't think about, it's a continuum, right? And there's ups and downs, there's peaks valleys. there's like in terms of our progression and there is no line between late between beginner and intermediate you just kind of one day you wake up

and you're like wow I'm an intermediate no no it's just you wake up one day and you're like oh I've been intermediate for a while yeah you know and I and this is a lot of gray areas and we're not here to say we've always bristled at being at defining a beginner intermediate advanced especially because there's different areas like there's ear training sometimes people become very advanced in ear training

because of either like a combination of sort of natural skill and they've done certain things that they didn't realize we're developing that but then technically they're very beginner so that kind of keeps them thinking oh I'm not intermediate yet but actually you're advanced in some areas like it's very rare that we're just going to everything's going to move along all the faders are going to be pushed at the same time and I think you might be surprised John at how rudimentary a lot of very advanced

like world class players like what they practice is not always the hardest most advanced stuff right oftentimes it can be very, you know, rudimentary what they're practicing because it's important to get those fundamentals and keep them sharp. We got to put the fun in fundamentals. Yeah, I would, I would not at all be hung up on. Am I a late beginner or early intermediate? And I'm not sure how that would stop any practicing, because there's no way. I can tell you how it would stop it. How? This is, this is a trap that in different ways, there's many different ways to fall in this, and I've battled this to this day. And that is, there's something about the gravity,

of not practicing, not working on your craft that just can pull you down. Like, we have to stay up in the air. You think it's kind of an excuse not to keep going to. It's just another, it's just another excuse that we trick ourselves into. And don't feel bad or shameful because this literally happens, I don't know. I mean, maybe Herbie Hancock is just like, I'm always floating up in the air. He probably is.

But the fact is like there's so many different potential reasons for us to stagnate or to feel like, I can't move on because of this. And I think that where you are in that, not looking at your progression, your progression as a player as a continuum and looking it as like a static, you know, these demarcation points that, that's artificial. And that's just kind of a construct to keep you from just keeping on, you know? This is very much like just a thing of like, I mean, there's certain things that we can do that seem easier, but we can actually apply them to practicing music. And so that's why I think it's good to have like hobbies and other interests because it's not just about exploring those areas that you're interested in it. And by its very nature, when we say hobby, and I know a lot of the listeners on here think like, oh, well, I'm a hobbyist piano player. You guys are pro, so that's different.

It's actually no different. Like I'm playing the piano and messing around with this music, and I consider messing around with, I haven't mastered anything. To this day is because I have the spirit of a hobbyist. You know what I mean? I mean, like professionally there's interactions and, that can come and go and, oh, I need to make money doing this. I don't.

I'm doing something else. That's, you know, very much a separate sort of thing. You start to get a perspective on that. But in terms of, like, my drive to want to play and stuff is the same spirit as somebody that's a hobby. So when I do something else that I'm not necessarily a skilled at

and possibly not even as talented at or just haven't spent as much time at, like, say, running, you know, and I'm planning to do this marathon in April. So it's like, this is something new for me. But I take those lessons that I learn in pushing forwards with that and still come back and apply those to playing music. So it's like when your marathon training, you're just trying to add one,

well, the way I'm doing it, and you know, a lot of different programs, but it's like add one mile a week to your long run. So it's not about like, okay, I have to go out and run a marathon tomorrow. It's like, no,

how am I going to get there? How am I going to break that down? It's not, well, once I become an intermediate runner, then I can do this distance at this time. And then when I become an advanced runner, I do this. You can look back and do that somewhat, but it's really about putting one foot in front of the other.

Now, that works well for running because you literally need to do that. But when we apply that to practicing and playing music, like less time worrying about what your level is, more time with your hands at the piano, doing things that are productive, that are edifying, that are interesting, that are entertaining,

and that are exploratory and are taking you out of your comfort zone as you're practicing. You can't just do all stuff that feels good you already know how to do. You can't just read books you already have read. You know what might really help John in this scenario? Yes.

John, if you haven't already, or maybe just expand on this, go find yourself a community of peers. Like, go out and go out and go to, the jam sessions if you don't already. Because you, once you're in, oh, here we go. I'm on YouTube, baby, with my boy Adam. Listen.

Oh, sorry, I'm turning away for the gun. Once you're in a group of people who are with you, right? Like on your level or a little bit above your level or a little bit below, this whole thing of I'm a beginner, I'm an intermediate. It kind of fades away. You're just in this group. You're just growing together. Yeah, you're always sort of can't help,

but you're human. You're comparing yourself to the great, you're comparing yourself to other people. But if you're wondering where you are, go find other people that are around where you are or just a little bit above. And that'll help you to at least see, oh, here's where I could be with what I have, right?

Because I think that's what, if you're just trying to get stuff from either YouTube or listening to records and you are a beginner, I could see where it's tough because there's like all this seems like a canyon of knowledge and experience that you don't have. But if you find yourself a community

like what we have at open, Studio Pro, and I'm about to swish over here. Okay. But if you find yourself a community, whether that's Open Studio Pro, like what we offer here, or just in your local town, then that Canyon, you can at least see the pathway through it, right? You can at least see, like, oh, that person is way better than me, but I could see how I could get there. And it's through this other person that's between us, you know what I mean? Like, gives you that inspiration, the perspective, the direction, what to do, what not to do. Pansible things. Like, little things to hold on to where you're seeing that,

And it forces you, I think, into, and not to say that, is this John? Yeah. John or any of our listeners have or don't have this. We all wrestle with it at a different time. It forces you away from like envy or discouragement as long as you bring the right mindset. That's right. Just like if you're running at the park and you see other, like that community might be just seeing other people out there running. They might blaze past you.

They might be crawling past you. It doesn't matter. You're part of the human endeavor of doing something. And that's, you know. This is why musicians move to New York, right? Because when you move to New York or any big city and whatever, you're close to where, there's a big scene. Yeah. And there's people that are living there that are at the very top.

And then you have this entire tree below them. And you could find your way up the tree, you know, by seeing, oh, I can be there. What are they doing? What are they doing? And your version of moves to New York might be going to a jam session. Yeah, in your town. It might be going to open studio. Find the one that's accessible and comfortable.

It's the same reason people still find value and going to see a movie at a movie. movie theater, the human experience together. Yeah, you can watch it at home on your screen, but there's something magical about doing it with others. Speaking of magic, that was very magical. Hey, speaking of magic, I saw a magic show when I was south of the border last week. Did you really? Yeah. And it made me think of you, because what you're doing over at the Open Studio Pro program is truly magical. It's slight of hand, right? Until you get in there and you see that you're revealing all the tricks. That's the difference between you and a great magician.

you're actually showing people the tricks of the trade. Well, that they know about. There's a lot behind the curtain. That's right, right. And I do have my assistant that helps and gets cut in half. But yeah. That's right. But it's a beautiful thing.

If you hadn't had to check it out, look, you hear us talking about Open Studio all the time. This is our sponsor here, of course. But just to clarify things, you've got two main pathways, right? And we don't tell everybody this, but we're going to tell our dear listeners. We've got the Open Studio membership, which, as you like to kind of put a line in the sand with that,

that is the non-live experience primarily, right? Yeah, that's all the information you could ever want from the greatest players in the world. That's right. Fred Hirsch, Chris McBride, you, Jeffrey Keiser, great teachers. Jeffrey Keiser, Edieu Rubiro, Diane Reeves. I have a ton of courses on there now, like Nuts and Bulls courses for you.

Chris Parks has a new course coming out that's going to be over there. That's all the information you could ever want. Another Parks is going to be there soon. And another Parks is coming soon. Plays piano. First name's got two A's. in it, but we can't say who.

Aaron works. But yeah, it's wonderful. And then we've got the Open Studio Pro program, which is kind of not only next level, but includes quite a bit of live, interactive Zoom classes with yourself, with Chris Parks, Jeffrey Keiser, Rubin Rogers, Bob DeBoo, myself, on Wednesday.

There are two, sometimes three classes a day now on Open Studio Pro. We're actually expanding to a different, completely different time zone so that we'll have morning and evening classes here in North America, and that helps with people in Asia and Europe as well. And so you could find classes with

great players, Jeremy Siskin, myself, Chris Parks, you are over there, Jeffrey Kieser's over there, and we're going to have even more teachers coming on board as we grow that program. And it's live every single day where you can, again, find what we were just talking about with John. Find a community. You can see where you are

within that community and have goals and aspirations that aren't just like, okay, I'm starting from scratch, and I guess I'll just listen to Herbie Hancock until I sound like him. That's a steep hill to climb. It is. But if you can kind of see that path,

that gradual path forward with other players and what they're doing, and I think I can reach that level that that person's at by this time next year or by this time next month. You mean Herbie Hancock? No, not. Oh, okay, sorry.

I confused that. I want to sign up. But you can see other players who are really good, and you can see, like, and they'll tell you how they got there and what they're working on. It's really great.

Yeah, no, it's an exciting thing. And the reason we call it Open Studio Pro. And look, I recommend. You have to be a pro? No, it is. not because this is for people that want to practice, approach, appreciate, consume, and live this music like a pro. That's right.

Like with the kind of like serious level, it doesn't mean you have to dedicate your whole life to this. You might only have 20 minutes a day, but you want your time with this music to be the most productive. Yes, you could sit around on YouTube all day watching our brilliant videos, I would recommend. But this is a curated place for you to be able to progress in a way that up until this program, I'd say it has never been available. I mean, unless you are physically in a community of other like-minded players with the world's

best teachers assembled, you know. So it's really revolutionary what we're doing here with Open Studio Pro. But we invite you in at just the Open Studio level. And we, you know, we have a money-back guarantee, satisfaction guaranteed on both programs. So if you stick around for a month and you find it's not for you, no questions ask, you're refunded and you go on no long-term obligation. So you can go find out more and join up today at OpenStuiojazz.com. slash y h i that's open studio jazz.com slash y h i why h i that's confusing because you'll hear it

you'll hear it y h i well speaking of open studio pro peter we have one more speak pipe from open studio pro member paul and then we're going to get to some very fun youtube comments i got some surprises for you okay gentlemen's agreement that i give him to you oh boy okay hi adam hi peter this is uh paul massachusetts what a poll i want to start interacting with these i had a question You are. The tune that I was listening to, it's Gretchen Perlado's album, In a Dream. The name of the tune is weak. Aaron Parks is killing it on roads, but I can't figure out what they're doing rhythmically.

So I don't know if you guys do this kind of thing anymore, analyze tunes, but if you could just take a listen and maybe chat about it a little bit. I'd appreciate it. Thanks, guys. You guys rock. Thanks, Bob. Paul is one of those people. I love Paul. Actually, over an Open Studio Pro

that you could aspire to be. Paul's a good player. Solid. Yeah. Paul. Yeah, let's put up. I love Massachusetts. I have the video cute up.

This is actually a live video, and this isn't Aaron Parks on piano. This is Taylor Ixte, who is a pretty solid replacement. Kendrick Scott on drums, Bernice Earl Travis on the bass. Is this that video on? Oh.

Let's see what's going on here. Always listen. Can I just say before we, so we already kind of know what this is. listen to the key to, and most drummers are really great about this. I always, the first thing I listen to on a drum set, I think our response because it's all high-pitched are to listen to symbols and snare drum and high hat,

things like that. Listen to the kick drum if you want to know the form. Right. They are, most great drummers are really marking what's going on with the kick. Right. Absolutely. Listen to this. Two, three, four. One, two, three, three, That's where it's starting over.

Six, one, two, three, four, five, six, one, two. You can tell that's where the groove starts over. Right. One, two. And then trust yourself where you tap your foot for the overall meter, right? So it's in six four. That's so good. Taylor Ix teams.

Is that a young Taylor Ike? It's just got, and it's understandable, Paul, because all of the hits are on these 16th note. Like, I mean, there's a lot on the beat and these 16th note displacements. So it's like, kadoom, doon, kadoon, kato. do like that thing, which makes it kind of seem like it's in a weird times as you, it's not. It's just 6-4. Well, it's super helpful that...

Well, it's not just helpful. It's just the way that Kendrick Scott is... I love Kendrick Scott. He's one of the most exciting drummers to play with. Had some really fun experiences. Just thinking back hearing this. But the way that he delineates the time or the meter or whatever, that's 6.

And I guess it's... Yeah, 6-4. He's resolving it almost every... every time. Yeah. I think actually every time. So that is something that is a little bit more of an entry point. I have the feeling as they go along, he's going to start not doing that. But I think it's an intentional thing too because of the way the baseline is offset. It doesn't resolve itself always. So like that's kind of the push and the pull that gives it that sort of macro syncopation. But great rhythm sections will set things up. Like they'll set your expectations up like this is

where it is. And we're going to go way away from this by the end of this. You're right. But we need to set this up in a way that's clear. Let's listen to just a little bit more. Yeah. It's a great tune. She's coming in on the top of it too. Yeah. Kind of like a three thing there. So many offbeats on the base as well, you know, like 16th note. Oh, it's a great combination of like very specific flow. She's vocally floating. He's doing those kind of micro groups within there. Look at that drum technique there. So Taylor is such an exciting pianist. Yeah, really nice. Good stuff.

Thanks, Paul, for the question. Yeah, great question, Paul. Okay, speaking of questions, let's talk comments here. Let's talk. I don't mean to push things along. I can sit around listening to those guys and gals all day because it's killing. Well, we're going to go out on that today. Okay.

So, but before we do, we invite you to the YouTube comments section after you'll hear it. There'll be one for this podcast. Let us know if you like this format. Let us know if you like Adam's Beanie. They don't love Adam's Beanie, but they love the format. Let us know what you think about our hats. I have a new hat. This was a gift.

You know what? I'm on decided on this because to me that looks like a dunce cap. Am I wrong? Maybe I'm not, okay. But to me, that looks overly frigid, right? I'm going to be honest. It doesn't fit me. I'm going to be honest.

That's a big hat. Carhart. You know what? This is the problem. Think about who is Carhart made for? Big guys. And hipsters, too, apparently. It's made for big guys.

Carhart's all the rage. I've, you know, it's been around forever. Man, Carhart is big in Germany. When I was in Germany last summer, you know, I spent a little time in the homeland. And how about that? You know what? Nobody cares about this. Let's get to the comments here.

Okay, so in the YouTube, I'm just going to start, I'm going to go through some here. I don't know if you can see these, but Elliot. Huge Carhart hat. Man, I didn't, until I saw it on camera, I didn't realize how big it was, man. How about that? Remember the guy on, what was it, the Bill Cosby? Oh, we lied to say his name. Bill Cosby, the, um, Fat Albert.

Fat, Bob, Bo, Bull, Albert. the guy who was like this, but then he had holes in it. Yeah, yeah. Seems like it would be warm. Right. Okay. Elliot says in a recent episode, Pete, this is a nice correction. Thank you. I love it when the listeners correct us because we are astute and accomplished pianists and jazz musicians, composers, arrangers, many, many things. But we are not college graduates of the English language. We are not, we are barely high school graduates, both in our own ways. That's for another episode, right? I degree. I digress and degree. So we do play fast and loose with the English language, as well as other languages. To put it lightly. So Elliot says, Pete, Libre means free in the sense of freedom, but free in the sense of not playing is grat.

Oh, this is, I was getting fast and loose with French here. Not playing is gratu. Daily French advice coming at you. Hey. That's why I'm saying. Daily Music advice is the one, man. Yeah, exactly. So thank you, Ellie, for that.

So what are you referencing? Did you say Libre? I think I said you have to be Libre when you're playing. That's a sense, you know, anyway. Yeah, for two guys who can barely speak English, we shouldn't probably be parlaying into, parlaying into different languages. Oh, parlaying.

A little appetizing to the next comment. Aperitif. Aperitif. Aperif. And amas bush. Amous bush. Amous bush? A moose bush.

I was thought it would be a piece of moose. Okay. Danny says congratulations on 2.5-1,000 subscribers, Peter and Adam. At first, I thought that was a dig that the channel hasn't gotten super big yet, but then I realized 251. Bam. There you go. Danny.

Danny, thank you, Danny. Jay Jackson says, you've both provided me with so much great content to practice. Love the podcast and Open Studio. Thank you. Why did I put that? That's just a strong one. That's just a flex. Right.

Etienne Fran. Etienne. In all the years, Peter has never made me laugh so hard as he did when describing his idyllic fantasy. I was really funny. I don't remember that, though. That sounds out of place. Yeah, you were just like, picture this. Like, it was one of your things. I don't know, you were like. Was I running in a

no, I think he was something like that. You're in nature. Yeah, you're in nature. Yeah. Oh, it was in nature, but I wasn't interacting with it. Yeah, it was, it was an odd fantasy. Okay, well, you know, I'm an odd guy. Sean says, uh, okay, now we're getting to soon there. Sean Weil? No, Sean Allingham. says subscribed, gentleman's agreement.

Oh. Let's talk about the gentleman's agreement because we had quite a few comments. Let's talk about the gentleman's agreement. First of all, if you don't know about the gentleman's agreement, that's just because we're gentlemen. I'm not a fan of...

The gentleman's agreement. Well, I am a fan, and we're going to see from the comments many people are. This is an agreement we have, and this is for the ladies and the gentleman, but we're gentlemen. So the agreement is that we will provide you

with this amazing podcast for free, for Libre. I think that's when I got into trouble with the Libre. Gratou. For Gratou. Grat-Gratu. And in exchange for that, you will subscribe to the YouTube channel. Even if you're checking us out on Apple Podcasts or Spotify, whatever, go to the YouTube

channel right now. All you have to do is press one button, subscribe. That's the gentleman's agreement. Why is it a gentleman's agreement? I'm not a gentleman's agreement. You should click the subscribe button. I don't think you understand what gentleman's agreement. I really don't.

I don't think I do either. Let me explain it. Let me gentleman explain it to you. Gentleman's explain it. Yeah, please. The reason is the gentleman's agreement is because we can't go check on you. Like we're giving the listeners this podcast. So like it's a gentleman's agreement in that we're not waiting for them to subscribe

before we continue to give them these great podcasts. So it's a gentleman's agreement. Okay. You know? So like we're going to keep doing it whether you actually subscribe or not. It's kind of a way to shame people. It is a little bit of a shaming. But I'm all for shaming for subs on the YouTube channel.

So go sub on the YouTube channel. Also leave us a comment. These are fun. Yeah. Okay. So Alex Blumenthaler says Peter is so in unhinged. And I love it. is that a backheaded compliment?

I think we were talking about the Hinge episode there. Oh, I was on Hinge because I didn't know the concept. Yeah. Okay. I am on Hinge, though. 2151. Okay, this is from Jonathan Holmes. Adams is so exasperated.

Exasperated by the gentleman's agreement, he bangs his head against the microphone. Next minute, though, he's stirring the pot, making it go on longer. That tickle be to no end. I do love to stir the pot slightly, yeah. Alan Wheeler says, thanks for the gentleman's agreement, gentlemen. That's, Alan, you're a gentleman. Guys, don't encourage this behavior. Do not encourage.

Don't poke the bear. Alan is drinking a cognac smoking a cigar like a true gentleman. I can tell. He's that kind of guy. And that's it. That's all I got for you. I love it. Yeah.

Well, this was really fun. Thanks, everybody, for the great questions. If you want to leave us your own voicemail, your own speak pipe, go to you'll hear it.com. Don't forget to go to Open Studio slash YHI to check out Open. studio, both Open Studio memberships and Open Studio Pro, the live classes. Right. And that's it, man. Let's go out on a little more Gretchen Parlato and week live in New York City. You'll hear it.