You'll Hear It: Full Album Deep Dives with Jazz Musicians - Quick Tips From A New Perspective

Episode Date: July 31, 2023

Adam and Peter share 3 quick tips to help your playing from a different perspective than normal. Click THIS out to see Peter teach you how to play Footprints Check out Adam's magic voicing system HEREHave a question for us? Leave us a SpeakPipeCheckout courses from Adam, Peter and more at Open Studio🎹 Head over to our YouTube channel for a better look 👀.Follow us on Instagram

I'm Adam Ennis. And I'm Peter Martin. And you're listening to the y'all here at podcast. It's not that easy to say, is it, buddy? No, well, let's do this part. Just two guys talking, talking life advice. Music, jazz. Veganism.

Daily, daily vegan advice, explained. See, neither one of them is easy as well. This is weird, man. This feels terrible. This is my bad side here on YouTube. Am I up high enough? Yeah, what's going on here? I don't know.

So we decided to just kind of switch it up. And today's all about quick tips, but it's about what we think, the other person. Is that the way I look? It was like Freaky Friday. It is like to switch. Because we're trying to be each other, but we're still looking at each other, and we're still ourselves. It's like our shadow. Where do we go?

There it is. For those listening on the audio podcast, we've switched positions. I'm on the acoustic piano sound. You couldn't tell. I'm on the Nord. I'm sure you could tell. I like to touch on this thing. It's not bad, right?

That's why I love it, actually. it could be better but it's not bad at all yes this is nice um and the view is different i mean on the audio podcast it's everyone's just like this is stupid this is exactly as normal no no no but it is it is a shift of perspective as we're going to show today so we're going to do three quick tips each but it's three that we think the other person would give exactly exactly and i've got two locked in the third i'm a little bit fluid on because i got a couple different ideas i've got some good stuff so i think you should go first i am going to go first okay so my peter quick my peter quick tip My Peter Martin quick tip, I love this.

I was actually just working on this the other day. And I'd love to play it for you and hear your thoughts on it. So when you're working with pentatonic style voicings, right? You can call them, I don't know, magic voicings. We'll make up a name. Just out of the air. With these sort of pentatonic style voicing. One thing that Peter does that I want to steal is you keep the top note the same.

And you change one or more notes. So you get this sort of feel of like that kind of thing. or even just one note of like Peter you're a genius I know right it sounds good it doesn't sound good I mean this is your shit Peter but it sounds like I stole I stole it full disclosure so I've just been working on that of like kind of working through this so what I'm doing here is I'm taking a voicing like here so C minor 7 right and in my left hand I have G and C and my right end I have F e flat and E flat and the E flat the note on the top is staying the same yeah everything else I'm kind of moving around either

diatonically or chromatically. Let me try that, hold on. Oh, I get it. Yeah. Nice. Is that something you would do? Well, I'm learning. I'm learning.

No, no, no, but this is, I'm stealing your stuff. For sure. Okay. For sure. I think it's a great thing to do because it's like, you already know the voicing, right? You don't have to do that much. You get this like slip, slidey. I'm in the matrix.

I'm leaning back kind of sound. Yeah. And you could do that with one note. Kind of feeling out getting different sounds. You can do it. with not just these pentatonic voicings, but any kind of dominant seven voicing, changing one note within it.

It's a great thing, man. That's awesome. That's my quick tip. I should have done it. If I wanted to do it, Peter style, it should have been like, here's how you do it. Squirley. This is a little squirrelier.

And then you do this. And then you do this. Like, you're looking the wrong way because you're usually being. And then you do that. I keep looking that way. And then you do this. All right, lesson over.

That's squirreling my way out of here. And would that be something you might be interested in? Yes. See, I'm being you. Okay, I'm trying to get my seat up higher.

I always thought it was because you were tall. It's just that your seat is higher. The seat is higher. like before you even are thinking about playing music, you got to get your surroundings right. Oh yeah. Right? You got to get your mind right. Damn.

You got to get in the right mindset. Oh, buddy. This is my wheelhouse. Maybe Adam, Uncle Adam here says, let's do a little meditation before we just dive right into some random courtholes or anything. A little meditation and little mindfulness. Connect with the moment. Right.

And then before you start practicing, instead of just scurrying your way through some possibly necessary practice routines, how about get your Pujo, your practice journal out and have a little bit of a setup to what it is that you're going to do. A little structure, a little organization. Right, right. Mindfulness. And because somebody might be watching me while I'm doing that, maybe I think about, am I on my right side here? How is my hair light? How is my presentation for the people? Presentation is, if it doesn't look right, doesn't sound right, it's not going to feel right, right. Right. Yeah. So it's like, think about all of your, surroundings. Yeah, I know the music you're about to get it. That's going to be quick tip number two.

But it is weird. I'm looking the wrong way here. Let's go. But quick tip number one is get your surroundings right. Get your mind right. So then once you start to dive in, you can absorb everything. This is all us. There is no separation. And then whatever you surround yourself with is, it comes into you. It is part of you. So you might as well get your surrounding. Man, you're speaking my language. And maybe even count your macros before you get started. But that's another one. Yeah. Okay. Before I get in my I'm just going to take a drink here of my vegan protein shake. Hold on just a second. That's such a small container. This flask is so small and it's in such a dull color. It should be... Your flask runneth over though. Oh, wheat germ. Oh, that's delicious. Beautiful. What is that setup or is that quick tip of the tea protein? Amazing. Okay, so I'm going to borrow...

Green pea protein. I'm going to borrow from one of your, one of my favorite videos that you've ever done called Stop F and Up Foot. And I've actually been figuring out trying to figure out how to squeeze this into something I've been doing, but I haven't found the right avenue, but this is perfect. So for those of you that don't know, Peter did a YouTube video a couple years ago, several years ago, maybe, called Stop F and Up Footprints, where you talk about, you know, some things that people mess up like that, right, the baseline and specifically like the last turnaround. Yeah. Right? Yeah. How people do all kinds of crazy stuff, but really it's F sharp, minor. Yeah, 7.

F7. Yeah. E7 with H sharp 11. And then A7, right? That's sort of like F sharp minor 7, F7, E7 sharp 11, and then A7. I'm messing up the melody. And we go into the end. Now, there's a couple of things I want to add to this that you didn't mention, but I, at the Open Studio,

Pro at the repertoire club, we worked on Footprints specifically, and there's some things that I heard that I find very interesting. The first is Reggie Workman. Great Reggie Workman is playing bass on this recording. Wayne Shorters Adams Apple recording of this. And he does this in the base on that turnaround. So he drops, he goes to the F, and then he drops down to an open D. And Herbie is playing this chord for that F7, E flat, G, A, and D, right? So this creates this this idea of like Phrygian action Frigian

which I think is so like once you hear it you're like that is so part of that tune you know that recording of the and then to the up to E right

that's so cool also that makes sense because this is again the family of dominance all in this minor third F is part of the family D7 is part of the family B7 is part of the family and A, A-flat, seventh part of the family, excuse me.

So that's a really cool thing on footprints that I don't hear a lot of people doing, but I think it's such a cool thing that Reggie Workman does. Yeah. The other thing is something that Herbie Hancock does on the second time through the melody. That little part there. The second time,

Herbie does this minor, major, seven kind of vibe, even kind of a diminished thing almost. Really, this minor major seven thing. Beautiful. only the second time through the head. The first time it's all the sort of just minor seven thing. And the second time it's... Which I think is a really nice detail

that I'm going to do next time I play this tune. Nice. Yeah. Thank you, Peter. You're welcome. Okay. My number two, Adam, quick tip here is... You know, if you want to learn advanced voicing,

you've got to start with the basics. And you need to start with the basics in a really orderly way, but a really fun way. a really pleasing way and a way that's really easy to understand if you start with the concept correct. And that's a little thing called Drop 2. Have you ever heard of it? Yes, I have because my name is Adam Manus. But the way you're going to want to think about this because I'm Adam Maness. This is great right now. I'm going to have a little bit of a twist on it. Sit back, everybody.

Conceptually, it's going to flow through, but it's going to be in a new way. Okay. So these are three voicing structures for you. Kind of things that I didn't invent, but I put together in a way, that I think will make kind of sense. Do they have a good name? You got to have a good name. Yeah, it's called three voicing structures by Adam Mattis. It's not catchy enough.

Okay, sorry. Check it out, though. Check it out. Sugar chords, magic voice. Come on. We're going to get to that. That's coming number three. Okay, so we've got drop two.

Now, because I'm Adam, this quick tip is going to explain something to you in such a clear way that you're going to know it for life. Hello. Okay. This is the second note from the top and that's going to drop down into the base.

That is what we call a drop two. Also, Can you give me my, I don't know, we're not going to do that. Forget it, forget it, forget it. Yeah, there we go. Okay, now, quick tip. Everybody knows the drop two. What do you know about the drop three?

Is this even legal? Now we're getting there. So now we're going to count down, and that's going to drop down. Right? Yeah, that's exactly right. Okay. Now, but that's not enough. For our three voicing structures, the third one is going to be the moo, or as we call it,

the open studio moo, which is... Third on the base, third in the bottom. No, no. We haven't dropped it yet. See, because we're, I'm Adam. I connected with the drop two, drop three. That's right. You set everybody up. Yeah, so we go one, two, three, five.

And then we're going to drop down the third, right? So it's a drop two, boom. Open Studio Moo. Do you get the Moos sound? Come on, man. But a. Nope. Nope.

Okay, there I am. Quick tip. Oh, it's a dopio moo. Three voice instructors by Adam Maness. Thank you. That's beautiful, man. That's not bad. That is close to sugar chords, but you definitely need to catch your name than just three voicing structures.

Well, I'm looking at your screen right now. Oh, okay. For mine, we're going to do a bit of a Peter Martin-style analysis. We're going to do Stevie Wonder, naturally. Okay. It's either Stevie or Kenny Kirkland or Whitney Kelly. And I pick or Herbie. But here's Stevie's harmonica solo on Spain.

And we're going to do Peter Martin style. First of all. just that first two notes did you hear how I don't know who the pianist is but did you hear how the touch on it so beautiful let's keep it going here let's hear that again okay so one thing to look at how her wrist comes through on that keyboard I'm not sure what style of keyboard it is but you can see that the wrist comes through she's in a perfect height the elbow is right in line with the keyboard and that chord she played so vibey I know I thought this is Stevie Wonder analysis it is we're getting there is I know we only heard two and a half seconds of the whole thing yet. Let's back it up a little more.

Okay, check it out. So that, b'aboo-ba. I don't know what the chord is. But that there is so genius. Let's get to, let's get to Stevie. We just back it up a little bit. Okay, that, the flare there. The flare there is all that matters, because just going up this arpeggio, two-handed arpeggio, looks very classical, a little dopio classical, and then dopio hands up the keyboard. Let's listen a little more. Okay. So, first of all, just look at that guy.

Look at the jacket. Look at the style on this guy. And the tone, the melody is, oh, is that, okay, I think we're out of time. That is my Peter Martin style video analysis. Steady Wonders, Harmonica Solo on Spain. Now let's just listen to the whole thing, right? That was good.

You got me on that. Thank you. I thought we were doing quick tips. I didn't know we were doing mock, but that's okay. I did two quick, one mock. Okay, well, you know what? That's good, because I told you the third. I wanted to kind of wait to see where we're going.

I can turn this into a little mock. That was very good. That was very good. I actually did that in the last episode. I know. That's where I got the idea from. Okay. So here's my final quick tip from me, Adam Manus.

And this is when I'm going to introduce to you, you know, a golden concept that is going to transform and transfix your music. mind, it's going to change everything about your playing. But this is the thing. Before we even get there, the most important, where's my camera? Okay, there's my house. Okay. Okay. Okay, good. Before we even get there, wait, do I have my overshoot? If we would have done it. Yeah, you got to have a layer. Over 40 and a layer. No, but before we even get there, the most important is the packaging around it. You got to have a good title for it. Okay. So I'm going to introduce a couple things that are going to change your life, but we're not even going to talk about anything beyond just,

the title. Now I feel bad for suggesting a title for your life. Have you ever wanted some guidance in your practice? Don't worry about what you're looking directly in the camera. Isn't that what we do? No, that's not what I do. No, when you're doing your guided practice. Oh, I guess it is. GPS. That's all you need to know. Guided practice session. Boom. Adam Manis out. It's a guided practice. It's a guided. It doesn't matter. Doesn't matter what's. You've gotten acclabated to the guided practice. That's fair enough. Are you having a problem not playing? well let me connect with you let's let's answer a question together why do I still suck okay boom 400,000 views 500,000 views you too okay what about another thing

you want to play some like me you probably can't but first you got to get how he flared those out but first you got to you got to learn what are sugar cords boom what are sugar cords right are you stop laughing am I traveling now too that's what I have here Okay, we're going to talk about some theory, but in this episode, it's not just going to be theory. It's going to be something called the greatest theory lesson of all time. This is all fair. I want to be upset, but it's all fair what you're doing. Yeah.

Anyway, that was it. Quick tips. Title your stuff correctly. That was really fun. This was weird. We're never doing this again. We should never do this. This feels terrible.

But you know what doesn't feel terrible? What? A gala, a nice gala, a gentleman and ladies in agreement. Now, these podcast episodes, would that be something in my job? be interested. I'm still being you. It would be. They cost you nothing. I'm being you, but they're not free, Adam. They're not free. They don't cost anything, but they are not free. We ask you to adhere to a gentleman and ladies agreement. On the gala. The gala stands for gentlemen and ladies and agreement. So what that is, is we make these podcasts for you and you

subscribe to our YouTube channel. You'll hear it. YouTube channel. And you leave a comment. Now, we will take any comment, but I think Freaky Friday is probably the most appropriate one for this. That's right. Or invasion of the body snatchers. One of those two. Freaky Friday is probably best because it's like we switched positions here. That's right. Rules.

So if you're still listening, after all that drivel, put in. Dribble. If you are agreeing to the gentleman and ladies agreement, put in Freaky Friday. Oh, I like it. Just on this episode. Just on this episode. Until next time, you'll hear it. To train you up on that, buddy.

I'm in Steamboat Springs, Colorado currently. I'm in Indianapolis. Hey, how's it going, guys? Andrew. Hi. Because I feel inspired to play something else from your playing. Okay, okay, that's right. I think using the metronome is a great tool, but it's not the only tool. All of the answers are really in the music.

What does it mean to live in a groove, be in a group? Until next time.