Fun Yeah, that was fun. Yeah, so This one we've introduced a little bit of time intent in the sense of rhythm and pacing. So we were going for something that's a little bit of a medium speed. This is a good next step is to add in a bit of rhythm into the playing. The other aspect that we added was adding a structure harmonically. So a predictable pattern of chords.

And in this, the simplest thing we can add is a two chord pattern. So can you please talk a little bit about the core pattern? Sure, well, we picked a G C chord pattern meaning that the chords g for two bars and then C for two bars back to G and back to C. And you'll hear lots of this in music because two chord songs are mostly what we learned when we were little kids, you know, many songs are just one have one chord that our children saw because it gives them a smaller range to, to to learn but two chord songs are perfectly for the intermediate player. So I just started with a simple voicing for a G chord, I put a G in the bass And I'm thinking of my left hand like the bass player. So really as a, as a, as an as a, as a piano player who likes to think about the rules, you want to think about the bass notes as providing the, the, the tracks, you know, like the the tracks or that the trains going on, you know, and, and so it's like for, for GG then on top, I just added a couple of notes from the G chord, C, or G chord.

Oxytocin. At that point, I can actually close my eyes and move my body a little bit which is another part of music that really helps me is like once once you get practicing to the intermediate level, you should be thinking about the notes as well in the structure so you can stay together with all the people on the train. You don't want to be jumping off the train, I think be dangerous. But, you know, once you're, you know, if you're nervous about getting on the train, well that's normal everyone is but once the train gets going clickety clack, you know that it's, you're going to be okay. Remember to sit up tall and do that breathing so you feel connected and you're enjoying yourself because music is should be as fun as tag as far as I'm concerned, you know, so, so Todd and I've been doing this for years, so we always crack each other.

But anyway, that's that's how I think of the bass player role and setting the tracks and that's also the harm the the the and then in the right hand is the harmony rail, which is like that. You're playing the chords here in the right hand, and I'm just trying to keep it upbeat, solid, play the harmony. So I'm doing the ties and the and the harmony track and Todd is doing the melody track. So that's how we're that's how we're creating the tracks for our trip. Yeah. And now something that will probably happen is you get playing and is you may lose the form like the candy might go to the C chord and I'm still thinking I'm on the G chord and that stuff is gonna happen and it's totally fine.

And don't get thrown by you know, it can derail. We actually talked about this in bands, like when the song goes off the rails, it's not the worst thing, especially when you're just practicing. Yeah, you can stop, start again, you can try it a different tempo, things like that. Now, one of the thing is one of the great things that which I try and teach in the music coaches, even though I'm playing the flute, it doesn't mean that I can't be the accompanist I can't support Okay, so in this example, what I'm going to do is I'm going to hold down the chord structure, and Kenny's just going to take a solo in his right hand, which is might be where you're at as a player, if you're intermediate, you may have trouble improvising with the right hand and holding the left hand at the same time.

So we're going to go with the same temple. So I'm going to keep playing the bass notes in my left hand because that's the bass player. I'm going to go to the C. So which chord tone Are you going to pick to outline the chord, I'm going to play just the route so I'm going to play the G and the C. Alright, so we're going to go one and while I play I want you to just improvise but don't even cut the left hand goddess they may not be able to do so I'm going to switch my bass player hand to my cord and then I'm going to play melodies. Alright, so 123 So, my body go up there at the end, but that was after I made what I thought was a mistake. And then I remember to laugh. Because a teacher that Todd and I both learned a lot from, you know, really got us into laughing at mistakes, which is, which is something, it's kind of like when you're playing tag and you fall down, you know, well, you might hurt yourself, but you still get back up because you're having so much fun, you know.

And for a long time as beginner musicians, I know most most musicians and go through this experience of like, Oh, I made a mistake, that's bad, that's wrong, and you feel really bad inside. So when we laugh, we actually you let some air go and it reminds you to be connected back to your breath, right and say, hey, it's just music. It's just a game, you're not gonna hurt anybody. And one of my favorite quotes of all time is from Miles Davis, who talked about a mistake is just an opportunity. And if you really can feel that way, like sometimes you end up in a place you weren't expecting. It's just like life.

It's what you do when you get there that makes it it makes it the experience that it is