To One, two Scooby Doo Right, so in this video we're having a look at doing some little bit more advanced techniques. So we've created a four chord structure instead of a two chord structure. And simply all that is, is we're just expanding out how much language we have to work with. And we're playing at a bit of a faster tempo. And we added in one more element, which is sort of trading who's leading the melody. Now in this case, we're just improvising the duets.

So there isn't a melody that we've learned but we're just working inside of a key. So we started out By I was playing a melody and Kenny was playing the company's role. And then in the middle of it, you may have caught it, I kind of looked over at him and gave him gave him the old nod your turn to go. And I switched over and was playing the chord tones. And then Kenny was taking a solo and then at the end, we switched back. And these little cues, they don't have to be big jumping up and down, like hey, kind of thing.

If you're, if you're listening and looking, you can kind of just give a quick little nod and the next time you're watching a concert, either on video or in person, you'll you'll catch it you'll see that musicians are looking at each other and kind of nodding. The trick is you got to know what the nods mean. So maybe talk a little bit about there's only a few things that were queuing, it's not like make me a sandwich. It's right there's a few things that we're looking for. And you'll notice that in in part of it, there's some periods where I'm able to close my eyes and just feel it and go deeper and a lot of people when they start improvising, a lot of us will close our eyes and actually because we're listening deeper and the eyes a lot big part of our brain is used up for what we're looking at.

So by closing our eyes We're able to go deeper as musicians. I think that what I learned as a as a younger player was to not always keep my eyes closed, because then someone might be trying to say, Hey, we got to stop the song because you know, I gotta go to the bathroom or something or we got to stop the song because you know, I'm late for dinner and mom's making turkey tonight or something. So having your eyes open, it's very much like being an actress on stage. You know, you actors can't close your eyes on stage, you're constantly cueing each other. So are we so in the middle of the song when Todd was kind of done his little storytelling on his solo, you know, he kind of gave me the eyebrows up and looked at I was looking over so then that's a, that's a switch.

Another kind of cue that we're looking for a really important cues are the beginnings and endings because just like telling a story, you know, beginning middle end, the beginning and endings are critical. So if I'm going to be the one counting on the song, before I start, I feel the beat. And then I've actually before I even feel the beat I check in with the players in my bed. It was just Todd is does he Look ready? Is he watching me? Or is he like getting a sip of water still.

And if you have a bigger band, you want to see that every you got eye contact with every player, then I'm feeling the beat. Then I'm counting it in, and I'm moving my bodies everyone can see the dance and I'm feeling so that we know hey, this is the speed of this train on this track. The ties are this far apart are this far apart? How fast are we going? Right? So those are a couple things beginning of the ending as well.

Sometimes, you know, the train comes slow into the station. So now you see my head and you know, you can do so much with you in your body, how you're leaning into gravity. And that's really how you see how we signal to each other. How much are you slowing down? How fast are you slowing down, you know, and confidence is such a big part of it. And what can be challenging when you're starting out is it's all gonna feel like you got a lot of balls in the air but the only way to really get good and confident at leading either in a duel or in a band is by doing it and To be quite honest, having having it not go perfect every time you learn things that work and don't work so we're for the purpose of this video we're getting going and playing and everything kind of works out but when you're on your own if you're practicing if you try counting on the song and it kind of feels wobbly, you can stop and start again and try it and absolutely, we I've had to count in songs many times to get them to feel really comfortable.

There's a thing that happens where you get lost, like you notice when I took my solo, I went from the G chord and and then I went to the D chord right away instead of the C chord. Right? So again, that used to make me really panic but really what it's like now is is it is as if my car of the train went off onto a sidetrack for a while and Todd stayed on the main track he you know, and and he knew that hey, that's supposed to be a secret. I know what track I'm on. And but this other cat went to the wrong chord and you know it and I knew it is the instant though it happened. So no need to worry, right?

As long as you know in your head where you're supposed to be, your fingers can catch up later. And if you're if you're ever like totally in a panic, just stop playing, let your mates keep keep the structure together. And then when you're ready and your fingers have caught up with the you know, with the pattern, then come back in, but never, never need to worry. Sometimes that's can be a point of conflict in bands where someone says, Hey, you were in the wrong place, or you were in the wrong place. And then people start arguing about it. It just takes time and practice and patience with each other.

You know, say let's start it again from from the beginning. Yeah. And also noticing the difference between some mistakes happen every now and again. If it's happening in the same place, every time you can always stop and go, Hey, what's happening here, like, I think we're supposed to be on this court, but notice the difference because we all make mistakes. But if there's a structural problem, then you always want to stop and sort it out.