To go Yeah, thanks man, little trade back and forth. Yeah. So in this video we're adding a few more advanced concepts about playing a longer chord structure. So now we've got a four quart structure, it's moving by a little bit faster, and we're also trading back and forth. And this between bass and piano creates a really interesting opportunity in terms of the sound And where we each play when each other is soloing. So Kenny want you explain what the chord progression that we played was and how it works?

Sure, the chord progression was four chords, C, sorry, G, C, G, D, G, C, G, D, and it really pays to memorize these chord progressions I find over the years like I'd be daydreaming on a bus or something or waiting in the lineup and sometimes our brains get all frustrated with with worried about other other things, you know, and sometimes you can't just can't do anything about that. But I became a much better musician by using my thinking speed wisely, my thinking time wisely. And finally, those times when I'm away from my instrument that I can memorize these structures. So as an advanced level player, this is a great chord progression to use because it's used in a lot of songs. And so it's quite straight ahead for a bar, we did it and then the bar. Excellent.

Now in terms of queuing each other and understanding form, it's really important to sort it out ahead of time so that you know what to look for when you're queueing someone else. So in this example, I knew that Kenny was going to be soloing first. So while he's soloing, I'm aware that at some point, he's going to be flipping it back over to me. And then also, when I'm finished soloing, I'm thinking about how I got to, I can't just stop, I have to be thinking about where the ending is and how to flip it back. It's kind of like switching roles the same way that for actors who have to play eight parts might do on a stage, you know, and when an actor was backstage and now you come back out of something else, you have to switch roles. And so traditionally, if I'm playing with if I don't have a bass player in the band, then my left hand is your genome for the bass note, but since I have a bass player, I can free up my left hand to play the chords and my right hand to play melodies up here.

So usually, I'm exploring melodies that are found within the chords themselves. So if I play my G voicing here I can just basically switch to the board shape. That's all I'm thinking about. And then I'm just arpeggiating off of the nodes that are in the courtroom. So my rule changes. When Todd starts to solo, he's got a low register instruments.

So his notes are all down here. So when he took his solo, I ended up playing something that was soft up here. So he could really stand out because our job is as friends and as musicians is to support each other. Right? This is especially important when you have a singer anyone who might be singing either one of us could be singing as well as playing. And the voice is particularly fragile and the softest instrument in any band.

So always make sure that even whatever instrument you're playing, you can hear the voice and you're not making that person shout too hard. Otherwise, tuning can be really effective for the voice, you have to push too hard. A good thing too. I can't remember who told to me when I've been a band teacher, but they said always think of whatever the quietest instrument is and if you can hear it, then You're not playing too loud, but if you can't hear it you're playing. So it's kind of a simple thing. I always think, what's the quietest instrument in the band and Can I hear