Short ending the short short Yeah, excellent. So in this video we're adding in a few more advanced techniques, like playing a four chord pattern instead of a two chord pattern, and also trading back and forth who's playing the melody. And this presents between guitar and piano a whole bunch of interesting challenges that are going to make you a much stronger musician once you know how to sort of think about them. So can you want to explain what the chord progression was how long played each chord for sure we had one bar each of G chord C chord. chord, D chord. So when you think of the scale nodes, it's four fives is one.

Very common chord progressions it really pays off to learn that because a lot of songs use it. And when we're getting to the soloing question, you know, I found that because the guitar is quieter when you take your solo, you'll may have noticed from the video that I started up high, the kind of quiet sound, and those are the same range as the notes that he's playing. They're all in the same range. So as I started out, quietly, voicing down lower now that I'm down in the lower range, you'll notice that his notes started to spark A little bit more, right. And with acoustic guitar there, it can be challenging to improvise with other instruments because it goes from being quite loud. I got all six strings going at the same time to just one note at a time.

So dynamics and volume are a big part of it. So it's partly reason why knowing the form ahead of time and saying, well, you're going to solo first. But when it comes, when you cue me, you have to start thinking about how can you play the piano in a way that my notes can come through. If you're playing electric guitar, one of the simplest ways you can do it is just when you're playing your chords, don't have your volume turned up all the way. And then when you're going to take a solo, you can turn the volume up on the guitar and then turn it back down when you go back. But it creates some really awkward, I mean, I think restrictions create really interesting opportunity.

So when I have to play a duet with somebody on another instrument, like maybe I'm playing the drums, and I got to play a duet with a flute player. Also, I have to think about playing the drums totally differently because if I'm bashing away like I With a rock band, you can't hear it. So it gives you a chance to try something different. For sure. Don't be afraid to ask the other players. Once you get to a band situation, if you're playing with electric players, especially, or drummers, a lot of us practice so much on our own, that it's hard.

It's another skill set to that's why we're putting this this series together to talk about how to jam is you have to have the courage to say Hey, could you play a little quieter on my, my solo or maybe you can switch to mallets on the drums or even laying out you know, in the jazz tradition, there's a lots of examples where the rhythm section players will actually lay out and just let the person do their own completely unaccompanied solo, you know, and then the band comes in. So those are the things that you can look forward to creating lots of drama with, with the use of texture and space, you know, so that, like, Am I gonna play Do I need to play right now or maybe I can just lay out and let that person go on their own and then come back in as long as you keep in your mind the train tracks and the bars and the form Do you know when to come back in musicians, we always meet on the one.

So that's always a good place. If you get lost, just lay out, listen for it, and come back and when it's ready, and if you both get lost in it, do it, you can always, you know, stop and have a good laugh and start again. And that's what we call a train wreck, train wreck, which is not only get certain musical training. Um, the other thing is that is is recognizing whether or not a mistake like if things goes totally off the rails sometimes, you know, we all space out, we miss things. If you're having a problem in the same place every time though, then it's a good thing to stop and talk about go, Oh, I think in the second bar, you're paying this chord and I'm playing this chord, let's sort it out. And the way in which we talk to each other is really important to just always remember to be talking about the music and not about the person.

So instead of you played that wrong, you can say something like, I think where that court is we're not playing the same court, right talking about the news and then it's about sorting out that thing rather than me. You're wrong. I'm right. Those kinds of things.