Gabriel asks, can you burn some locked hands over rhythm changes in egg?

I mean, we could do a lot of things.

Oh, yeah, we could.

You know.

I don't even know what that means. I feel like he's goading us into something. Hey, what's up picking stones here? What's going on, Alex? Pick and Stone! Yomeng Hui says, how would you practice a 251 progression from the simple to the more complex? And in what intervals would be best? So you start with 251. Black bear, Brown Bear, or Battlestar Galacta, which is best. That's right. No, so how would

you practice 251s? You know, in general, Yao Ming, right now at this point in, I think, our

playing, we're really doing most of our practice over the context of a song

that we're working on. So I very rarely anymore will just practice two fives just to practice

two fives. Like it's not, it's really not helpful, I think for me in the way that I want to play

right now. That's not to say that you would never do that and that we've never done that. I've certainly worked on like voicings and actually some of my open studio courses that are like guided practice session based. We go off of two five ones. I would say that if you're at that stage and you want to work on things in the context of like common core progressions like two five ones or even one, four, six, four, six, you know, one, four, three, six, two fives and stuff like that, or cold train changes, anything like that, is to practice it in as many keys as possible. Yes. Practice it in different durations so that it's not just like, don't look bored when you're going here. love your board look but not just that like one bar

each but you know two beats each yeah one beat each all of those come into context in tunes practice

the different tempos practice everything you play with your right hand with your left hand yeah in this

regard you can really i mean you have so much to practice in a window.

If you think about all the variations that you can put on simple things like a 251,

and then practice, you know, identifying where you can use these in tunes you know.

I think that's the key too, is to start to really piece together your voice as a musician.

You need to be able to identify these little snippets that we're taking out to work on exercises

into actual practical ways.

That's great.

I like, I mean, the concept of practicing in all keys, sometimes we give it a little bit of short shift, short shirft, whatever that is.

We don't give it its due because it's not like, oh, yeah, yeah, yeah, let's like practice with a metronome.

But this is such an important concept beyond you have to be able to, you want to be able to and you need to be able to play in all keys.

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