I mean, that's as good as I can kick it.

Well done.

Was it?

Let's see if I like, I love how we, you know learning Oh yeah I think we had sound And everything Look at this Come on man That's how we do it That's how we do it So yes We are here And should we get into some questions Oh no We got to do our segments Oh yeah yeah Yeah so we do Have to do our practice check in What are you working on this week? Yeah, no, we got to do our segments. Oh, yeah, yeah, yeah. So we do have to do our practice check-in.

What have you been working on this week?

Yeah,

so interesting.

I was working on,

I think you got, well, no, you didn't get to hear a little bit of it, but I was working on a little bit of classical. I heard. I had a little bit of a little, not a pressure situation, but a little down to the wire,

I was giving an assignment to do an accompaniment on Bartok Romanian folk dances.

Bala Bartok, great Hungarian composer, but these are Romanian.

Anyway, violin, well, he did several different arrangements of them. And I remember years ago, I think doing the piano arrangements because it seems so familiar. But my son needed to do kind of an audition recording and asked me to accompany him on piano while he's playing violin. Um, and I was like, sure, that'll be so good. And we actually just recorded it today. So the last few days, I've been practicing that, trying to get that up.

It's always interesting to go back and reading stuff where it's like, is it like riding a bike or not? It kind of is. It was sort of coming back. So by the time we went into record, it was starting to come back. But then I was just trying to practice on like trying to make it musical. You know, it's like, I always think about those portions when you practice, and we talk about this in improvising, like practicing on all the skills you need to be able to

improvise. Yeah. Versus like how do you practice being a creative soul in front of your instrument,

you know? So I think with the classical stuff, and especially when you're accompanying someone

and you have to kind of connect through the music, it becomes a matter of, you know, like now I know the music, how do I bring it to life? How do I play it in a musical way? How do I connect with the spirit of Bartok and the Romanian folks songs and things like that? But I didn't have the music memorized. I'm still reading it. I mean, I barely can get through it. And it's really funny because

I'm putting all these, like, Daniel, my son was laughing because I put these chord symbols, not

everywhere, but like places where I'm not sure. You got what you got to do. Yeah, I'd be like B minor. And he's like, why do you put? I was like just so that I don't have to think about the accidental, just to confirm it.

Yeah, I've already trained what B minor is to me.

So I don't need to see B. Bartok's B minor here.

I'm just going to trust that the top note is the same.

I do this. I've already trained what B minor is to me, so I don't need to see Bela Bartok's B minor here.

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