March 23, 2026

THE SOUND OF GOLD with my breakthrough piano guest Jeremy Gould.

THE SOUND OF GOLD with my breakthrough piano guest Jeremy Gould.
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Season 1

Join me today in meeting the founder of Breakthrough Piano Club. Meet Jeremy Gould. A talented musician and teacher of piano lessons. Tune in to learn some tricks and tips on how to learn tobplayvthe piano.  Jeremy has created an easy approach to understanding how to play piano in an online method approach, different than most.

The Sound of Gold is broadcast live Mondays at 4PM ET / 1PM PT on K4HD Radio - Hollywood Talk Radio (www.k4hd.com) part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). The Sound of Gold TV Show is viewed on Talk 4 TV (www.talk4tv.com).

The Sound of Gold Podcast is also available on Talk 4 Media (www.talk4media.com), Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.

Become a supporter of this podcast: https://www.spreaker.com/podcast/the-sound-of-gold--6696013/support.

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This program is designed to provide general information with regards

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to the subject matters covered. This information is given with

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the understanding that neither the hosts, guests, sponsors, or station

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are engaged in rendering any specific and personal medical, financial, legal, counseling,

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professional service, or any advice. You should seek the services

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of competent professionals before applying or trying any suggested ideas.

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Hi, and welcome to the Sounds of Gold.

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Of Gold.

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I gave sounds an a at the end, little Italian,

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little Italian language there, but welcome. It's Monday. I'm happy

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to be here for you. And although I cannot see you,

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I know you can see me and you can also

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hear me, So welcome. And we are focusing on music.

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We are focusing on the passion of playing, the passion

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of being a musician, the passion of creating from an

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artistic point of view through sound. And I'm here in

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my music studio. Last week I was traveling, so it's

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good to be back home in my music studio and

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here with my cat CALLI. And if you're watching, maybe

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some of you can see and if you're just listening,

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letting you know I'm in good company. Cat Company. I'm

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a music teacher here in Palm Beach Gardens, Florida, and

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I'm also a radio show host. My purpose for doing

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this is keeping music alive. We as musicians, we learn

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to play our instruments, we learn to perform, we learn

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to be on stage and play for others and mostly

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play for ourselves. It is a true blessing when we

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are able to get involved with a music school or

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meet a music teacher that we can learn with. And

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as I said, I'm a music teacher, but even though

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I've been playing over forty years, i am still a student.

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I still take lessons and I still learn, and it's

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never ending. And that's what the beauty of music is,

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it's never ending learning. I'm so excited today to let

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you know that my guest is a very talented special

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guest that is not only a pianist, but he is

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also an online music teacher for those of us that

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are too busy to go into a studio and have

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a live teacher. And I think he does do live

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lessons also. But he is Jeremy Gould from break Through

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Piano Club and I know we met backstage, and Jeremy,

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I'd love to bring you on to the stage.

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Hi, Lisa, thank you so much for having me on today.

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It's just a pleasure to get to meet you finally.

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And I'm glad to see that you have a cat,

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because I have a couple of dogs that are going

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to be in the background and they might be making

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noise later, so hopefully, hopefully they won't interrupt this. But

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I love I love seeing people with their animals, and

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that's one of the nice things about, you know, teaching

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online is I get to see people at their instrument

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with their pets and in their in their homes, which

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is a lot different than having people just come to

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your own house. So it's lovely to be here. Thank

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you so much for having me.

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Thank you. And I have a more than one cat,

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so you might see we might get visitors, depends who's

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not stage fright today. Jeremy, we've been connected online. I

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don't know for how long, but I've been followed you.

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You've been a true inspiration to me, and I'm sure

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you heard. Even though I'm a piano teacher for over

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twenty years, I've been playing for over forty and I

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still take lessons. It's a never ending journey and I

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think it's absolutely beautiful to be a musician. And I

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know a lot of people. A lot of my listeners

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are musicians or are thinking of getting involved and not

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sure how to. And tell us a little bit about

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your journey before we get into the heart of the teaching.

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Oh sure, yeah. So I'm out in northern Colorado, Greeley

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for any of you've been out in this part of

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the country. And I started piano as a young kid.

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My first lessons were in fourth grade, but they were

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fairly short lived, and then I continue playing on my own,

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and then high school, got really serious about music, auditioned

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for music school, and long story short, I have two

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music degrees, a bachelor's in a mass and piano performance

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and uh and I teach piano now all online with

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with my wife Robin Fall, who's also my business partner.

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And in addition to teaching these days, I'm also a

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piano technician. I've been doing that for about a little

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over twenty years. So so my specific I guess expertise

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that applies to the Breakthrough Piano Club has to do

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with teachings of Abby white Side. Yes, who's a pedagogue

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that probably not as well known as she should be,

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but she was the first part of twentieth century, and

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she had some very uh, very opinionated about what was

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wrong with piano teaching at the time and how to

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fix it. And she's just she's a brilliant she was

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a brilliant teacher. So that's what we base the loosely,

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we're basing the curriculum around that. In the Breakthrough Piano

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talk about all kinds of things and this with our

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adult program. We'll talk more about that in a second.

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But Ivy Whiteside is is the Bee's knees And if

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I could do anything, it would be just to spread

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the word and have people read more about her and

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learn about some of her approaches to piano technique. I

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think it's really helpful, especially for adults.

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Now I had I had looked online. I'm a I'm

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a frequent flyer when it comes to Amazon shopping. I'm

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sure many can relate. And I look to purchase her

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book and it's not cheap And isn't it out of publication.

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I'm not sure at the moment, it's been a little

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while since I checked. I know it was available as

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a as a downloadable file on Amazon, and I don't

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know if it still is or not, but yeah, they

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get the hard copy is probably very expensive at this point. Yes,

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but it was co this collection that you'll see. Oh,

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I should have it with me. It's up on my

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shelf over there. I could grab it in a second

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if I want. But it's two books actually in one

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that you'll you'll find it in and it's one is

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on piano playing and the other is a set of

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a set of essays about h various things, but it's

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called Master tu pan Etubes and other essays. And those

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two volumes combined into one or what you'll find if

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you go searching for Abbey Whiteside on Amazon or or elsewhere.

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And there are to I know, there are some YouTube

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videos based on her techniques. There are not a lot, though,

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which which I wish there was more of. But yeah,

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I I personally need to buy that book. Even though

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I know a little bit about it, I don't know enough.

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And well, the way I came across her is my

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teacher during my undergrad was studying well had studied with

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Sofia Rosoff, New York, who was who was a student

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of Abbey white Sites. Okay, so like second generation abby

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White site and and so it took me a while

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to really get what he was describing. And but once

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I finally figured out, you know, specifically with outlining, how

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to apply that to my to my learning of pieces,

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it really helped everything. So anyway, it's it's great for

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adults because a lot of times is as students where

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I'm getting a little bit into the nitty gritty hero

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this is great, but it's as young students were presented

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with with piano music, with beginning music, and we often

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have these you know, we're taught to hold a specific

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hand position and maybe how to move our arms a

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little bit depending on the teacher. But it's very finger

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focused typically, right, you have to find your thumb on

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middle C or you have to find you know, and

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all the fingerings and and everything's written and it's just

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finger to finger to finger to finger at the beginning,

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and it's really hard to avoid that, well unless you

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have another I guess, another approach. But what happens is

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then then when students start getting into intermediate and and

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more advanced literature, they still carry some of that note

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to note listening and thinking through and into the advanced pieces,

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and it just doesn't work as well, and then if

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they hit a roadblock, and then often they quit, and

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then I see them when as adults, right, and and

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so you know, the Breakthrough Piano Club is specifically for

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people who maybe they had lessons as as they were younger,

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and then they're coming back to piano, or maybe they've

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played throughout their lives but they haven't been just satisfied

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with their technique things like that. So so what we

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do is we help them get out of that sort

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of note to note finger focused approach and teach them

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new ways to approach practicing. It's more of an outside

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in kind of thing, so to start with larger units

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and then break them into smaller units of time.

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So I love that. I have like so many questions

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I want to ask you, and I want to focus

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I want to focus on you. I want to focus

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on what you what you share with the community, what

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you bring online to. So many people that are breaking

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through right are coming back to piano or who have

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me personally, I've been playing for over forty years and

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I'm connected with the Breakthrough Club and not as much

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as I should, but but I do guilty. But what

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okay for those those out there that are looking to

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get back into playing piano, that aren't sure what is

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the best fit for them, the best program for them,

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what you offer as far as course wise. And I

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know I had signed up for a free program just

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to log in and sign up and then I'm gonna

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let you talk. But you you give us like an

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in and then you offer this amazing program with such

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a great community.

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Yeah. So so the Breakthrough Club, the Breakthrough Piano Club

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is not geared towards beginners. So if you're looking for,

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you know, just learning how to read music again, maybe

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you've forgotten. This probably isn't thing for you. It's more

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for people who already can play, you know, maybe they

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have some pieces they love to play at the piano. Generally,

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you want to be at least an inner me idiot

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level player, so you can approach things like for release

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and maybe some small Mozart sonatas or sonatinas and things

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like that. You don't have to be advanced by any means,

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but you have some basics. Because we're not covering the

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rudiments of you know, what are these notes and what's

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this rhythm and all that kind of stuff. You already

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have that stuff worked out before you come to us.

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But you know, it's for people who have really hit

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kind of a point in their life where they're ready

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to come back to piano or spend more time with

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the instrument. You know, they have they've always had a

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love for playing, maybe they've played their whole life, but

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now they really want to kind of maybe check off

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some of the pieces they've always wanted to play or

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been too afraid to play, and we help lead them

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towards that.

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So, so, do you have group classes? Do you have

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one on one class?

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Is?

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How do you? How do you? How does your program work?

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Yeah, so we started this about three years ago, and

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prior to this, you know, we had been teaching online,

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but we wanted to find a way to get adults

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together in groups because we found that teaching adults one

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on one is wonderful. But we kept running into this

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problem with getting them to play for each other or

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for somebody else, and they were never there was always

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this feeling like they didn't know whether they were doing

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it right or not, even though you know, we were

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telling them, you know, how they were doing It's hard

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when you're learning in a vacuum like that, You're not

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hearing what other people are doing and other other people's experiences.

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So one of the amazing things with the group setting

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online is it's like we're all sitting in the room

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together with our own instruments, kind of side by side, yes,

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and then somebody's you know, it's struggling with something or

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they're working on a piece, and then you know, they

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get a suggestion from us or maybe one of the

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other members and they try it and it's like it works,

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and there's this light bulb moment, and then everybody else

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sees that and it's very exciting for everybody because they see, whoa,

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I got to try that on my piece. I've never

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thought of it that way before. And then and then

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there's just this upward like energy that happens, and they

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want to go practice and they come back, hey, I

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tried that thing and it really worked, but now I

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have this other problem. And then it just keeps going

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like that, whereas before it was like it can come

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to your lesson. And generally the pattern is they've practiced,

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they worked on it, but then as soon as they

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start there's a string of excuses, Oh yeah, it's just

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didn't go as well today as it went at home

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or all your piano really, you know, messes me up

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because it feels different than my piano at home. And

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you know, there's always a string of things like the

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barriers to actually working on the actual music, and so

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all of that stuff gets kind of pushed to the

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back because we're focused more on each other and and

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you know, when it's not your turn to play, somebody

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else is working on something. You're you're engaged, and you're

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called on to you know, to make comments and things,

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and it's it's just such a more productive atmosphere than

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a one on one lesson, I find. And we really,

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I mean our first year day, we had five members

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initially in the group, and I had never seen anything

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like it. I've been teaching for more than thirty years

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as you have, and I've never seen adults make progress

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like this. Like I had a student who she started

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with she's been struggling with Clara de Loone you know, forever,

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and so she's she played she we worked with that

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as you know, our initial material, and she started gaining

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you know, some confidence, and I said, so what else

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do you want to play? And you know, all kinds

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of suggestions came up and she'd heard me use flight

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of the ball will be in an example, you know,

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and that'd be I'd love to play that, but there's

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no way, right, I said, well, we're going to start

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flying the bomb will be and she she dove into it,

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and in like in a couple of weeks she was

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playing through the whole piece, and in about a month

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and a half she had it pretty much memorized and

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almost up to tempo. And this is somebody who was

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not comfortable playing fast pieces at all, you know, and

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so so yeah, but part of that comes from, you know,

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the different approach that we're using, which gets people out

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of their kind of note to note kind of mode.

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They're using bigger, bigger emotions right from the beginning, and

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they're starting to to see bigger chunks of music and

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grabbing shapes off the page rather than individual notes, and

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that translates into a change in how they move, which

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changed which has us feedback effects. Now they're moving differently,

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and now they're starting to hear the music differently, and

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once they hear the music differently, it makes it easier

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to to see it on the page and see where

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where the groupings are. So this it's just this really

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cool thing that happens. And then but when when you

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have the group of people and you have somebody who

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has this little breakthrough in class, and it just like

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it's like a little spark and the fire just spreads

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and it's really it's really exciting. And and they're in

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the habit because we have twice a week sessions, they're

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in the habit of playing for each other at least

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once a week. If they just come for one, some

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of them come to both, and and so it gets

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them out of this out of their shell a little bit.

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They get more used to just performing. And it's so

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much easier when you don't have to adjust to a

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new instrument each time you go to a lesson or

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a new environment. So they're more comfortable. They're in their

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own zone. And even if their instrument isn't perfect, you know,

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at least it's something they're comfortable with, so they're not

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having to feel like they're overcoming like differences from one camera.

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So that's one of the hidden I think the hidden

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advantages to online lessons that I haven't heard anybody else

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talk about, but I noticed it right away with adults,

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particularly because they always come in and say, oh, what

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happened and this went perfectly at home? Right, I hear that. Yeah,

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and now they you know, that excuse is gone. So

303
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regardless of whether it went perfectly now or not, it's

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the same piano. So so you have to find another reason,

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if you know, if it didn't a better reason, right, yeah,

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and so so I don't know, it's there's a lot

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of advantages.

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So, Jeremy, we are on we are on the radio.

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We're also live on television. So for those of my

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friends and audiences out there that are listening and not watching,

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share how to get in touch with with you and

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how to get in touch with Breakthrough Piano Club.

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Yeah. Well, we're on the School platform, which is scrolling

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down at the bottom of the screen here. I see

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it's www. School dot com and School is spelled with

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a K S K O L. And then Breakthrough Piano Club.

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If you just went to school and did a search

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for us, you'd find us, or if you did a

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search on Google for Breakthrough Piano Club, I think you'd

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find us as well. We also have a website. It's

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Gooldanfallpiano dot Com and that's my wife and I's partnership

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in our business. We also, aside from the Breakthrough Club,

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we still teach younger students K through twelve students also

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all online though.

325
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Okay, and it's funny what you mentioned. I teach, I

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teach at school, I teach privately, and I do teach

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I do teach at the student's home. And my reason

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for all these years has always been I'd rather come

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to you because I can see what you're working on

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your in your own environment. You are, you feel comfortable,

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and you don't have to, you know, come to my

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home and then worry about what you know, the difference

333
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in the piano and the keys, or it's just it's

334
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so much better. I so agree with you on that.

335
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Yeah, I agree with you on that.

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Now my question is when you have students bringing different

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pieces and they're all sharing uh different songs and each

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person is kind of taking turns. Am I my understanding

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this correctly? Okay? So with that, and we learn from

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each other, even as teachers, we learn from our students.

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And what would you say? You you said, Abby Whiteside

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has been a great inspiration to you. So teaching online

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is a little different than being in person. So how

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do you go about what has inspired you to teach

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a different way with her in mind, with her teaching

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you to teach others. Does that make sense?

347
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Yeah, I think so, because there's a lot of adjustments

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that people have to get comfortable with when they move

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from an in person setting to an online setting. Sure,

350
00:21:26.720 --> 00:21:30.039
but there's not as many differences as you might think. Initially.

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One of the things that people will point out is, well,

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you can't really manipulate a student's arms and hands, you know,

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at the piano over the internet. You know, you can't

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take a student and show them their wrist height with

355
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your hand or something like this. But I will remind

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them that actually I haven't been doing that in my

357
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studio for probably a couple of decades because we have

358
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a hands off approach and policy, you know, for for

359
00:22:03.359 --> 00:22:07.680
liability reasons. But so I've learned to teach this way

360
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before I was teaching online, and so even though we

361
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were in the same room, there was no hands on anyway,

362
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So that aspect of it wasn't really an issue. The

363
00:22:20.920 --> 00:22:23.640
main thing is, you know, I have, like I have

364
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an overhead camera that I use and you know, so

365
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I can give them different views of what's happening, and

366
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then from their perspective, all they need is their laptop

367
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and they don't need all of it, like I have

368
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a I have headphones and a microphone just so you know,

369
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we don't have issues today. But but but you don't

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need anything complicated really just usually the the laptop is

371
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all you need next to your keyboard or piano and

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you're good to go. So there's there's not a lot

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of differences between online and and in person teaching for me. Uh,

374
00:22:57.200 --> 00:23:00.559
it's the big roadblocks we had initially, you know, just

375
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after COVID, where people often didn't have good internet service,

376
00:23:04.440 --> 00:23:06.960
and it's still unfortunately the case in some parts of

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the US and elsewhere. But where you have high speed internet,

378
00:23:11.839 --> 00:23:15.880
it's it's miraculous. It feels like I'm just I'm beaming

379
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myself into your home. You know, it's very Star Trek

380
00:23:19.599 --> 00:23:23.359
kind of kind of feeling. You know, do this like

381
00:23:23.440 --> 00:23:27.319
this interview right now today. I mean it's it's seamless.

382
00:23:27.319 --> 00:23:29.279
It's amazing, Yes, yes it is.

383
00:23:29.799 --> 00:23:32.799
Now, Jeremy. If a student comes to you and I'm like, oh,

384
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I used to work on this piece and I just

385
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put it aside because I gave up I can't. I

386
00:23:37.759 --> 00:23:43.119
can't do it. I can't. It's just too hard. What

387
00:23:43.119 --> 00:23:45.480
what would be your response that? Do you do you

388
00:23:45.599 --> 00:23:48.559
review the music? Do you say, okay, let's I have

389
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my own way of teaching, So how do you go

390
00:23:50.640 --> 00:23:51.119
about that?

391
00:23:51.519 --> 00:23:54.920
Yeah? So one of the big things if they're stuck

392
00:23:55.000 --> 00:23:59.000
on a piece, it's usually because well, there's there's usually

393
00:23:59.000 --> 00:24:02.000
a couple of things happening, but one is that they're

394
00:24:02.039 --> 00:24:05.920
usually using the muscles, the small muscles that control the fingers,

395
00:24:06.279 --> 00:24:11.200
that are better accomplished by using the larger bones and

396
00:24:11.240 --> 00:24:14.359
muscles in your body. So I help them find that

397
00:24:14.480 --> 00:24:18.720
in themselves. I give them this exercise that's called the sledgehammer.

398
00:24:18.559 --> 00:24:18.640
And.

399
00:24:20.720 --> 00:24:26.640
It's basically it's you you have your fists or your

400
00:24:26.799 --> 00:24:30.799
hands clasped like this, and we play moving side to side,

401
00:24:30.839 --> 00:24:32.680
and we learned how to move the sitting and bones

402
00:24:32.720 --> 00:24:34.839
for a second. It really takes about five minutes to

403
00:24:34.920 --> 00:24:37.119
learn how to do it, and it can transform how

404
00:24:37.200 --> 00:24:40.359
you move with the piano right away. Then we look

405
00:24:40.400 --> 00:24:43.200
at their music and I have them outline. Usually we'll

406
00:24:43.400 --> 00:24:46.240
pick a section it's maybe four measures, so we're gonna

407
00:24:46.240 --> 00:24:50.000
play the first beat of each measure for four measures.

408
00:24:50.519 --> 00:24:53.599
So they have four things to think about, and they play,

409
00:24:53.880 --> 00:24:55.480
and then they feel how their body moves, and I

410
00:24:55.839 --> 00:24:58.599
draw their attention to, you know, the distances and the

411
00:24:58.640 --> 00:25:01.599
direction that they're moving, and they get really comfortable with

412
00:25:01.640 --> 00:25:05.079
that simple motion leaving out all of the details. Then,

413
00:25:05.240 --> 00:25:08.680
because their arms are already moving in the right direction

414
00:25:08.960 --> 00:25:11.079
at the right time, and they're playing the right notes

415
00:25:11.119 --> 00:25:13.559
at the right time. Even though they're leaving things out.

416
00:25:13.960 --> 00:25:14.119
They.

417
00:25:15.640 --> 00:25:19.079
Now have the notes available that they've been leaving out,

418
00:25:19.160 --> 00:25:22.039
and it's so much easier to drop those in. And

419
00:25:22.279 --> 00:25:24.200
because they've already got the piece in their ear, because

420
00:25:24.240 --> 00:25:29.039
it's something they've been working on. In this scenario, it's

421
00:25:29.240 --> 00:25:34.960
usually miraculous they find like they find that that feeling

422
00:25:35.039 --> 00:25:38.480
of the big motions in the lead makes it easier

423
00:25:38.519 --> 00:25:41.279
to fill in the gaps rather than feeling like you've

424
00:25:41.319 --> 00:25:44.000
got note moving to note and moving a note to

425
00:25:44.200 --> 00:25:48.200
build the rhythmic structure. Rhythm is a process of division

426
00:25:48.519 --> 00:25:51.200
rather than addition. So we have the units of time

427
00:25:51.519 --> 00:25:54.880
that are divided into smaller note values, and we teach

428
00:25:54.920 --> 00:25:58.920
them to feel that in a really clear sense, and

429
00:25:58.960 --> 00:26:01.680
then they can solve any technical problem that they have

430
00:26:01.759 --> 00:26:05.160
with their pieces through this lens and it's a much

431
00:26:05.359 --> 00:26:08.000
faster way to get to it rather than you know,

432
00:26:08.599 --> 00:26:10.480
you play a section over and over, you keep missing

433
00:26:10.480 --> 00:26:13.599
that one note right. Often it's because you just don't

434
00:26:13.599 --> 00:26:15.839
have a way to move. You're reaching with your fingers

435
00:26:15.880 --> 00:26:19.119
to get there, or you're thinking I have to twist

436
00:26:19.279 --> 00:26:21.720
or something. Well, if you get the our motion right,

437
00:26:21.759 --> 00:26:24.599
you'll find your your fingers are often just on top

438
00:26:24.680 --> 00:26:27.319
of the notes already and you don't have to do

439
00:26:27.359 --> 00:26:30.920
any extra thing. So anyway, it's a it's a way

440
00:26:30.960 --> 00:26:36.759
to approach musical problems, technical challenges, and to really just

441
00:26:37.119 --> 00:26:42.200
open up possibilities for expression, influencing and control and all

442
00:26:42.240 --> 00:26:44.200
that good stuff that we want. We play panel.

443
00:26:44.559 --> 00:26:47.400
I love that. I love that, and it's so beneficial

444
00:26:47.519 --> 00:26:51.599
because even with my students, it's the shape, it's the

445
00:26:51.640 --> 00:26:54.799
shape of your hand, it's the motion, it's where are

446
00:26:54.839 --> 00:26:57.039
you where are you going? And it's kind of that.

447
00:26:57.400 --> 00:27:00.359
That's also the beauty of reading music is that you

448
00:27:00.480 --> 00:27:04.279
know what to expect and when you can when you

449
00:27:04.400 --> 00:27:10.039
can know what to expect and prepare for it, then

450
00:27:10.079 --> 00:27:12.680
it kind of takes the fear away from oh, what's

451
00:27:12.759 --> 00:27:15.519
the next measure? And it's not note by note, it's

452
00:27:15.559 --> 00:27:19.200
more of a shape, and it's more of a at

453
00:27:19.279 --> 00:27:22.400
least in my teaching world, it's more of a chunking

454
00:27:22.920 --> 00:27:27.960
and moving slowly, but also looking for the patterns, and

455
00:27:28.039 --> 00:27:31.480
also in my world, in my teaching world, breaking it

456
00:27:31.519 --> 00:27:36.079
apart and seeing, you know, what's different and what's the same,

457
00:27:36.160 --> 00:27:40.039
and then we make the song look smaller when you're

458
00:27:40.039 --> 00:27:43.400
able to find the same pattern maybe four times or

459
00:27:43.440 --> 00:27:45.039
six times.

460
00:27:44.960 --> 00:27:46.960
Right, the piece, all of a sudden, it feels huge

461
00:27:46.960 --> 00:27:49.759
at the beginning, and then as they work on it,

462
00:27:49.759 --> 00:27:54.000
it doesn't feel so overwhelming anymore. Yes, yes, but yeah,

463
00:27:54.119 --> 00:27:56.440
So when students come to us, like I said, they're

464
00:27:56.480 --> 00:28:01.200
usually intermediate level or beyond that, so they already have

465
00:28:01.440 --> 00:28:04.279
so many things they do at the piano well well

466
00:28:04.440 --> 00:28:09.160
enough to play, you know, a piece of intermediate piano literature,

467
00:28:09.680 --> 00:28:14.240
you know, even if it's not perfect. And so, you know,

468
00:28:14.359 --> 00:28:16.079
one of my teachers used to say, there's as many

469
00:28:16.160 --> 00:28:20.000
different techniques as there are pianists, and I totally agree

470
00:28:20.000 --> 00:28:25.359
with that. So the nice thing about this approach is

471
00:28:26.279 --> 00:28:31.440
there's room for for differences in how you move. But

472
00:28:31.680 --> 00:28:35.559
the overwriting principle is that all of our emotions start

473
00:28:35.640 --> 00:28:39.240
from the center and move out. And so the fingers

474
00:28:39.279 --> 00:28:42.559
are the last thing we really want to work with

475
00:28:42.720 --> 00:28:45.839
when we're when we're trying to establish a coordination at

476
00:28:45.880 --> 00:28:50.200
the piano. It's the tail of the dog, right. We

477
00:28:50.240 --> 00:28:53.720
don't want to have it work the other way. So

478
00:28:53.799 --> 00:28:55.559
I don't know, Yeah, I have.

479
00:28:55.720 --> 00:28:57.680
I have a question for you, and this is as

480
00:28:57.759 --> 00:29:00.279
a teacher and as a student, and I think about

481
00:29:00.319 --> 00:29:03.440
this all the time. I have some great students, and

482
00:29:03.480 --> 00:29:06.319
I have some students that, well, all my students are great.

483
00:29:06.680 --> 00:29:10.160
Take the back, they're all great. Me specifically, being a student,

484
00:29:10.480 --> 00:29:15.519
I find that I write right handed, and I mean

485
00:29:15.599 --> 00:29:19.359
no disrespect. So please, any of my listeners, please do

486
00:29:19.440 --> 00:29:22.359
not take this out of text. When I work with

487
00:29:22.400 --> 00:29:25.440
my students, most of them are right hand. They write

488
00:29:25.480 --> 00:29:28.160
with their right hand. So I say, the left hand

489
00:29:28.240 --> 00:29:30.640
is the slower child and needs more love and attention.

490
00:29:31.079 --> 00:29:34.359
So we kind of want to focus. For my teaching,

491
00:29:34.640 --> 00:29:37.359
I say, let's focus on the left hand first. Let's

492
00:29:37.480 --> 00:29:40.839
let's get out the kinks. However, I'm asking you, as

493
00:29:40.880 --> 00:29:43.839
a student, from a student point of view, what is

494
00:29:43.880 --> 00:29:46.440
your what is your take? What is your teaching on

495
00:29:47.960 --> 00:29:52.559
that not only dexterity, but the the bringing that together.

496
00:29:52.680 --> 00:29:53.480
The coordination.

497
00:29:54.240 --> 00:29:57.200
Yeah, well, I think it starts with how we listen.

498
00:29:57.759 --> 00:30:00.240
So what you're talking about with the left hand his

499
00:30:00.319 --> 00:30:03.160
right hand. I notice this with left handers as well,

500
00:30:03.359 --> 00:30:06.839
that the left hand often lags behind. And it's because

501
00:30:07.000 --> 00:30:10.359
we are so in tune with the melody line and

502
00:30:10.400 --> 00:30:13.799
it's harder to hear the inner voices. The bassline sometimes

503
00:30:13.920 --> 00:30:17.000
isn't so hard to hear, but but but sometimes we

504
00:30:17.160 --> 00:30:19.880
kind of are not super aware. If I ask the

505
00:30:19.920 --> 00:30:22.079
students to see the tune, that usually can if I

506
00:30:22.079 --> 00:30:24.000
ask him to see the bassline, they just look at

507
00:30:24.000 --> 00:30:27.839
me with a blank stare. So, so what you're saying is,

508
00:30:28.039 --> 00:30:30.440
you know, really focusing on the left hand is really

509
00:30:30.480 --> 00:30:34.480
important because, yeah, it's like the it's it's the foundation

510
00:30:35.079 --> 00:30:38.880
of the harmony. You know, often the root is in

511
00:30:38.920 --> 00:30:42.960
the bass, not always, but but it's the it's the

512
00:30:43.039 --> 00:30:45.519
key to understanding all of the other things that are

513
00:30:45.559 --> 00:30:48.119
happening and the piece. So absolutely, But I don't think

514
00:30:48.160 --> 00:30:51.160
it's limited to people who are right handed or left handed.

515
00:30:51.200 --> 00:30:53.039
I think it has to do with the way we're

516
00:30:53.359 --> 00:30:56.039
We're just conditioned to hear the tune is being important

517
00:30:56.039 --> 00:30:58.720
because that's the song part when we're listening to pop

518
00:30:58.799 --> 00:31:02.640
music and everything else, and so we have to recondition

519
00:31:02.720 --> 00:31:06.279
ourselves as pianists because we're the whole orchestra, and make

520
00:31:06.359 --> 00:31:09.839
sure we're hearing all of the other parts. And the

521
00:31:09.920 --> 00:31:14.240
thing is about listening that I think that I really

522
00:31:14.559 --> 00:31:19.359
emphasize is it's not so much listening just note to note.

523
00:31:19.519 --> 00:31:23.400
Music is hierarchical. There's a structure, and often that baseline

524
00:31:23.440 --> 00:31:25.759
will help you find that structure because you hear the

525
00:31:25.839 --> 00:31:29.079
chords the chord movement more readily if you just listen

526
00:31:29.119 --> 00:31:33.839
to the left. So interesting we start with the you know,

527
00:31:33.880 --> 00:31:35.720
if we start with the first bat of each measure,

528
00:31:35.920 --> 00:31:38.839
most of the time the chord motion is going to happen.

529
00:31:39.480 --> 00:31:41.640
The chord changes are going to be on beat one,

530
00:31:41.680 --> 00:31:44.680
most of the chord changes, not all, but most, and

531
00:31:44.759 --> 00:31:47.400
so we can hear those chord changes right from the beginning.

532
00:31:47.680 --> 00:31:51.079
And then once we have that foundations, it's like we're

533
00:31:51.079 --> 00:31:54.319
building up the way we're hearing the music in a

534
00:31:54.359 --> 00:31:57.720
different way. Rather than starting with the details, we're starting

535
00:31:57.759 --> 00:32:00.599
with the structure. We're putting up the choice, and then

536
00:32:00.799 --> 00:32:03.519
then we're putting on the you know, the dry wall

537
00:32:03.640 --> 00:32:04.440
and the paint and.

538
00:32:07.000 --> 00:32:11.000
No in in I'll take I'll give you an example today,

539
00:32:11.240 --> 00:32:14.200
one of my students is working on Sona Tina n

540
00:32:14.319 --> 00:32:19.400
C C major and there is no I take that back.

541
00:32:19.519 --> 00:32:21.839
She's also well, she's working on that, but she's also

542
00:32:21.880 --> 00:32:26.559
working on the song Angel by Sarah McLaughlin and it

543
00:32:26.599 --> 00:32:30.279
is it is written in an accompaniment style and then

544
00:32:30.319 --> 00:32:34.039
it's written just in the treble cloth. Okay, right, so

545
00:32:34.119 --> 00:32:35.759
you have like, if you're going to play for somebody

546
00:32:35.799 --> 00:32:38.960
who's singing, you play the accompaniment part opposed to the

547
00:32:39.160 --> 00:32:42.839
portion with the chords. Now, when you look at the

548
00:32:42.839 --> 00:32:47.480
accompaniment part, like my student including myself, sometimes I'm just like, yeah,

549
00:32:47.519 --> 00:32:50.359
let's go pick something different. And I'm being silly, but

550
00:32:50.839 --> 00:32:56.799
it just seems more of a more work, more of

551
00:32:56.839 --> 00:33:00.000
a focus. Yet if we if we break it down,

552
00:33:00.119 --> 00:33:03.480
it's really just the chord being broken up in the

553
00:33:03.559 --> 00:33:04.400
left hand.

554
00:33:06.680 --> 00:33:09.599
Right, which is you know the idea you were mentioning

555
00:33:09.599 --> 00:33:14.440
earlier about using chunking in that situation. Yeah, So often

556
00:33:14.640 --> 00:33:17.039
we'll play what's on beat one, but if there's a

557
00:33:17.079 --> 00:33:21.319
whole chord that is implied in the texture, we'll just

558
00:33:21.359 --> 00:33:24.839
have them drop in everything that's in the measure in

559
00:33:24.880 --> 00:33:27.440
that instance, I just have them played the chords one

560
00:33:27.519 --> 00:33:30.839
chord per measure, and then you can open up the

561
00:33:30.920 --> 00:33:34.079
chords under the individual notes. And it's so easy because

562
00:33:34.359 --> 00:33:37.359
it's harder to play a chord moving to a chord

563
00:33:37.480 --> 00:33:39.480
than it is from a note moving to a note.

564
00:33:39.640 --> 00:33:43.359
But when we have our pagiated patterns, the r pagiated

565
00:33:43.440 --> 00:33:45.960
pattern is so much easier if we already have the

566
00:33:46.039 --> 00:33:48.400
hand shapes in place, and then we can just break

567
00:33:48.440 --> 00:33:50.960
them up. What students often will do, though, is they

568
00:33:51.000 --> 00:33:53.599
don't see it as a chord initially, and they'll learn

569
00:33:53.720 --> 00:33:55.400
one note to the next, to the next, and then

570
00:33:55.440 --> 00:33:58.720
they develop all these extra motions to get there. That

571
00:33:59.279 --> 00:34:01.200
it could be so simple if they just had the

572
00:34:01.240 --> 00:34:03.759
core and we're rolling through it right. So, I don't

573
00:34:03.799 --> 00:34:07.559
know if that if that applies to your example there.

574
00:34:07.920 --> 00:34:12.679
Yes, yes it does. And I tell my students and

575
00:34:13.000 --> 00:34:16.920
perhaps you you share this as well. There's so many

576
00:34:16.920 --> 00:34:19.159
of my students I want I'm thinking of one in particular,

577
00:34:19.239 --> 00:34:21.239
brings me sheet music and says, Okay, I want to

578
00:34:21.320 --> 00:34:26.480
learn this, and kind of like the microwave effect, I

579
00:34:26.519 --> 00:34:28.039
want to learn this. I want to know it, like

580
00:34:28.280 --> 00:34:33.639
you know, by next week. And I tell my student

581
00:34:33.760 --> 00:34:35.639
that you know it's going to take as long as

582
00:34:35.679 --> 00:34:38.800
it takes, because that's not fair to limit yourself on

583
00:34:39.400 --> 00:34:43.000
learning the piece. Do you get that response from some

584
00:34:43.079 --> 00:34:45.039
of your students, Yeah.

585
00:34:45.159 --> 00:34:48.320
I think if I if I'm hearing you right, there's

586
00:34:48.360 --> 00:34:51.880
a little bit of impatience about. You know, they know

587
00:34:51.920 --> 00:34:55.480
how they'd like it to sound, and it's it's frustrating.

588
00:34:55.880 --> 00:34:59.320
You know, they want to get there now. Yes, do

589
00:34:59.360 --> 00:35:02.079
all this pesky practicing to get there. But one of

590
00:35:02.079 --> 00:35:05.400
the things is often what will happen is as a

591
00:35:05.440 --> 00:35:08.519
student will have worked on a piece quite diligently, but

592
00:35:08.559 --> 00:35:11.639
it still is just a slog to get through. And

593
00:35:11.679 --> 00:35:15.119
it's because that they're still thinking of building up the

594
00:35:15.159 --> 00:35:18.599
structure from one note to the next. It's like starting

595
00:35:18.599 --> 00:35:22.039
a painting if you're an artist, and painting up in

596
00:35:22.119 --> 00:35:25.119
the corner and painting all the details in the hole

597
00:35:25.639 --> 00:35:28.360
and having blank canvas all surrounding, but painting all the

598
00:35:28.400 --> 00:35:30.440
details and trying to build the piece, and then you

599
00:35:30.480 --> 00:35:32.320
get stuck up here in the corner where there's a

600
00:35:32.360 --> 00:35:34.760
bird or something that gives them trouble. Right, It's like

601
00:35:34.880 --> 00:35:38.159
it doesn't make any sense. So we we build a

602
00:35:38.159 --> 00:35:40.760
piece of music in much way that much the same

603
00:35:40.760 --> 00:35:43.320
way that an artist would work with a blank canvas.

604
00:35:43.400 --> 00:35:46.320
They block in the details. We look at the piece

605
00:35:46.360 --> 00:35:49.159
as a whole. This is our musical space. We have

606
00:35:49.239 --> 00:35:51.880
these sections. We can see that our first section starts

607
00:35:51.880 --> 00:35:53.800
in C major, then we move to G major, we

608
00:35:53.920 --> 00:35:56.320
end the C major. We play those chords. Those are

609
00:35:56.360 --> 00:36:00.719
our those are our landmarks, and then we then build

610
00:36:00.800 --> 00:36:04.960
structures from that. You know, you can always go through

611
00:36:04.960 --> 00:36:07.880
and play all the details slowly. That's great. Slow practice

612
00:36:07.920 --> 00:36:12.400
is wonderful, but this does speed up the process of

613
00:36:12.519 --> 00:36:15.760
learning because it can feel really frustrating and like a

614
00:36:15.800 --> 00:36:17.760
slog because you've got this idea in your mind of

615
00:36:17.760 --> 00:36:19.920
how you want it to sound and you're still stuck

616
00:36:19.960 --> 00:36:23.679
on the first page for months. I've had that. I've

617
00:36:23.679 --> 00:36:25.519
had students come to me like that. I'm like, why

618
00:36:26.239 --> 00:36:31.320
I get to the last page on day one? Don't wait? Yeah,

619
00:36:31.559 --> 00:36:33.880
but they need a way to do that, because you

620
00:36:34.039 --> 00:36:36.320
can't going through. If you're painting all the details and

621
00:36:36.320 --> 00:36:38.519
trying to get everything perfect as you go, it will

622
00:36:38.559 --> 00:36:40.199
take you a long time to get to the end,

623
00:36:40.639 --> 00:36:42.599
and then the end will not be as shiny and

624
00:36:42.639 --> 00:36:44.760
sparkly as the beginning. That's where we get with the

625
00:36:44.800 --> 00:36:48.039
beginner syndrome thing, right, It's where we always start at

626
00:36:48.079 --> 00:36:52.480
the beginning. So this gives you a tool. The outlining

627
00:36:52.559 --> 00:36:55.360
gives you a tool so that you can get bigger

628
00:36:55.480 --> 00:36:58.440
chunks and music under your hands and in your ears

629
00:36:59.119 --> 00:37:02.559
sooner in the process. And then you've got the big motion,

630
00:37:02.840 --> 00:37:06.519
the big body movements working for you already, which you're

631
00:37:06.559 --> 00:37:10.079
going to help make adding the details easier. So ye,

632
00:37:10.920 --> 00:37:15.800
it's fun. It's when you not maybe describing it perfectly,

633
00:37:15.800 --> 00:37:19.960
but this outlining idea could be really improvisational because you

634
00:37:20.039 --> 00:37:23.400
have basically the chord changes on the beat, and then

635
00:37:23.440 --> 00:37:25.360
you decide, as you play, well, this time, I'm going

636
00:37:25.360 --> 00:37:27.039
to play some of the baseline. We just tuck some

637
00:37:27.079 --> 00:37:28.880
of those notes in. You don't to play everything, just

638
00:37:28.880 --> 00:37:31.039
add a little bit, and then the next time do

639
00:37:31.039 --> 00:37:33.480
the outline again, and then come back and play the

640
00:37:33.519 --> 00:37:36.639
melody line. As you play the outline with the melody right,

641
00:37:37.000 --> 00:37:40.559
and so you can keep doing this iteration of you

642
00:37:40.639 --> 00:37:43.719
just keep playing those changes with the right arm motions

643
00:37:43.760 --> 00:37:46.719
and the right feeling in your body and the right sound,

644
00:37:47.639 --> 00:37:50.559
just adding in different details in different combinations, and it's

645
00:37:50.639 --> 00:37:55.039
really fun to do. And it's really productive because you're

646
00:37:55.159 --> 00:37:59.480
not learning motions that are working against you when you're

647
00:37:59.480 --> 00:38:01.840
try and speak it up later gets us to the

648
00:38:01.840 --> 00:38:04.920
temple we want sooner to We don't have this feeling

649
00:38:04.920 --> 00:38:07.840
of starting very slow and speeding up gradually and gradually

650
00:38:07.880 --> 00:38:10.639
and gradually. We're starting with the sound of the piece,

651
00:38:10.719 --> 00:38:13.960
the feeling of the piece, right from day one, and

652
00:38:14.079 --> 00:38:17.519
then and then they have a structure that they can

653
00:38:17.679 --> 00:38:18.639
fill in the details.

654
00:38:19.000 --> 00:38:22.800
I love that I have a big audience that loves

655
00:38:22.840 --> 00:38:25.679
to hear, not to take away from from you, that

656
00:38:25.760 --> 00:38:28.840
loves to hear me play. And in my second season,

657
00:38:28.880 --> 00:38:31.199
I made a promise to myself that I would play

658
00:38:31.199 --> 00:38:34.039
a little bit from my audience, a little bit of

659
00:38:34.079 --> 00:38:37.599
an interlude and then and then we will finish off

660
00:38:37.760 --> 00:38:43.639
our show with another question. But before I play, please

661
00:38:43.679 --> 00:38:46.400
tell my listeners who are listening and not watching us,

662
00:38:46.639 --> 00:38:50.840
how to connect with Breakthrough Piano Club and how to

663
00:38:50.840 --> 00:38:52.599
connect with you and your wife.

664
00:38:53.199 --> 00:38:58.559
Sure, so two ways. Search for Breakthrough Piano Club online

665
00:38:58.639 --> 00:39:01.840
and you'll find us. We're on the school platform s

666
00:39:01.920 --> 00:39:06.800
k O O L and our website is Goldenfallpiano dot

667
00:39:06.800 --> 00:39:09.559
com and you can just send us a message there

668
00:39:10.039 --> 00:39:14.000
and we teach students of all ages. Break Through Piano

669
00:39:14.000 --> 00:39:18.480
Club is just for adults. But however you would like

670
00:39:18.519 --> 00:39:20.679
to contact us, we'd love to talk with you more

671
00:39:20.679 --> 00:39:22.239
about your piano playing.

672
00:39:22.599 --> 00:39:25.360
Awesome, thank you, thank you so much jaring me. I'm

673
00:39:25.400 --> 00:39:28.760
excited that we've had you here in our audience.

674
00:39:28.880 --> 00:39:31.079
Thank you so much. It's lovely to meet you and

675
00:39:31.159 --> 00:39:31.760
your cats.

676
00:39:32.199 --> 00:39:35.280
Yes, yes, slovely to be here. Well, don't go anywhere.

677
00:39:35.360 --> 00:39:37.199
I'm just going to play a little something. I don't

678
00:39:37.199 --> 00:39:40.199
have anything memorized or anything prepared. I kind of just

679
00:39:40.239 --> 00:39:44.480
play in the zone. This is something I don't teach

680
00:39:44.559 --> 00:39:47.239
because it just kind of flows through me. And I

681
00:39:47.280 --> 00:39:53.000
can't exactly tell you how that works, but I feel blessed.

682
00:39:53.039 --> 00:40:32.280
I just don't know how to define it.

683
00:40:37.519 --> 00:41:39.960
A chees.

684
00:42:01.840 --> 00:42:12.599
H m hm m hm h m hm hm h

685
00:42:13.360 --> 00:42:36.880
m m m m m m. I see, it's wonderful.

686
00:42:37.599 --> 00:42:42.559
I think it takes great courage to play just free

687
00:42:42.960 --> 00:42:48.199
improvisation live, and I'm really I'm really impressed to hear

688
00:42:48.239 --> 00:42:48.960
you do that today.

689
00:42:49.000 --> 00:42:51.480
It's lovely, Thank you, thank you. I don't I don't

690
00:42:51.559 --> 00:42:53.280
get to do it as much as I love you

691
00:42:53.480 --> 00:42:55.440
or I want you, And sometimes I get to play

692
00:42:55.440 --> 00:42:59.760
it open mic and and busy schedules you know, you

693
00:42:59.840 --> 00:43:01.920
know have a symptoms. We just can't fit it all in.

694
00:43:02.119 --> 00:43:02.679
But thank you.

695
00:43:04.760 --> 00:43:08.239
So Jeremy. It's been such a pleasure having you on

696
00:43:08.360 --> 00:43:11.639
my show. And for my listeners out there that want

697
00:43:11.719 --> 00:43:16.000
to get back into learning piano breakthrough Piano Club on

698
00:43:16.239 --> 00:43:18.000
skool is.

699
00:43:18.039 --> 00:43:19.559
That's correct, and.

700
00:43:21.079 --> 00:43:24.559
We just have a couple more minutes for my listeners

701
00:43:24.639 --> 00:43:27.119
out there. Thank you so much for tuning in today.

702
00:43:27.719 --> 00:43:30.119
Tune in next week to find out who my special

703
00:43:30.199 --> 00:43:34.000
guest will be. I always have great guests, and I'm

704
00:43:34.039 --> 00:43:37.840
always so excited to do this. In closing, Jeremy, please

705
00:43:37.920 --> 00:43:41.239
share with our audience a little something, maybe that you've

706
00:43:41.280 --> 00:43:44.719
learned along the way that has inspired you to continue

707
00:43:44.760 --> 00:43:45.519
playing music.

708
00:43:45.960 --> 00:43:51.159
Let's see, well, specific inspiration for playing music, I don't know.

709
00:43:51.800 --> 00:43:56.679
I would say that I've always played music, so it's

710
00:43:56.800 --> 00:44:01.000
part of me and I can't imagine not doing it.

711
00:44:02.480 --> 00:44:06.400
I've known people occasionally who who say when when they

712
00:44:06.519 --> 00:44:09.719
retire from teaching or whatever, they're not going to play anymore,

713
00:44:09.840 --> 00:44:13.800
and I just can't imagine I imagine doing that. Such

714
00:44:14.440 --> 00:44:17.440
music is such an important part of my life. I

715
00:44:17.559 --> 00:44:20.960
can't I mean, I can't even fathom life without it.

716
00:44:21.440 --> 00:44:24.599
So I don't know. I don't know how to answer that,

717
00:44:24.880 --> 00:44:27.360
because you know, I've had a lot of people who

718
00:44:27.400 --> 00:44:31.679
have been very inspiring and supportive over you know, my

719
00:44:32.440 --> 00:44:37.880
lifetime of music making. So I'm sure that after the

720
00:44:37.960 --> 00:44:40.000
show's over, I'll come up with some brilliant thing. I

721
00:44:40.039 --> 00:44:43.000
should have said. One thing that did come to my

722
00:44:43.159 --> 00:44:46.960
note as you were playing, is, you know, with improvisation

723
00:44:47.360 --> 00:44:51.920
the uh there's a quote by Miles Davis who's talking

724
00:44:52.000 --> 00:44:54.960
about improvisation. I don't know if you're familiar with this,

725
00:44:55.199 --> 00:44:57.800
but he said, you don't have to worry about wrong

726
00:44:57.880 --> 00:45:01.599
notes because there aren't any. So I think that's a

727
00:45:01.639 --> 00:45:04.880
good thing to carry with you as you're doing improvisation.

728
00:45:05.159 --> 00:45:08.000
So yes, thank you. And also when you're playing somebody

729
00:45:08.039 --> 00:45:11.920
else's music, it's good to know that you can resurrect it.

730
00:45:12.480 --> 00:45:15.519
There's no there's no bad, there's no.

731
00:45:15.639 --> 00:45:19.719
Wrong right right, that's true. I love that.

732
00:45:20.280 --> 00:45:23.760
Yes, Well, thank you, Jeremy, and we'll be in touch.

733
00:45:23.840 --> 00:45:27.800
And and for my listeners out there, don't be afraid

734
00:45:27.920 --> 00:45:31.519
step into it, get get involved, be the musician that

735
00:45:31.599 --> 00:45:34.519
you are. If you've ever played it, an instrument. You

736
00:45:34.639 --> 00:45:37.639
are a musician. If you want to continue playing an

737
00:45:37.719 --> 00:45:40.719
instrument or come back to it, don't don't you know,

738
00:45:40.960 --> 00:45:44.320
don't let anything limit you, because we limit ourselves. So

739
00:45:44.840 --> 00:45:46.800
step out of your way and step into the light.

740
00:45:47.320 --> 00:45:49.800
I love that. Yeah, well, thanks so much for having

741
00:45:49.880 --> 00:45:51.039
me today. It's been a joy.

742
00:45:51.679 --> 00:45:53.599
Yes, it has been, and we will. We will be

743
00:45:53.639 --> 00:45:56.480
in touch and I will continue to follow you on

744
00:45:56.920 --> 00:46:00.480
Breakthrough Piano Club and your lovely wife message me today

745
00:46:00.519 --> 00:46:04.599
as well, and so I appreciate both of you.

746
00:46:05.280 --> 00:46:07.840
Oh good well, thank you, and we'll look forward to

747
00:46:08.119 --> 00:46:08.639
talking to you.

748
00:46:09.239 --> 00:46:13.360
Yes, absolutely. And for my listeners out there that are

749
00:46:13.440 --> 00:46:16.199
not able to watch us live but our listening, thank

750
00:46:16.239 --> 00:46:18.599
you so much. And again, tune in next week. I

751
00:46:18.760 --> 00:46:23.079
have some special guests again, and I'm excited for next

752
00:46:23.119 --> 00:46:25.480
week's show just as much as I've been excited for

753
00:46:25.599 --> 00:46:28.800
today's show. Be blessed, how we can music alive. Thank you,