00:00:01
I want to give you all the tools you
00:00:03
need to understand and play over the
00:00:05
whole fretboard to be able to know all
00:00:06
the positions and move between them
00:00:09
seamlessly and I'm going to try and do
00:00:10
it in about 10 minutes so I'm going to
00:00:12
start in a practical place and I'm going
00:00:14
to play over a Jam track that's
00:00:16
available if you just click the link
00:00:17
below and sign up for the 30 free guitar
00:00:18
lessons you can get this Jam track for
00:00:20
free I'm going to play minor pentatonic
00:00:22
I'm going to play the five boxes and
00:00:25
this is how we'll start then in the next
00:00:26
few minutes we'll ramp it up and I'll
00:00:29
show you a lot more
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[Music]
00:00:37
[Applause]
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[Music]
00:00:58
so that's it the five boxes
00:01:01
[Music]
00:01:05
so those are the five minor pentatonic
00:01:08
boxes in the key of E minor now let's
00:01:10
look at a couple of other tools I want
00:01:11
you to see e chords E minor chords
00:01:14
everywhere they exist here's one here's
00:01:16
one here's one here's one here's one
00:01:20
right
00:01:21
here these E minor Triads exist
00:01:24
everywhere and once you start to learn
00:01:26
them you have another great tool while
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you're solo check out here
00:01:30
here's another
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one here's another one up
00:01:34
here okay so then next I'd like you to
00:01:38
look at the boxes but just stay on one
00:01:40
string so if we stay on the high E
00:01:41
string box one box two three four and
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five now if I do it
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[Music]
00:01:53
smoothly that's another great tool for
00:01:55
soloing and another great tool for
00:01:57
transitioning from box to box because if
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you use the in finger on one string then
00:02:01
you can go from one box to another very
00:02:03
easily and The Listener doesn't even
00:02:05
[Music]
00:02:13
know anyway let me jump in the track and
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I'll try all these new tools while I'm
00:02:21
[Music]
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improvising okay there I'm going through
00:02:28
the boxes but I'm playing on one string
00:02:31
and using one finger creates an easy
00:02:34
strong Melody every time you do that but
00:02:36
here's box five box four box three and
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box two used them all on one string now
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I'm going just play the
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blues okay now let's try some cord
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shapes
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[Music]
00:03:01
okay that was the E minor here E minor
00:03:03
here E minor here E minor here and then
00:03:06
the full traditional six note E minor in
00:03:09
the first position now I'm going to go
00:03:11
from box one to box two simply by
00:03:13
lifting my little finger up to the fifth
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threet let me show you here's box
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one here's
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two back to
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one to
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[Music]
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two now I want to show you changing
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position box to box just by Leading with
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one
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finger so I transitioned upward from box
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to box just by Leading with my third
00:03:42
finger and I played exactly the same
00:03:44
phrase each time and transfer that from
00:03:46
box to box I'll show you
00:03:49
[Music]
00:03:53
again now I can also do a similar Thing
00:03:55
by going this way and descending using
00:03:56
my index finger to lead
00:04:03
but always remember and never forget
00:04:06
just that you can simply hang out in one
00:04:07
or two boxes and play the
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[Music]
00:04:26
blue so now let's add a little more
00:04:28
complexity and make it a seven note
00:04:30
scale and in this case it's going to be
00:04:31
E minor Dorian because it works over
00:04:33
these
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[Music]
00:04:37
chords what we'll be adding is a
00:04:40
ninth which you can hang on you can land
00:04:43
on that and stay there I love doing that
00:04:44
and it's basically because the the
00:04:45
chords are kind of n minor ninth chords
00:04:47
and then a sixth which you kind of have
00:04:49
to use in
00:04:50
passing which I'll show you in a sec now
00:04:52
we do have to change this when it goes
00:04:54
to the a minor section
00:05:01
what we have to do there is make it a
00:05:03
flat six so we play e natural minor then
00:05:05
which is G major very simple and it's
00:05:07
nice I love making slight changes when
00:05:10
the chords change it's nice for the
00:05:12
brain not too demanding but really nice
00:05:14
so these things that we're changing the
00:05:16
seven note scale makes it a little quote
00:05:19
Jazzy unquote at times and that's a
00:05:22
great foil and relief from the
00:05:24
pentatonic Blues work so let's dive in
00:05:27
and I'll show you how this works
00:05:30
[Music]
00:05:33
so that's me using the sixth in passing
00:05:36
you can hang on the ninth it's pretty
00:05:38
[Music]
00:05:41
fun now we go to the four chord the
00:05:43
minor chord come back and I'm going to
00:05:44
hang on the knin
00:05:45
[Music]
00:05:51
again playing some octaves always works
00:05:54
nice if you guys remember West
00:05:56
Montgomery but that was its thing
00:05:59
[Music]
00:06:05
so it does get a little Jazzy with that
00:06:08
seven notes
00:06:11
[Music]
00:06:17
scale that was just pure look that I
00:06:20
landed on that note on the beat so I
00:06:22
just want to play a blues lck to get
00:06:24
away from the complexity for a second
00:06:29
[Music]
00:06:35
okay remember if you want this Jam track
00:06:37
just sign up for the 30 free lessons and
00:06:39
you'll have it if you already have the
00:06:41
30 free lessons it's been added to your
00:06:44
access so let's review for a second we
00:06:47
had the five pentatonic boxes just go
00:06:49
back through the video look at the
00:06:50
diagrams and freeze frame it if you need
00:06:53
if you want to study this we had the
00:06:54
five boxes on one string then we added
00:06:57
these extra notes the ninth and the
00:06:58
sixth made it a seven note scale which
00:07:01
is basically e natural minor and G major
00:07:03
exactly the same very simple and then if
00:07:06
you want to change that seven note scale
00:07:08
out for the simpler blue scale it's a
00:07:10
good thing to do because it gives you
00:07:11
and The Listener some different flavors
00:07:14
to play with lastly when it goes to the
00:07:16
a minor the four
00:07:20
chord you have to drop this C Shar to
00:07:24
C you have to drop the sixth to a flat
00:07:28
six and it's very easy to see when you
00:07:31
start looking at that scale in that
00:07:33
particular spot as just plain old G
00:07:35
major or plain old E minor then lastly
00:07:39
again there's two cours I didn't even
00:07:40
talk about the C to D at the end of the
00:07:42
second turnaround that requires the same
00:07:44
Formula E natural minor or G major
00:07:48
pretty easy you can kind of trace the
00:07:49
chords too if you want to for today's
00:07:51
video This Is My Tom Anderson Raven I've
00:07:53
had it for a long time Tom's guitars are
00:07:55
Exquisite all the models uh this is a
00:07:58
marshall that Paul Reed Smith got for me
00:08:01
I think Eric Johnson owned it for a
00:08:02
while it's a PA head 100 Watts from 1968
00:08:06
channel 3 sounds really good the
00:08:07
Distortion you're hearing is purely from
00:08:09
the amp if I want to cleaner I just turn
00:08:11
it down a little bit no pedals on this
00:08:12
one and it's going to a 412 cabinet with
00:08:15
1968 they're called 127
00:08:18
celestian and uh that's the story it's
00:08:21
miked up with a Royer and a 57 now I'm
00:08:24
going to turn the delay back on do a
00:08:26
little more playing and then we'll we'll
00:08:28
talk some more
00:08:30
oh
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[Music]
00:09:00
w
00:09:03
[Music]
00:09:36
so yesterday we did this live stream for
00:09:40
masterclass members only and the version
00:09:42
of that uh is more casual and uh it's
00:09:46
about an hour long and a really good
00:09:49
thing happened a member reminded me that
00:09:53
a really great way to look at the a
00:09:55
minor section of this is just to call it
00:09:57
a minor Dorian I had completely
00:10:00
overthought not overthought because
00:10:02
there are two or three explanations for
00:10:04
anything in music at least and there's
00:10:06
so many ways to look you know if if
00:10:09
something is right in the center the
00:10:10
bullseye in music there's like four or
00:10:13
five ways to get to it and three or four
00:10:15
ways to Define it so I was talking about
00:10:18
the a minor in terms of e natural minor
00:10:21
and G major but he said isn't it just a
00:10:24
minor Dorian and he was right I thought
00:10:26
about it for a second so what that means
00:10:28
is if you're playing an e minor Dorian
00:10:29
over this Jam
00:10:32
track all you have to do is take that
00:10:34
template and do the exact same thing
00:10:36
thing uh on the fifth fret at a
00:10:43
minor so I thought that was really cool
00:10:46
now somebody asked about memorization
00:10:48
skill I was able to do professionally is
00:10:53
anytime I was composing something for a
00:10:55
song coming up with a riff or a part or
00:10:57
a solo I was able to capture the imprint
00:11:01
of that in my mind and hold it and alter
00:11:04
it so if I was playing a solo and they
00:11:05
said yeah I like this part of it but
00:11:07
changed this I was always able to hold
00:11:10
that event in my mind now long-term
00:11:13
memory has never been great for me there
00:11:15
are people we all know who have
00:11:16
photographic memories who remember
00:11:18
everything
00:11:19
forever the best musicians I've ever
00:11:22
worked with have had photographic
00:11:23
memories because if they learn let's say
00:11:26
the Rain Song by Led Zeppelin they know
00:11:29
it forever I've learned the Rain Song by
00:11:31
Led Zeppelin three times in my life you
00:11:32
have to do his custom tuning you learn
00:11:34
it's the most beautiful thing you've
00:11:35
ever played on Aus guitar and it doesn't
00:11:38
stay in my memory bags uh you know so
00:11:42
but there are other musicians who learn
00:11:44
and they know it forever and you know
00:11:47
it's kind of
00:11:50
annoying just becomes this giant
00:11:52
Encyclopedia of knowledge and I think
00:11:54
the greatest you know the people who
00:11:57
excel in any profession or domain are
00:11:59
people with photographic memories so
00:12:01
don't give yourself a hard time if you
00:12:02
don't have
00:12:04
that uh it relates to another question
00:12:06
somebody asked which is how do I
00:12:10
remember songs well you don't have to
00:12:11
remember songs uh if you have the
00:12:14
photographic memory you'll remember so
00:12:16
you won't ask the question but if you're
00:12:17
asking how to remember songs the only
00:12:19
way to do that is to play them regularly
00:12:21
have a repertoire of songs that you want
00:12:24
to remember and you could you like do
00:12:28
three in one another three and another
00:12:30
day another three and another day and if
00:12:32
throughout the week if you're touching
00:12:34
on this repertoire of songs that you
00:12:36
want to keep in your memory banks let's
00:12:38
say over the course of whenever you can
00:12:39
get to it over the course of a week and
00:12:41
you have 20 songs you want to keep fresh
00:12:44
keep in your memory banks just touch on
00:12:46
them once during that week and that's
00:12:50
the way to do it and and like Andy Wood
00:12:52
talks about that like when he's getting
00:12:54
ready to do a performance he goes back
00:12:57
and he plays the songs and gets them up
00:13:01
to speed and in his case it's not just a
00:13:02
matter of remembering them it's a matter
00:13:04
of getting them up to that high level of
00:13:08
technical ability that he is sitting on
00:13:11
that he is riding on the edge now I
00:13:13
don't have that problem so much because
00:13:14
I play in kind of a comfort zone of you
00:13:16
know slower stuff easier stuff but
00:13:19
somebody like Andy he does it for two
00:13:20
reasons one is to get his memory back of
00:13:23
the repertoire but also to get back on
00:13:27
that upper top edge of performance so
00:13:30
I'm just G to play one more time through
00:13:33
and then we'll uh keep talking thank you
00:13:36
everybody from all over the world we are
00:13:38
good here uh it it was life-changing and
00:13:41
intense uh but everybody's okay now and
00:13:45
we're rebuilding I was very lucky anyway
00:13:47
guys here we go
00:13:51
[Music]
00:14:07
I love landing on the ninth and staying
00:14:10
[Music]
00:14:24
there there's the ninth again
00:14:29
leave
00:14:31
spaces double
00:14:33
[Music]
00:14:37
stops
00:14:40
[Music]
00:14:51
vibr one thing I always do and you
00:14:54
should do two I recommend is stack
00:14:56
overdrives and all that means and I
00:14:59
first really learned this from Tom bukak
00:15:02
when he came out here to do a Rob Thomas
00:15:04
record I did with him in the early 2000s
00:15:08
um and he would take his overdrives his
00:15:11
favorite ones at that time and it's it's
00:15:13
changed over the last
00:15:14
decade and he would have like like his
00:15:19
one boss distortion on like one so it
00:15:23
barely
00:15:24
cranked the gain and then he would have
00:15:26
his odr-1 Nobles on three so barely
00:15:29
cranked it so and then he would do
00:15:31
different combinations of these stacked
00:15:34
overdrives and I would say three in a
00:15:37
row is fine and the other benefit to
00:15:39
that is that you never have to change
00:15:41
your sweet spot let's say if you have
00:15:43
your clone of the odr-1 which might be
00:15:46
the key uh one or the karma which I you
00:15:48
know I use Greg Drummond's Karma pedal
00:15:51
uh as an an O od1 clone and I have odr
00:15:54
1es so I know that it's the same you
00:15:56
know he did it um
00:16:00
when you find The Sweet Spot and it's
00:16:01
the best
00:16:03
spot rather than change that for a
00:16:06
different tone just stack another tone
00:16:08
with an overdrive that might be just on
00:16:11
one and and then you can uh experiment
00:16:14
with which one sounds better in front in
00:16:16
back and this is what guitar players do
00:16:18
this is exactly what all professional
00:16:20
guitar players do they take their their
00:16:22
overdrive pedals they said oh this one
00:16:24
sounds better in front of that one but
00:16:25
the great thing about it is you can find
00:16:28
The Sweet Spot on your favorite
00:16:29
overdrive leave it there never touch it
00:16:31
so it's always there for you and then if
00:16:33
you need more you just add another pedal
00:16:36
you just to chain another one in before
00:16:38
I forget Paul Rivera uh I did a really
00:16:42
nice video that I really enjoyed with a
00:16:45
50-year-old Rivera Fender Deluxe that I
00:16:47
was able to get and we interviewed Paul
00:16:50
that was a couple of weeks
00:16:52
ago and he is auctioning on eBay a
00:16:56
really cool amp that's uh in the style
00:16:59
of Rick neelon and it's got a custom
00:17:01
paint job and it's for charity for the
00:17:03
world kitchen that link is below if you
00:17:05
want to take a look at this amp and bid
00:17:07
on it for charity another really good
00:17:10
question that I got is how to put a band
00:17:15
together and play nice with other
00:17:17
musicians and this would have been
00:17:20
easier back when I was a teenager in my
00:17:22
20s because there were no computers and
00:17:25
people didn't people had to check this
00:17:28
out when I moved to LA there were no
00:17:31
cell phones and no computers okay there
00:17:33
was no digital recording in studios and
00:17:36
there were no programmed tracks this was
00:17:38
even you know that happened in the 80s
00:17:40
but it happened just after I got here so
00:17:43
when I got here in LA and when I was in
00:17:45
Albuquerque working but when I got here
00:17:46
in LA and I I I touched the music
00:17:49
business I started to open doors the
00:17:51
only way you could make music was like
00:17:53
getting together with other people okay
00:17:56
so those kind of things got solved I
00:17:58
mean you would just get together with a
00:18:00
group of musicians and try something but
00:18:02
it would be somebody's living room and
00:18:03
Blasting away or in a studio or they had
00:18:05
like rehearsal rooms that you would pay
00:18:07
an hourly rate for now we are at the
00:18:10
point where pretty much everybody does
00:18:12
their work alone in any profession and
00:18:15
so you have to create uh you have to
00:18:18
force the issue you have to go and find
00:18:21
people to work with if you want that and
00:18:23
then uh what I would say is you describe
00:18:28
your yourself as who you are and what
00:18:30
you're looking for and then you reach
00:18:32
out to people through social media in
00:18:34
your area or you know at the University
00:18:36
nearby or when you go see music and
00:18:38
there are other musicians there you know
00:18:40
there are lots of particularly with
00:18:42
social media lots of ways to reach
00:18:43
people but describe who you are and
00:18:45
exactly what you want and if it's you
00:18:47
want to play Blues every weekend if you
00:18:49
want to play classic rock once a month
00:18:52
whatever it is that you want to do
00:18:53
describe it and then be patient and
00:18:56
don't settle for
00:18:59
people who are not reliable I mean
00:19:02
somebody who's limited on an instrument
00:19:04
that's okay it can actually be a great
00:19:07
feature because they play simply and
00:19:10
they have a lane they stay in but you
00:19:12
want them to be reliable and trustworthy
00:19:14
and supportive and then the best case
00:19:17
scenario if you end up with a ringer you
00:19:19
know somebody some piano player who can
00:19:21
just play anything and has a day job and
00:19:25
they're out there they are out there so
00:19:27
you know there's this the this old adage
00:19:30
where you know you don't want to be the
00:19:31
best musician in the room or in your
00:19:33
band and that's really true because
00:19:34
you'll get better so that's my advice on
00:19:39
that uh so yeah I'll play one more Jam
00:19:44
here and which will last exactly I think
00:19:47
I think this one cycle through this Jam
00:19:49
track lasts about a minute and just to
00:19:51
describe this if you take the 30 free
00:19:53
guitar
00:19:54
lessons this Jam track is attached to it
00:19:57
if you already have access to the 33
00:19:59
guitar lessons this Jam track is
00:20:01
attached to it so you've already got it
00:20:02
it's there for you and the master class
00:20:05
live stream we did yesterday we attach
00:20:06
it to that too for all you masterclass
00:20:08
members who took my advice and showed up
00:20:11
for this one today uh the longer one is
00:20:14
casual it's fun it's uh really lowkey uh
00:20:18
so if you do want to try the master
00:20:20
class you can experience those okay here
00:20:23
we go
00:20:29
play the blues now play
00:20:32
[Music]
00:20:35
jazzy a minor
00:20:37
[Music]
00:20:40
doorian open
00:20:46
strings chord tone on the B it's the
00:20:49
fifth of the B minor
00:20:51
core back to the
00:20:54
blues leaving
00:20:57
space and it's the most effective thing
00:20:59
because as guitar players we just want
00:21:01
to do a constant runon sentence and I'm
00:21:04
more guilty of that than
00:21:06
[Music]
00:21:15
anybody case in point that riff was way
00:21:18
way too long I could just go forever and
00:21:22
then you go why am I doing that much
00:21:24
more expressive to treat improvisation
00:21:27
like you're a
00:21:29
[Music]
00:21:30
[Applause]
00:21:32
[Music]
00:21:38
that was just a straight A minor chord
00:21:40
these E minor Triads are very useful
00:21:43
too there's one here's one
00:21:46
uh cord
00:21:50
[Music]
00:21:56
tone the ninth that's Jazzy there was a
00:22:00
question about how to make chords more
00:22:02
Jazzy and that's when you just start
00:22:03
adding extensions you know you you do E
00:22:06
minor
00:22:07
7 E minor
00:22:11
9 there was a gentleman who was a legend
00:22:15
a living legend in the 80s that was a
00:22:18
play you know he he his name was Ted
00:22:20
green and some of you know who he is and
00:22:22
he was in LA and the best players in
00:22:24
town would go take a lesson from him and
00:22:27
regular players would too but he
00:22:28
demanded he absolutely demanded that you
00:22:32
practice the lesson before you came back
00:22:33
the next time and so players were always
00:22:37
living in fear I didn't practice my Ted
00:22:39
lesson I'm going to let it go do do you
00:22:40
want it actually somebody said that to
00:22:43
me once and I was too intimidated to go
00:22:45
but there are books that he wrote one of
00:22:47
them is called chord chemistry and I
00:22:49
would recommend it if you want
00:22:52
to just find every version of guitar
00:22:55
chords you could possibly think of and
00:22:57
some of them are just too big of a
00:22:58
stretch my hands are small so I can't do
00:23:00
the you know huge stretches uh others we
00:23:04
see and know and love have bigger hands
00:23:06
and it's easier you know that's just you
00:23:08
do do what you can chord chemistry yep
00:23:11
that's it so Ted was amazing and uh he
00:23:14
left us that Legacy there are lots of
00:23:15
other sources too there's probably an
00:23:16
app you can get that has every cord but
00:23:20
the Ted greed thing is very Soulful I I
00:23:22
don't know if they're out of print how
00:23:23
could they be out of print it's too much
00:23:25
these are too legendary so that's my
00:23:28
recommend found
00:23:29
ation somebody else asked about stage
00:23:33
fright and this is something everybody
00:23:38
has to live with um you can bet that
00:23:40
even our most poised favorite
00:23:43
people are filled with adrenaline when
00:23:46
they get on stage you know if you think
00:23:48
of somebody like Taylor Swift I don't
00:23:50
really follow her but uh anybody that
00:23:54
gets on a stage in front of a huge
00:23:55
audience the 10 minutes beforehand the
00:23:57
20 minutes warand it gets the adrenaline
00:24:00
begins to build and even if as a sid man
00:24:02
when I used to tour in the 80s the the
00:24:04
adrenaline and nerves would build in the
00:24:07
minutes before you get on stage then you
00:24:08
get on stage and you're feeling it uh
00:24:11
but preparation is the key you know um
00:24:15
I've told this story before I'll be very
00:24:17
quick with it I did Glen Campbell's last
00:24:20
performance at the Grammys and uh there
00:24:22
was a Jerry Reed lick uh that I had to
00:24:26
play that was quite demanding and and
00:24:29
they when I got there I saw that they
00:24:31
were going to put the camera the red
00:24:32
light on the camera the close cam the
00:24:34
guy walking around the stage was going
00:24:35
to go straight to my hand for that lick
00:24:40
and it was lucky for me that I had
00:24:43
practiced it I kid you not 200 times in
00:24:47
anticipation because it was kind of a
00:24:49
featured little spot and I just kept
00:24:52
drilling it for like three weeks before
00:24:55
uh uh probably four weeks before the
00:24:57
actual Grammy uh event and I played it
00:25:00
perfectly and I mean I didn't I don't
00:25:04
take responsibility for playing it
00:25:05
perfectly but that just gives you an
00:25:07
idea with the camera on and you know
00:25:10
Paul McCartney was sitting in the
00:25:11
audience during rehearsal it was one of
00:25:13
those things where maximum uh exposure
00:25:19
to a mistake you don't want to make so
00:25:23
uh preparation preparation and and what
00:25:26
happens I'm sure a lot of you know this
00:25:28
but but the first three songs you might
00:25:29
be nervous and then it goes away so you
00:25:32
just got to be patient and uh and wait
00:25:35
for it to subside some gigs you're
00:25:38
nervous the whole time um I did a gig at
00:25:42
the experience festival at parl Reed
00:25:44
Smiths and he put me on at the end and
00:25:46
the problem with that I'll never let him
00:25:48
do that again the problem with that is I
00:25:50
had to listen to every great guitar
00:25:51
player who had been invited all night
00:25:53
just
00:25:55
shred before I got up on stage and when
00:25:57
I got up on St stage to do my simple uh
00:26:00
style of playing I was so nervous I
00:26:05
don't know how I even
00:26:06
played but I looked back at the the film
00:26:09
of it and it was fine but it wasn't
00:26:13
comfortable one minute of the time I was
00:26:16
up there I think I did three songs two
00:26:18
songs because everybody did just you
00:26:20
know short
00:26:21
segments I it was not I never got to the
00:26:27
place of comfort when I was up there it
00:26:29
was uh the most nervous I think I've
00:26:31
ever been and I looked back at the video
00:26:33
it was like oh that's that's okay it
00:26:37
worked it was fine
00:26:40
yeah one more little
00:26:46
[Music]
00:26:55
playthrough over to a minor
00:27:00
first position is always
00:27:03
[Music]
00:27:04
good you know Stevie rayon excelled
00:27:14
[Music]
00:27:16
there I've always done a lot of that a
00:27:20
lot of muting and thumping all the
00:27:22
strings when I play one
00:27:25
node be careful though you can overuse
00:27:27
that I actually have rained it back in I
00:27:30
I used to use it too
00:27:31
[Music]
00:27:36
much there's that one string action you
00:27:39
stay on one string and you're
00:27:41
automatically playing a Melody it's a
00:27:42
great
00:27:44
[Music]
00:27:46
[Applause]
00:27:49
[Music]
00:27:52
trick I had somebody ask me at
00:27:54
yesterday's Master Class about playing
00:27:55
outside just
00:27:58
go up a half step and then make sure you
00:28:00
land back in
00:28:01
[Music]
00:28:06
key and it works a lot a lot better with
00:28:08
like a very simple song with these
00:28:10
sophisticated chords going outside not
00:28:13
quite
00:28:14
as uh satisfying unless you're alen
00:28:17
Holdsworth or you know somebody who
00:28:20
plays so fast if you play at lightning
00:28:22
fast speed you can completely leave the
00:28:28
the key Center and as long as you land
00:28:31
back on the key Center can actually
00:28:33
pretty cool but that's that's not me
00:28:35
that's alen holsworth and that's a lot
00:28:36
of the kids who are you know playing at
00:28:41
uh ferocious speed okay guys thanks so
00:28:45
much we will see you on the next one and
00:28:49
uh stay uh stay happy this weekend stay
00:28:54
warm and stay safe and uh
00:28:58
thanks so much all right guys I'll play
00:29:00
out and we'll see you on the next one
00:29:03
[Music]
