Yeah,

we met...

I think Will was still at the Academy and I'm six years older than him.

Six long years.

Barely a minute years.

But yeah, so I was out of college and playing and everything like that.

But we did, I actually remember it because I was hearing about him.

Do you

I'm curious how you incorporate that into the curriculum.

Yeah, well, this is really more in my one-to-one lessons, but I just knew how much it helped me to go through these kind of breaking, firstly, understanding that chords and scales are the same thing right if you play a if you play a scale but miss out every second note well it's an arpeggio and that's a chord and then if you keep going those are the extensions so just understanding first off these are the same building block it's just one move stepwise one moves every other note wise so that was fundamentally important realizing why that harmony came from like diatonic families of stuff.

So when you're playing Pedido and it goes 2-5, 2-5, 2-5, you know, 2-5-1, and someone says, hey, you could just play C major scale.

If you don't, once I started to understand why is because C major scale actually generates the notes of that scale generate D minor seven and G seven and C major seven, then you realize, ah.

And I, because of this stamina, like this lip thing, and I do want to talk about I had like an actual injury later in life, but thinking, well, look, if I can practice a bunch of stuff, which is trumpet practice, but also getting my brain working on jazz and theory and harmony at the same time, surely that's two birds with one stone, right? Yeah.

So I was doing these like two octave arpeggio exercises, you know, but realize the fingers I'm doing G major, that it's like G major seven, A minor seven, B minor seven, C major seven, that you're just wasting the opportunity to tune into that if you don't observe it.

So it was mostly...

When did that come about and?