7 Way To Practice Bebop To See Quick Improvement

Go to jazzpianoschool... for more free education.
I've never known any jazz piano giant to not have the ability to play through changes in a bebop style. At the heart of all improvisation lies bop. If you think you're going to skip this step and achieve improv freedom...well, unfortunately you're lying to yourself.
Needless to say this is a must! So here are 7 great tips to help you practice and excel quickly with proven and systematic steps.
Enjoy!

[@jasegarner]

Here are the 7 steps in the order of the video: 1) Practice bebop scales (including major 6 bebop scale) 2) Ensure you land on chord tones on every down beat 3) Approach chord tones from a half step below 4) Approach chord tones from a chord scale above 5) Slow practice to connect lines 6) Bebop lick integration 7) Integrate chord extensions

[@jjmohn9204]

Love the "Lego" componentry

[@Joshuamedina2005]

thanks a lot

[@grrlgd3835]

4) I think it's Chord Scale above ...not half step above ? best L

[@jasegarner]

@@grrlgd3835 Thanks for spotting! Now edited

[@handyman4everyman]

This was probably the best tutorial for solo ing I have watched so far - amazing thank you!

[@SamChaneyProductions]

Can't believe these videos don't have more views. This is really helping me get breader :)

[@jazzpianoschool]

Happy to hear that, Sam! Thanks for the comment.

[@undeadman7676]

Hehe, you said the thing

[@stephenbingham9625]

I like your casual approach to presenting this material. It shows one the experimental learning process.

[@CurtisMcLeodMusic]

Thought it was weird that you said breader, until I heard it too!

[@stulast]

I've been looking for building blocks like this for 3 years. So glad to have found Jazz Piano School. Your podcasts/videos are amazing.

[@jazzpianoschool]

Appreciate the comment, Stu!

[@robbes7rh]

Arpeggios and scales are the currency of jazz soloing. John Coltrane practiced all the time. His mastery of scales and arpeggios were the basis upon which his signature ‘sheets of sound’ were built. Practicing scales and arpeggios need not be drudgery; enliven them with your own sense of musicality and let them be fun and interesting. That is, after all, what the musician does: he plays around with notes in a way that is pleasurable to hear.

[@jazzpianoschool]

Love this! Thanks for the comment!

[@brunol9786]

For the first time after years I found a video that helps me to understand that crazy thing that is jazz scales. Thank you very much!

[@jazzpianoschool]

Wow, thank you for the inspiring comment Bruno!

[@andrewyerkes4287]

Crystal-clear lesson, very helpful for focusing practice. You're a gifted player and teacher -- thank you for sharing.

[@jazzpianoschool]

Thank you for the comment, Andrew!

[@VictorLee335]

This is the single best thing i have come across this year... THANK YOU! Watching it at 1 in the morning but it's making me want to play piano

[@jazzpianoschool]

Wow! Thank you for the amazing comment, Victor!

[@julianstaniewski5786]

1:30 right now and i think i‘m gonna get out my bed again

[@dr.brianjudedelimaphd743]

This was well executed compared to most of these “how to” videos on bebop- well done ! That said, I personally take a more historical approach used by the progenitors of this music- lift/ transcribe (I had long conversation at a Barry Harris clinic about 30 years ago and asked his opinion on the best way to learn and assimilate this music and he said “that’s what Parker, Bud Powell, Navarro, Gillespie and he did, so that’s what I’ should do)…

[@jeffsims5683]

I've been playing for years, in gospel/jazz, and this video finally gave me a better understanding of the Bebop scale, makes so much sense. I always like to know "WHY?" about most things, and this did it.

[@jazzpianoschool]

Glad to hear that! Thanks for the comment, Jeff!

[@pacogerte14]

Thank you, thank you, thank you! I've spent years trying to run before I knew how to walk. This basic stuff helps me so much. Also, your presentation is succinct. You don't ramble. I'm guessing you've been teaching a long time. Bravo, sir.

[@jazzpianoschool]

Thank you for the comment, Paco! You make a great point - nailing down the fundamentals is so important with making progress in jazz piano. Glad you found this helpful!

[@robertoiafrate6949]

Thank you. Intellettual advance way for life and music. Thank you

[@jazzpianoschool]

Thanks for watching, Roberto!

[@josetomasmoscosofarias1987]

Thanks for these great video! It’s amazing to confirm that a lot of these Elements included the bebop scale are present all the time also in chopin music, specially those special moments in waltzes or magic “tasty”progressions in different works of him! Music it’s all connected!

[@jazzpianoschool]

Yes, all music is definitely connected!

[@Dudeguy217]

Fantastic. I've never been able to wrap my mind around bebop, and am eager to start practicing now that I know what to practice!

[@jazzpianoschool]

Awesome, @dudeguy21! Glad we could help!

[@JeremySeanHector]

I'm a guitar player and this lesson opened my eyes in ways that actual guitar lessons haven't. Thank you sir..

[@jazzpianoschool]

Glad this was helpful for you, Jeremy! A lot of our lessons here should be applicable to most instruments - particularly as it relates to theory and approaches to improvisation.

[@DonSyndrome]

One of the best videos I've seen so far

[@jazzpianoschool]

Thanks for the comment, Don!

[@barrymileso]

So many keys to unlocking the bebop style. My improvising has improved a lot in just a few days. Thanks!

[@jazzpianoschool]

Happy to hear that! Thanks for the comment, Barry!

[@eternalrainbow-cj3iu]

when it comes to what you say, extensions like the b9, the other as in the beginning FAC doesn't sound that weird when you see it as the anticipation of the F Triad..so that's why the opposite is also true, for the more advanced situations, or players...The C-dorian bebop scale was adviced to stress the 1 3 5 7 but in practice sounds alot like a Ebmaj7 where the Lydian F triad is stressed, for a reason...I liked this lesson, and it reminded me of very important building blocks good from time to time return to the fundaments of Jazz or bebop if you want to refine..

[@ellissb8574]

This is so relatable thank You 😂all the problems you mentioned are literally me😂Thanks

[@terrymiller111]

"The chord tones are the warp, and the line you create, including approach notes, is the weft. Start weaving some bebop."--Terry "MadTiger" Miller

[@riakim7953]

XD Beethoven scales! Hi I’m a jazz loving classical musician. Love the video I try to learn in both terms the bebop, the Beethoven scale, the Dom of F with passing LT of C, there’s so much that’s so specific, truly well-thought out for sounding good in jazz theory. Love it, uber practical. I do tell my students to mix up scales and chords with passing notes to sound good and they don’t believe how effective scales are! Also I love how you didn’t edit tinie tiny brainfart because it tells people you’re human ;) thx

[@jazzpianoschool]

Appreciate the comment, Ria!!

[@richardliew2725]

Dear sir thank for teaching me how to play the jazz Bebop now I improve my playing the piano 🎹 I am just a pop Pianist great teacher greetings from Kuala Lumpur Malaysia

[@jazzpianoschool]

Thanks for watching Richard, cheers!

[@rik-keymusic160]

Thanks man !This info is GOLD :) I've practiced your material today for 3 hours straight.

[@jazzpianoschool]

Woo, glad to hear that! Thank you for the inspiring comment, Richard!

[@stephenrogers2164]

This is such a great starting point to understanding the beast which is bebop.

[@jazzpianoschool]

Glad to hear that, Stephen!

[@Script_Ed]

yeeeeeeeeeeeesssss... thank you... bebop here I come... Absolutely essential video

[@jazzpianoschool]

Thank you for the comment, Lerroy!

[@fritzr5819]

Great lesson Brent, building the foundation of Bebop.

[@arpadternei6991]

Cool stuff!🤟🍷

[@helenakallaspiano]

Great teaching. Everything in one place and well explained, this is how it should go! Basics is the key. And freedom, the best point in the video

[@jazzpianoschool]

Absolutely! Thanks for the comment, Helena!

[@dscofficial6642]

Very helpful

[@jazzpianoschool]

Glad to hear that!

[@eternalrainbow-cj3iu]

In Jazz history the extensions tend n to not resolve anymore, so the result is that during improvisation a #11 hasn't to resolve but can stand on its own not diatonically solved but as part of a more polyphonic approach by thirds or even 6ths...

[@musicphrase9183]

Thank You great tutorial

[@javiercuevasandrade4240]

Man, thank you. Really, thank you a lot.

[@jazzpianoschool]

Thank you for watching, @Javier!

[@ambotak99]

Can't believe this is free. Wow thanks!

[@tharanganishasthri2812]

very informative .thank you sir...

[@sarankeys9746]

Thank you... it's very helpful 😊

[@jazzpianoschool]

Glad it was helpful, @Saran Keys! Thanks for the comment!

[@DarkMorgan]

Thank you so much! :D

[@jazzpianoschool]

Thank you Alejandro!

[@KudjoJunior]

Ever watched Boondocks! ME: YEAH! The Outro that's Bebop😋

[@salgub]

This video is amazing, I´ve been looking for an explanation like this for months on youtube, you are a great teacher, congratulations.

[@jazzpianoschool]

Thanks for watching!

[@AllIn1Studio]

Soooooo helpful. Thank you Brenden for the lego approach. If only I knew this decades ago!!

[@jazzpianoschool]

I wish I did too! But it’s never too late!

[@jaimemaestrew.3974]

Thanks. My best lesson...

[@allanhenderson5262]

Splendid. Very clear. Convincing.

[@jazzpianoschool]

Thank you for the comment, Allan!

[@HunterBelkiran]

ugh thank you for these lessons.. my jazz piano has improved so much just in the past couple days

[@jazzpianoschool]

Glad to hear that, Julian! Thanks for watching!

[@GrumpyStormtrooper]

are you for real? what did you learn first, just the scales with the passing tone between the 7th and root?

[@ohiosoundlab]

Happy practicing 😎✌️

[@larrymesa6592]

Thanks a lot now I understand more about the way to improve my skills for solos

[@jazzpianoschool]

Glad to hear that, Larry! Thanks for watching!

[@willgarrone2980]

great!! many thanks !!

[@jazzpianoschool]

Thanks for watching, Will!

[@eternalrainbow-cj3iu]

if you want to prove that to yourself go start studying the Jazz Tunes, then you'll find that first a m3 was stress on a m7b5 Autumn Leaves, later Tunes use merely the 11th on m7b5 and later the 9 on m7b5 or even the 6, even the maj7 on a m7b5 is played by piano players(Em7b5 is related to the dominant C79 if you change C79 to #9 we understand the D# in a em7b5 situation...(depends on melodie most of the time) will be stressed the 6 on a m7 chord is called an avoid tone maybe that's why it isn't avoided at all but a nice clash is wanted often by jazz composers, also the Cats use aspects of there own development of that moment an put in a composition to be safe and to be able to look at them from a different angle..

[@andrewcampbell-bluespianop6741]

Great lesson, thx for the tips.

[@jazzpianoschool]

Thanks Andrew, glad they were helpful!

[@claragary]

Thank you! Great lesson

[@jazzpianoschool]

Thanks, @claragary!

[@maxsegali5588]

really nice class! many thanks!!

[@jazzpianoschool]

Thank you, Max!

[@pentanach5589]

32:51 this really hits home XD

[@jazzpianoschool]

Glad to hear that :)

[@Owenkelleberger]

Great video thanks!

[@jazzpianoschool]

Thanks for the comment, Owen!

[@georgepapanaoum1144]

Point one bebop scales 5m to 7m 30s demonstrates on 2 5s in f sharp min then f min maybe thinking four m davis.

[@leahragdoll]

you said dorian has a "major 6th sound" arounf 11:30. you probly meant to say minor 6th. which i fully understand. when i teach guitar to students i always mess up numbers and letters. so hard to talk freely without mistake. thank you for the lesson! bebop is so challenging and beautiful.

[@jazzpianoschool]

yes, minor 6th! Thanks for the catch!

[@fishleywashere]

I play trom and this is exactly what I needed to know, epic vid

[@iandodds693]

Very useful, thank you for this. I have found that knowing standard American songs, I mean knowing them, no lead sheets, is so important. Spend a week on one song - Stella by Starlight or Autumn Leaves. The melody and changes completely internalised. Short musical links between phrases and at turnarounds start to naturally emerge in your playing in the way that you have expertly described. Must listen also. Monk playing standards, Hank Jones..the list is too long.

[@jazzpianoschool]

You're very welcome! Totally agree with you!

[@sdannye]

Awesomeness!

[@jazzpianoschool]

Thanks for watching, Danny!

[@soulcraftloops]

Absolutely cherish this video. Thank you so much for such a thorough lesson! One quick question. Do you recommend focusing on fingering? I’ve heard conflicting opinions but my thumb, pointer and middle seems like a go to. It looks like you use those as well for fast lines. Any suggestions would be greatly appreciated! And thanks again :)

[@sheskimusic]

Thank you. Great channel. 🙏

[@jazzpianoschool]

Our pleasure!

[@danieliwuala4093]

Thank you so much

[@jazzpianoschool]

My pleasure, Daniel!

[@Bartnick81]

Wonderful video!

[@jazzpianoschool]

Thanks for watching, @Bartnick81!

[@TheUnderscore_]

Wow, this really helped my improv skills! And for free?????

[@jazzpianoschool]

Great to hear!

[@coronapierce2337]

Dope lesson, really helpful

[@jazzpianoschool]

Glad you enjoyed it, Corona!

[@costasyiannourakos6963]

The fundamental principle on which you are referring to is not even a be bop principle. It's called The principle of describing the chords melodically. The inventor of those principles are based on J S. Bach nothing new as far as it concerns be bop on that respect. What was new, was the swing feel, plus 8 note scales plus alterations to those scales, and in the idiomatic language of the phrase in all. So the phrasing is the most important element of a language after all. With just the words you may easily create a different language from the one you took the words from.

[@SoopSoopa]

God i Love bebop

[@jazzpianoschool]

Who doesn't?! ;)

[@mr.fabian8471]

Excellent!!!!!

[@jazzpianoschool]

Thank you, Fabian!

[@michaeldumas4907]

you know what really holds me back in my bebob scales?...the damn fingering...in all the different scales...I guess ya just have to play it with any fingering in the heat of solos?

[@jazzpianoschool]

Hi Michael: thanks for the question. The short answer is, yes! Fingering is tough because sometimes the “best” fingering varies based on personal preference or whether you have to pivot up (and thumb cross) or down to play the next phrase. So when you see fingerings, you can use it as a guide or reference but ultimately you should choose a fingering that’s most comfortable for you or best fits your application. As a general rule of thumb for coming up with your own fingering: I try to find the most efficient, economical fingering that would allow for better speed/dexterity and would allow you to connect phrases. the reason major and minor scales are used for learning and practicing fingering is because those will teach you how to deal with finger crossings and more applicable situations, etc. Other scales are not practiced for “fingering purposes" persay, so don’t worry about practicing pentatonic/bebop/hexatonic/modes/those kinds of scales for fingering purposes but moreso for understanding how to use them in an improvisational context. Hope this is helpful!

[@michaeldumas4907]

makes perfect sense....thank you

[@cofymagloire1191]

amazing !!!!!!

[@jazzpianoschool]

Thank you for the comment!

[@paxwallacejazz]

Well Kenny Wheeler one of the most Harmonically adept and sophistcated players/composers RIP freely admitted that he couldn't really play bop. I mean he could play over any set of changes but wasn't gonna sound like Dizzy. If you're playing melodic lines based on some kinda counting game well I've never understood that.To me it's a blank canvas. I'm not against practicing any particular way but each player needs to discover how to see, hear, access harmony in a useful way. it's mind blowing how people who think differently do this..

[@jazzpianoschool]

Thanks for the comment! Kenny Wheeler is a great composer too - love his tune Everybody’s Song But Not My Own!

[@kentlindsaymusic]

Wow these vids are so clear! Thank you! Could you share with me what software you are using to get the two keyboards in the view?

[@bradking1536]

🎉 thank you for sharing 🎉 hope you are well God loves you deeply shalom 🤗🐼♥️✝️💐 Philippians 4'8

[@PIANOSTYLE100]

One of the best videos I've seen on you tube.. I will be playing this a lot. pianostyle100

[@jazzpianoschool]

Thank you for the amazing comment, @PIANOSTYLE100!

[@emmetthouse5600]

You are right Brandon thx you for your lesson I enjoyed the lesson

[@jazzpianoschool]

Happy to hear that! Thanks Emmett!

[@Jazznkim]

20:48

[@micahslobcrud5958]

Not sure I can add anything except that your fluency is such that you "often enuf" forgot what you had just played, and yet thought so little of correcting it for the final publication because what difference would it make? Except that I was one of those kids who did not see the "lego" (TM) blocks for years.... It has taken me 35 plus years of books and lessons and what all and even complaining to the great JA from Indiana (from whom I got a personal and caring response) until I realized that the building blocks are a CRUCIAL element of whatever we might call "jazzy" lines! For example, I saw, in my Omnibook of Bird solos, notes that were NEAR chord tones and such, but I never figgered out that the chord tones were on the downbeats, and I certainly did not see the enclosure process, WHICH, WHEN YOU THINK OF IT, was just like the kind of idea that could be spread underground among hip jazzers back in the day who had to fight blatant racism and ALSO try to be relevant, so as to make money! Peace be upon those musicians who fought to express themselves in new ways. I honor your gifts! As Christian McBride said in recent years: "Bebop IS modern language."

[@jazzpianoschool]

Thanks Micah! McBride is right - bebop is modern language! Chord tones on downbeats is an essential tool to get started.

[@rorymarrero294]

...so let me see if I've got this right, Brandon. As long as I only play songs with no chords, I can solo on any note?

[@jazzpianoschool]

Rory: thanks for the question! In fact, even if there are chords you can solo with any note! It's how you use those notes that makes it sound one way or another. Hope this helps!

[@emisilver3670]

Subtitles in Español will be great..🙂

[@jazzpianoschool]

Thanks for the comment, will have to keep this in mind!

[@fernandoasuaje2398]

21:21 Sounds like the bridge of Wave

[@dako2117]

I honestly liked the non chord tones on the down beats better

[@brothercaleb]

😂 very funny

[@RanBlakePiano]

Terrific job Would like index of videos Not iPad savvy

[@dejanmarkovic690]

Thanka a lot:)

[@jazzpianoschool]

Thank you for watching, Dejan!

[@elunico13]

@ 15:02

[@armykaah]

The L I C C

[@jazzpianoschool]

;)

[@sheilamacdougal9948]

Fingering on the bebop scales is somewhat complicated. I wonder if one should work out and practice a set fingering for each, or whether one should get used to improvising the fingering itself, as it were.

[@jazzpianoschool]

Hi Sheila: great question! The reason major and minor scales are used for learning and practicing fingering is because those will teach you how to deal with finger crossings and applicable situations, etc. Other scales are not practiced for “fingering purposes persay”, so don’t worry about practicing bebop/pentatonic/bebop/hexatonic/modes/those kinds of scales for fingering purposes but moreso for understanding how to use them in an improvisational context. Furthermore, there is no standard fingering for the other scales, because they are not meant to be played up and down verbatim. However, as a general rule of thumb for coming up with your own fingering: I try to find the most efficient, economical fingering that would allow for better speed/dexterity and still gets the most out of each hand position. Hope this helps! Bijan

[@sheilamacdougal9948]

@@jazzpianoschool I'm very grateful for your reply. I find there are some fairly useful "rules of thumb", some of which are literally rules of thumb use. I find it useful to use the thumb on the last white note before a black note, so there will be enough non-thumb fingers for black notes. When the thumb is not naturally available, the 4th finger on left hand ascending or right hand descending on the white note before blacks will leave two fingers, normally sufficient, to handle two consecutive black notes. The one exception is the F sharp major bebop scale, which has 3 consecutive black notes, as in the F sharp major scale. There you really need the thumb to hit the last white note, so you can have 3 fingers on the black notes. Of course, if you really end up with a thumb or fifth finger on a black note, it shouldn't be the end of the world. Thanks again for your helpful videos and comments.

[@edwardonsax9919]

If I were to describe a bebop scale only after watching 3 minutes of this and reading one webpage about it, I already want to say it my own way. Would it be okay to say that since a major scale from root to root is 8 notes, but only 7 of the notes are differrent because the top is the same as the bottom, that the workaround is to remove that 8th note and simply insert a note a half step below the 7th note ? That way 8th notes can fill the 4/4 measure without an eighth rest causing a hole...and of course this keeps us from reaching the root note again before the start of the next measure.

[@jazzpianoschool]

Exactly, it’s about the harmonic timing as you described. To fill the 4/4 measure, and get the strong notes on the strong beats, weak notes on the weak beats. Hope this helps!

[@WyattLite-n-inn]

How good is this guy at explains stuff?👍

[@jazzpianoschool]

I appreciate the comment, Charles!

[@RanBlakePiano]

Wonder if your father remembers Mme Fourel or Jason Horowitz

[@naimebond8284]

Looking for this video for days. Actually respects the beginner and slows it down while he's explaining things - but still good for those more advanced in the scales. Still don't understand when they go arpeggio on a chord and end up on the 9th but they tell us the 9th is not a chord tone but it sounds like a downbeat when he hits D on a C7 chord. And the approach above and below hits two non chord tones so is there any downbeat on either one? That's usually when I crash and burn, even playing slow.

[@jazzpianoschool]

Thanks for watching, Naime! I'm a little confused by your question, can you clarify your question and hopefully I can help you out! - Bijan

[@fernandoasuaje2398]

JazzPianoSchool.com - Learning Freedom (Online Jazz Piano Courses) I'll take the opportunity to own this question since its similar to the one I have. With the approach notes, arent you hitting non chord tones in downbeats? It doesnt clash with exercise 2 where we should play chord tones in downbeats? Its a little confusing... Anyway, your video was great. Im glad I found your channel!

[@AlanHearnshaw]

Fernando Asuaje Yes. Sometimes-especially on turnarounds-you are hitting non-chord notes on downbeats, and that’s fine. These aren’t hard-and fast rules that can’t be broken. In fact, adding turnarounds that often don’t have chord notes on down beats adds welcome variety. Ultimately, they are often a way to delay the resolution to those chord notes, which adds interesting tension and variety.

[@matiquielma]

Your videos are just at the right spot for me, I always get bored because they go all over the pentatonic scale and explain virtually nothing useful, or they go at a speed thats impossible to follow

[@jazzpianoschool]

Thank you for the amazing comment, Matias! Glad we could be helpful!

[@eternalrainbow-cj3iu]

Now the Joke starts to be complete John Coltrane invented his Coltrane changes to sound different eveybody know that he succeeded, but the ironic thing is that he absolutely didn't want to use or sound like Parker like every saxophonist did in his time or tried even, Now comes the ironic part: for Giant Steps Coltrane made his own lick but beyond his main1235 maj penta, he used as you just at 29:00minutes said: FE Eb G D C and call it totally with right and truely a Parker Lick, Now this particulair Lick Coltrane "invented"(cryptomense we call that, taking somthing that somenelse made befor you, not knowing that...) this idea as plan C or D to approac his changes, so this chromatic, thank you mister Baker lick (see the lesson of Mikko Hiilden) with the same nam ethat lesson "thank you mister Baker"

[@gabrielnunes3497]

🇧🇷🇧🇷🇧🇷🇧🇷

[@jazzpianoschool]

Thanks for watching, Gabriel! Cheers!

[@Glissaccatura]

Can u teacher chord progressions along with extensions?

[@jazzpianoschool]

Hi @Gliss, check out past videos for more about extensions.

[@nomennescio317]

Very helpful! Let's say you enclose the tonic of a C7 with d b c--is this passing maj7 okay over a dominant? Or what about enclosing the maj7, c bb b. This has a Bb note on it. Is this okay? (To me this is just another reason to use maj6 instead of maj7) Also: I notice these three note enclosures, if done as eighth notes, put the passing tones occasionally on down beats. I can get used to the sound, but is this acceptable?

[@abdulalshibly3930]

Its chromatic so anything is acceptable if you accept it just make sure to play everything in context don't just play it alone and except it to sound good always everything makes sense in the right context and remember Jazz is free and you can do everything

[@jazzpianoschool]

Thanks for the question, Nomen. I would echo much of the reply above here. It depends on the context in which you use everything. In general the rules of harmonic timing apply which is that you want to emphasize chord tones on strong beats and passing tone/chromatic enclosures on weak beats. But there are exceptions to every rule and as Charlie Parker said: you want to learn the rules so then you can break them.

[@markbra]

What does "bop" mean ? Thank you.

[@jazzpianoschool]

Hi @markbra: thanks for the question! "Bop" is just short for "bebop".

[@Glissaccatura]

Did not understand no 5 with ur left hand

[@jazzpianoschool]

Hi @Gliss, check out past videos and our course for more about our voicing building principles.

[@paulraucci3936]

why are you playing the b in the c mixolydian

[@markesquivelarvizu6942]

At that point in the video he says adding the b natural makes the mixolydian into the BeBop scale.

[@stl0555]

Just watched video but forgot to write tips down in order to recall later. Can you, or someone, list them below in just simple bullet points?

[@bernhardtmitdt2586]

I bet you also would like to have someone else practising that stuff for you ;-)

[@hanskrempke3305]

I sleep....

[@user-og5wy9dj1y]

0

[@bumchong1]

17:40 Lick

[@jazzpianoschool]

You got it! ;)