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Dirty-South Blues Harp forum: wail on! >
Twelve bars is all you get
Twelve bars is all you get
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didjcripey
85 posts
May 20, 2011
3:57 AM
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I know nobody likes a whinger, but I feel like I need to vent to some maybe sympathetic fellow harp players.
Been with a band for about six years now as a pretty competent sideman. Had a lot of fun, and no complaints, but lately I have been moved more from the side to the very fringe. The frontman likes to hear nobody but himself when he sings (which is nearly all of the time) and lately insists on no fills, no backing chords and no rhythm from me. I have to share rare solos with two other guitarists now, so I'm lucky to get twelve bars. I spend most of the time twiddling my thumbs (I can wander off for a beer or a leak between solos). I also find that not being 'in' for the bulk of the song its hard to come in at the correct volume and get in the groove before my brief moment is up. Build a solo? Forget it; hit it hard and get out before times up.
I'm pretty sure its not a reflection of my playing, other band members and audience reckon it sounds great and say I should play more; and my technique and gear have really come good since discovering the prof's lessons. I always drop the volume right down for fills etc and never play over the singer. I think its more to do with our frontmans ego; the solos and other instruments are there just to give him a break from singing, and better not compete with his alpha presence; anyone really starts to cook, especially dialogue between other band members and he pulls the pin.
Its really not much fun any more and I guess the obvious thing is don't do it, but I'm in a small town and there ain't too many other options, especially for blues bands.At the moment its take what I can get, or just woodshed (which I fortunately enjoy anyway).
I've always appreciated the frontmans confidence and leadership (he's got more 'front' than David Jones), but its a fine line between being a frontman and a pain in the arse.
I envy those of you who have the talent and ego to front a band, or the ability to go solo; its not where I'm at. Those of you who can pick and choose bands and band members have it good too.
I wonder if I am alone in this situation, or is this a common complaint for harp players?
Guess I'll just have to keep playing, and wait for my luck to kick in (it always does sooner or later; that's why they call me Lucky)
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Lucky Lester
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Rubes
318 posts
May 20, 2011
4:11 AM
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I hear ya Lester.... Not a problem in my band (trio) tho, we're all frontmen.. :~)
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Rubes
319 posts
May 20, 2011
4:11 AM
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hmmmmmmmmm......damn captcha thingy...........
Last Edited by on May 20, 2011 4:12 AM
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7LimitJI
505 posts
May 20, 2011
4:24 AM
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Time to find a new band or a new frontman.
A band should be about making a good sound, so the whole is greater than the sum of its parts.
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The Pentatonics Myspace
Youtube
"Why don't you leave some holes when you play, and maybe some music will fall out".
"It's music,not just complicated noise".
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jimjam
22 posts
May 20, 2011
4:29 AM
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I had a similar problem once and worked it out that we added some harmonica tunes to the rotation. They were Steamroller, James Taylor, and Tampico Trauma, Jimmy Buffet.
He put them in the last set. It worked for a while because most folks were pretty buzzed and I got them riled up. When they came back and requested more harmonica songs, we played them, he hated it because I was in the spotlight and the friction increased, but I got to play my bit.
Eventually I was invited to sit in with other bands from the next town over and things improved for me. The Prima Donna singer is still a prima-freaking-donna, though now a soloist.
Best patience and fortitude to you.
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"If you want to hide, find a stage."
~John Popper
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MrVerylongusername
1693 posts
May 20, 2011
4:35 AM
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Can you sing? Your options grow if you can.
How about talking to one of the guitarists about a side project? If the situation for live music is the same as where I live, there's more work for a duo (the economics is better too when there are fewer mouths to feed). You don't have to quit the band you're in to form another one.
You have to explore other outlets or you are going to stagnate
Last Edited by on May 20, 2011 4:36 AM
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captainbliss
552 posts
May 20, 2011
5:07 AM
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@didjcripey:
Key question is "is the singer the bandleader?"
@jimjam:
/I had a similar problem once and worked it out that we added some harmonica tunes to the rotation./
An excellent idea.
@didjcripey:
A couple of instrumentals at the start to warm up the stage for a grand entrance for your singer, perhaps?
@MrVerylongusername:
/How about talking to one of the guitarists about a side project?/
Another excellent idea.
xxx
Last Edited by on May 20, 2011 5:11 AM
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waltertore
1356 posts
May 20, 2011
5:39 AM
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Everyone goes through these ordeals if they play with other people. At best, it is good for awhile. All things come to an end....... I had the same bass player for 15 years. It was very sad when he decided to quit playing full time. He got tired of living from 10-2, no money, moving all over the world, no real personal life, teeth going bad..... Personally I never could never wait on others to catch up with me so I went solo, 1 man band, streetcorner, etc, when the band thing went sour and it went sour more times than I want to remember. Listen to your heart and it will lead you to the right place. It led me 10 years ago to being a full time 1 man band. I never realized the dabbling I did with it since 1974 was laying the foundation so I could jump right to it with no real issues adapting to it. Walter
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Last Edited by on May 20, 2011 5:42 AM
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chromaticblues
841 posts
May 20, 2011
6:06 AM
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It doesn't get better. I've been thru a similiar ordeal. The better I got the more friction there was. I just don't understand that mentallity. You would think people would like to be on stage with other talented people and share the experience and have fun! Everyone is wired different and some people are just to self absorbed. You have to speak your mind and explain it to him. If that doesn't work. You didn't lose anythng. It was going to go south anyway!
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groyster1
1048 posts
May 20, 2011
6:14 AM
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although Im not in a band,it seems to me they should function as a team,with everyone having a role in producing a great sound as one
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Baker
122 posts
May 20, 2011
6:39 AM
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I do feel your pain, I have shared stages at jams with singers who love the sound of their own voice plenty of times, and understand the frustration.
Also, however (and this is something which also annoys me at jams). We are in the business of playing songs, a good song with several massively extended solo's can IMHO become hugely boring.
I think it is important to do what is right for the song and add value rather than get hung up on how much "air time" we get. I'm not saying that this is the case in your situation but I guess it's just something to consider.
I came across this in Joe Filisko's newsletter "YOU MISSED MONDAY" (which you can sign up to here: http://tinyurl.com/64gtq5g):
"With improvisation on the brain, Joe turned to George Smith this week as a way to discuss what works in a 12-bar solo. Times Won't Be Hard Always is a terrific example of a blues recording that is short and to the point so as to be commercially viable in its day.
What are the key elements of this solo to learn from?
It's short. Say what you have to say in 12 bars and get out!
Head shake. George uses the 4/5 shake repeatedly here and nothing says "blues" more than that. Note that the shake should be thought of as a chordal texture. Playing both notes a little "dirty" will get you that low-frequency "difference" tone that snarls, especially when amplified.
Repetition. I repeat, repetition. George plays the head shake over four of the 12 bars. He also milks the 4 draw bend lick that you first see at the end of bar one, playing it six times over 12 bars. Learn the strengths of the instrument and the blues vocabulary and then what? Repeat it!
Blues scale. Know your blues scale and stick to it. With small exceptions over the V and IV chords, George is in the blues scale at all times. No wonder this solo sounds so bluesy! You should do the same."
Also, this article written by Elwood (who used to post a lot on this forum). It's about our own CaptinBliss' performance on the Hey Negrita album "Burn the whole place down" and specifically the title track.
"...he only adds as much harmonica as the song really needs. He could have easily chugged along through the whole track, adding little fills and frills between the vocals. I mean, Lord knows I certainly would’ve. Instead, he just keeps his harp by his side for almost the entire song, playing three short solos that account for about 12 bars of the song..."
You can read the whole article and hear the track here: http://www.harpsurgery.com/hey-negrita-harmonica.
This album and this approach and really been a big influence on my playing and my approach to music in general (Thanks Will!).
Anyway, I guess my point is that, unlike a guitar for example, our "air time" is limited and should be used meaningfully. Some songs may require a little more harmonica, some will require none.
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7LimitJI
506 posts
May 20, 2011
7:10 AM
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@Baker
I agree with all you have said with the caveat
If you are recording a track for a cd then keep the solo's short and sweet.
BUT, for a live performance if it feels right,then let it rip and keep playing.
Compare almost any studio recorded album track with the live version.eg
Rod Piazza Live at BB Kings
William Clarke Live in Germany
The live tracks just blow the studio equivalents away.
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The Pentatonics Myspace
Youtube
"Why don't you leave some holes when you play, and maybe some music will fall out".
"It's music,not just complicated noise".
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groyster1
1049 posts
May 20, 2011
7:17 AM
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of all the blues cds I own,the live ones are the best-the only 2 cds I own with madcat ruth are live in rio and live @ creole gallery-they bring the chicago sound in
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Baker
123 posts
May 20, 2011
7:30 AM
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@ 7LimitJI – Agreed. Actually I think my post is more a response to the the title of the tread rather than the OP.
I think, in order to make the best of a performance, all members of the band need to be flexible and play without ego. Let the song evolve and "Work as a team" as one wise man once told me...
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Joe_L
1260 posts
May 20, 2011
9:30 AM
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Lester - If you don't already sing, start singing. It'll open up a lot more options to your music and you'll get to play the music that you want to play. It will be difficult at first, but your patience shall be rewarded.
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toxic_tone
107 posts
May 20, 2011
10:27 AM
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go with just a guitarist thats what i do and there is more money for u. u can do good with just a guitar and a harmonica. then u get to play all the time so that u fill in so it doesnt sound so dead. i just got with this guy larry and by himself his is ok and me by myself is ok but toghether we are awsome!!! i live in a very very small town. also you can try and buy karaoke machine and play harp to songs when ppl play or when u sing its also a good way to practice singing. when ppl see u trying to sing it makes em feel more up to getting up and singing themselves. its what i have been doing. queen bohimain rapsdy is awsome!!!!! and then when the bar owners see that u got a good crowd and they are all having fun( because if you can sing then i can get up there and make a fool of my self too) they will bring u back again and again.
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lumpy wafflesquirt
354 posts
May 20, 2011
10:56 AM
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I was in a similar position, the lead singer/guitarist was quite difficult and in the end I was told to leave the band. I wish I had left before as then i would have been leaving on my terms not theirs.
I am now just playing open mics but enjoying it immensley as there is no pressure or commitment to when to play or what to play.
My suggestion to you would be to leave the band and find somewhere else to play.
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"Come on Brackett let's get changed"
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oldwailer
1616 posts
May 20, 2011
11:22 AM
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My problem is that I have a one man band--but the goddamn guitarist is still a fuc*ing diva!
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Always be yourself--unless you suck. . .
-Joss Whedon
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Jagrowler
55 posts
May 20, 2011
12:56 PM
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@oldwailer - why don't you get your Uncle Bunny to join you on percussion.? I think Bunny would sort out the diva!
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eharp
1303 posts
May 20, 2011
7:24 PM
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have you talked to him or the rest of the band??
seems that would be the first step.
there is the possibility he doesnt realize how you feel about this. get the band to chime in. if you are in the minority- suck it up or move on.
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colynjames
4 posts
May 20, 2011
8:38 PM
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Definitely start branching out. Play the open mics and open jams, network, find a group of like minded folks where you fit in better. Between vocalists and guitarists, it's really tough to compete unless they add songs to the set that feature harmonica. If they are not going to do that, then bail with some new found friends and do a different thing. Find a smaller group where they depend more on your rhythm and fills and allow you to get your solo on more. If you gig, you get more of the pay with a smaller group anyway. :)
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nacoran
4134 posts
May 20, 2011
9:53 PM
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One of the side reasons I took up harp was I was in a garage band as a part time singer. The other singer didn't like that I didn't have another instrument because he thought that meant I wanted the lead job full time. I didn't. In fact, I was perfectly happy letting everyone else sing (well, except the bass player!). All I ever really wanted was to write lyrics and maybe sing backup! I'm in a duo now. There is a lot of harp in all but one or two songs. I sing on about a third of the stuff. It's a lot of fun. The other lead singer (still a good friend) doesn't play anymore. He wanted to be famous and we just weren't a famous kind of band. (And he hates the sound of harmonicas!)
Singing definitely gives you a lot more options. Writing songs helps a lot too. Side projects, networking, all that stuff helps.
In your situation I think the first step would be to casually mention, in the absence of the lead singer, the topic of solos, just to take the temperature in the room. If he's cutting everyone off you may find everyone is upset. That gives you a couple of other options. You can talk to him as a group, or pick a point man to talk to him, or, at the very least, end up as a band looking for a new lead singer instead of a harp player looking for a new band (and if you don't sing, maybe someone else in the band does.)
I guess it also depends on how small a small town you live in. There is that old statistic, something like there is a 50% chance you'll marry someone who grew up within a mile from you. I imagine the same holds true for bands. (I'm probably getting the numbers wrong, but I couldn't find it on Google.) But, even in a small town there are usually options.
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Nate
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didjcripey
86 posts
May 21, 2011
3:55 AM
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Thanks for all the great responses and good advice......I feel a little better now!
@Captainbliss: yep the frontman is the bandleader. We rehearse at his place, the PA, drums and bass gear are his and nearly all we do is his original material, so yep, he gets to call the shots. I know that most bands are not a democracy; the best you can hope for is a benevolent dictator! Instrumentals? Yep, we used to do Peter Gunn theme but any time it has been suggested lately, his response is 'that's just an instrumental', meaning there's nothing in it for him.
@Waltertore: your advice is worthy of a sage, and coming from someone who's been there and done that it is all the more valuable. I admire the one man band thing, but I don't have the talent to cut it; also the biggest buzz for me comes from playing in a band, when everyone is firing and the whole is way greater than the sum of its parts.
But like someone once said, 'You can't always get what you want'. (that's why we are bluesmen).
@chromaticblues: 'the better I got the more friction there was', I didn't want to say it myself, but that sums it up pretty well. He is way more tolerant of poor performance than 'competition'. Strange, isn't it?
@Baker:I agree absolutely about the importance of the song, the meaning, the lyrics. Especially when it comes to Blues which deals primarily with feelings.
Thanks for introducing me to George Smith and 'Times won't be hard always'. Great solo, I'll be learning it and stealing as much as I can from it. The principles you restate are vital. Especially about the Blues scale and repetition. I often get overawed by Guitar solos with a million notes all over the chromatic scales; besides being unable to play like that, I don't think that's where it's at for the harp.
.
@Nacoran and eharp: naturally I, and the other band members have spoken to him. Might as well talk to a wall. In desperation, I even tried subtlety; the other night I said that for the amount and type of harp he wanted in his songs, I'd get him a rack and a harp and give him some lessons! After seriously considering it for a minute, he said he was just too busy to learn harp!
Its his way or the highway, and unfortunately, under the circumstances I have to accept that as fair enough.
I'm not really a singer, but maybe its time to start learning. I am definitely also putting out for some side projects. There's a lot of songs I'd love to sing, but I think confidence will most likely be an issue for me.
I should really leave the band with dignity to leave it more open for other opportunities, but the band has been like a second family to me for a while, so I'm not ready to quit just yet. Time to suck it up, but keep an eye open for alternatives.
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Lucky Lester
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AirMojo
156 posts
May 21, 2011
5:50 AM
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Maybe if the bandleader got some feedback from the establishment owner and audience, he would wake up...
"Let the harp/guitar players play dammit!" should be their battle cry.
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eharp
1304 posts
May 21, 2011
6:22 AM
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sounds like your on your way out.
i'd play whatever and wherever it fits into the song.
maybe give a heads up to the band.
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Jim Rumbaugh
504 posts
May 22, 2011
5:59 AM
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Let's put another spin on this problem.
You get paid to play music, and you are unhappy because you are asked to do less work to get paid?
Now ask yourself, what does a proffesional musician do? Answer, he does what he's paid to do.
I will agree, if you don't like your job, quit. If it is not fun, quit. Over the last several years, there are MANY times I have asked myself, "why am I still playing in this band, doing these stupid songs i do not like?" and I suppose that is where you are now. But I keep reminding myself, "it's not about me". I see the people dance, I see the people happy, and I realize I am part of something that is doing a good thing. I have been over 30 years with the same band.
Just like a mariage, sometimes there has to be compromise to make the union work. If it's a good union, make it work, if not, move on.
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The WV State Harmonica Championship at The Diamond Teeth Mary Blues Festival Aug 27th & 28th 2011, Huntington,WV
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eharp
1308 posts
May 22, 2011
6:05 AM
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good point, jim.
my band does songs that i play very little on. i dont object to them because the rest of the band likes them (because i play little on them (?) and they sometimes get a nice response from the audience.
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didjcripey
87 posts
May 22, 2011
3:11 PM
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Thanks Jim, good point.
Maybe the one with the ego problem is me
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Lucky Lester
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ElkRiverHarmonicas
683 posts
May 22, 2011
9:29 PM
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Jim is DEAD on and saved me a lot of typing. My first question is how is Ur chord rythm? First, There are not many harmonicas I haven't personally tuned that I'd trust for onstage chording. Second, a lot of players don't play a good chord backing, Listen to everything Peter Ruth does, he's among thebest at it and his rhythm prowess is why He is one of the musicians I most respect.
Tell me exactly what you play for the I I7 IV V and VI chords please... Don't think about it toomuch, I want to know what comes off the top of your head. This is my forte, I'd be glad to help if you wanted it.
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David
Elk River Harmonicas
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"It's difficult to think anything but pleasant thoughts while eating a homegrown tomato." - Lewis Grizzard
"Also, drinking homemade beer." - David Payne
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boris_plotnikov
542 posts
May 22, 2011
9:44 PM
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didjcripey
Do you have recordings (audio or video) of your band with your playing?
It's really harder on harmonica to play great comping than on guitar. As chords are limited and you have to know which notes fits chord progression.
I love playing comping with organ-like tone (Boss HR-2 for low octave and high octave and some phaser). You can try it?
For longer solo you have to find right way of soloing to show that your solo can be longer. E.g. You can start long fast phrase on the last bar (instead of regular turnaround phrase) and it will naturally goes to second part and everyone will hear it. Add dramaturgy to your solo. Play as less as possible (three perfect notes!) in first 4 bars. And gradually increase amount of notes to the end of 12 bar part, but don't overplay, show them that you can play one more 12 bar.
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Excuse my bad English. Click on my photo or my username for my music.
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didjcripey
90 posts
May 23, 2011
6:51 PM
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@David. To be honest I'd have to think hard to answer your question. My knowledge of theory is very basic, an area that I am working on. We only do a few standard blues, mostly minor, sticking to the I, IV, and V. A lot of the songs are two chord wonders and a few just stay on one chord. I play mostly by ear and by feel.
I'd like to point out that although we have had a few paying gigs, I am by no means a professional musician, I am at best an enthusiastic amateur, who wishes he'd started much earlier in life. We play weekly; it is supposed to be a rehearsal, but always turns into a show, with about two dozen people who come to hear us and socialise. The band is a bit of a revolving door, with members coming and going all the time; either leaving in dissatisfaction or getting the boot for various reasons. I think we've been through just about every muso in town. The front man and I are the only originals, and until lately have been good mates.I do take it seriously though, but if its no fun I question what I'm doing; music is my passion.
@Boris here is a couple of tracks we recorded a few years ago. It was my first attempt at recording anything, so the quality isn't great. The harp sound is a garage band amp simulator, so doesn't really reflect what I get now in a live setting. I know that the timing is all over the show, we layed the tracks down seperately and had trouble getting them to co-ordinate. Timing is not nearly so much an issue when we play live, though it is an area that needs work.
Enough apologies and excuses; it is what it is, and I'd appreciate your feedback.
.
.
.
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Lucky Lester
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boris_plotnikov
545 posts
May 24, 2011
1:54 AM
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didjcripey
You follow chord progression enough, ok. You have enough good tone, you're in musical context.
First track
1. Play less under vocals. Not after each phrase, don't play over 1st verse at all.
2. Work more on articulation. Your timing will be better and your ideas will be more recognizable.
3. You tend to overuse glissando and to underuse staccato.
4. As I said earlier, built your solos and you'll have more than 12 bars. Less notes in the beginning of the solo. Make solo like a tune inside of tune.
Second track is much better because you play less, really. You even can add a bit melodic lines under
vocalize part. You make music better, but try keep the ends of the phrases in rhythm, you tend to play the
end of phrase faster than beggining and faster than tempo of the song.
Third track is ok too. You play enough. Comping don't need more harmonica. Timing and articulation need
improvement too, don't overuse glissandos!
BTW, electric guitar player tends to overplay too and his solo completely sucks. Harmonica solo will be
better instead of guitar solo.
Sorry, but drummer totally sucks or it's problem with syncing audio tracks in DAW. Acoustic guitar really
keeps the groove all tracks, drummer tried to ruin the groove all the time. Drums sounds very bad.
Actually band baffle to pleasant vocal/guitar duo (especially in third track).
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Excuse my bad English. Click on my photo or my username for my music.
Last Edited by on May 24, 2011 2:17 AM
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jbone
532 posts
May 24, 2011
4:06 AM
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to me it sounds definitely over between you and the leader. if other members of the band like you but are not willing to either confront the guy or leave with you, you only have 2 choices: confront head on and see if standing up for yourself will get any good results (doesn't sound likely), or move on to the next adventure.
i had a similar situation at least twice in my time playing in bands. one of those times i had co-founded the band and the last 2 guys i hired basically edged me out. i could have stayed but why? if i ain't havin fun i am not sticking around. it was about how much bullshit i was willing to swallow to hold a place in a band. answer was, not just a whole lot. working with musicians has enough pitfalls without a hostile leader. and most times they won't just come out and fire you, they'll keep you around for whatever reason, just make sure you don't get any spotlight until you give up.
both times i left a band that headed that direction, i stood up and told the members what i saw and how i felt about it. then i moved on. in both instances the bands didn't last very long afterward. by the time they dissolved i had found new adventures.
the truth will set you free. but it will probably piss you off first.
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didjcripey
92 posts
May 24, 2011
4:20 AM
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Thanks Boris, coming from an accomplished musician as yourself, I was glad to hear you didn't think I sucked! (or maybe you were too polite to say so).
I think my articulation has much improved since I recorded that, but it is certainly something to work on. When you say too much glissando, do you mean trills or shakes? (I understand glissando as a run up or down the harp). Listening to it now, trills are way overused; now that my vocabulary is better I tend to use them less.
Spasiba for taking the time to listen and give me feedback.
Vsevo nailu?ševo and Moio sudno na vozdušnoy poduške polno ugre!
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Lucky Lester
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ElkRiverHarmonicas
684 posts
May 24, 2011
5:15 PM
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Here's what you can play to back basic chords:
I- 234 draw
I7 2345
IV any three blow reeds
V - one and four draw tongue block octave.
VI 2 and three blow
I used to do the 1-4 draw octave when backing the V chord. Anymore, I just play two harmonicas. So in G, I'll have, say a C harp and a G harp. I'll go to the G harp just to hit the 234 draw chord for the V.
Any newbies lurking might be interested in this harmonica rhythm article that's on the ERIFAHS (Elk River Institute for Advanced Harmonica Studies) page, on the "Erifas Library 'Free Book Learnin'' section at left. I wrote it for Ehow, so it's really newbie friendly:
Elk River Institute for Advanced Harmonica Studies
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David
Elk River Harmonicas
Elk River Harmonicas on Facebook
"It's difficult to think anything but pleasant thoughts while eating a homegrown tomato." - Lewis Grizzard
"Also, drinking homemade beer." - David Payne
Last Edited by on May 24, 2011 5:17 PM
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Jim Rumbaugh
505 posts
May 24, 2011
7:55 PM
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@ dave said "VI 2 and three blow"
Let me ask and/or add
2&3 blow for the VI minor (relative minor of the key)
2&5 split blow for a VI major chord
Jim Rumbaugh
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The WV State Harmonica Championship at The Diamond Teeth Mary Blues Festival Aug 27th & 28th 2011, Huntington,WV
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ElkRiverHarmonicas
686 posts
May 24, 2011
8:26 PM
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The VI chord, by definition is minor. Thanks for clearing that up, Jim, I should have been more clear. The VI major chord does pop up from time to time. I just wrote a song last week with one, ;)
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David
Elk River Harmonicas
Elk River Harmonicas on Facebook
"It's difficult to think anything but pleasant thoughts while eating a homegrown tomato." - Lewis Grizzard
"Also, drinking homemade beer." - David Payne
Last Edited by on May 24, 2011 8:28 PM
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boris_plotnikov
546 posts
May 24, 2011
9:19 PM
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didjcripey
Trills are ok.
--WIKI------
In music, a glissando (plural: glissandi, abbreviated gliss.) is a glide from one pitch to another. It is an Italianized musical term derived from the French glisser, to glide. In some contexts it is distinguished from the continuous portamento. Some colloquial equivalents are slide, sweep (referring to the 'discreet glissando' effects on guitar & harp respectively), bend, slide, or 'smear'.
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I mean pre-bending all the time, e.g. 4 bend then released to 4 draw (slightly flat), than again bended to 4 etc. Sometimes I imagine weak violin player who can't find correct note on his neck and move his finger to find it. Pre-bending can be a great emotional effect, but not when overused. And if you make pre-bend you have to stay on clean note correct in pitch, not bending it back.
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Excuse my bad English. Click on my photo or my username for my music.
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