 The Clarinet BBoard
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Author: blazian
Date: 2007-04-16 00:27
I was wondering why it's harder to play clarion notes on a bass/alto. I don't have much trouble on either, but it seems it should be as easy as on the soprano. Is is the register configuration? Or is it just some other unapparent factor?
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Author: Ken Shaw ★2017
Date: 2007-04-16 11:23
Alto and bass are harmony instruments. They supply notes lower than the soprano clarinet and are optimized to sound and respond best in the low register. So are mouthpieces. Orchestral parts for bass are mostly in the low register.
Ken Shaw
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Author: Lelia Loban ★2017
Date: 2007-04-16 12:51
Ken, maybe you or someone else can answer a corollary to that question. I wrote a five-minute piece for bass clarinet and piano (intended it as an entry in a composition contest, but didn't finish it to my satisfaction ahead of the deadline). I imagine it as a contest or encore piece playable by advanced students. It's mostly in the chalumeau register but does require the player to use the clarion, mostly up to g on the top of the staff, with a few bars up to c above the staff. Those passages include staccato eighth notes at quarter note = 110 as the suggested tempo.
A few passages require altissimo, up to e three lines above the staff, also allegro. I've heard pro bass clarinet jazz players (Hamiett Bluiett!) go a lot higher and faster than that, using the entire range that would be available on a soprano clarinet, but I'm wondering if this type of writing is realistic for college-level classical bass clarinet students today. I can play the piece on alto (with difficulty) or contra-alto (easier), but I don't own or have access to a bass. Thanx for any advice!
Lelia
http://www.scoreexchange.com/profiles/Lelia_Loban
To hear the audio, click on the "Scorch Plug-In" box above the score.
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Author: David Spiegelthal ★2017
Date: 2007-04-16 12:59
IMO with a good, properly-adjusted double-register vent alto or bass clarinet and decent mouthpiece, playing in the clarion and altissimo registers is no more difficult (and may even be easier is some ways) than doing the same on soprano clarinet, once you get used to the different feel of the lower instruments.
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Author: LarryBocaner ★2017
Date: 2007-04-16 13:37
Sorry, Ken Shaw, but you are way off base (bass) in your allegation that "...bass [clarinets] are harmony instruments." If you will examine the orchestral literature you will discover that exactly the opposite is true! From the beginning of its introduction into the opera pit and the symphony orchestra in the early mid-19th century by such composers as Meyerbeer and Berlioz the bass clarinet has been -- for the most part -- a solo voice in the orchestra! If you will look at the works of such composers as Strauss and Mahler you will discover that the bass clarinet is relegated to playing "harmony" parts no more often than, say, the cello or French horn, which I'm certain you would not denigrate as mere harmonic "background" instruments. And orchestral solos use the basscl range all the way from Chalumeau low C to altissimo high G (and beyond)!
Your thinking, Ken, seems to me to represent the vicious cycle of many school band directors assigning the bass clarinet roles to clarinet students in the lower echelons of achievement, with the corollary result that that "educational" composers and arrangers write parts for the instrument that utilize only the most easily accessible notes on the instrument and totally ignore its solo proclivities.
This "I don't get no respect" attitude on the part of some musicians (and instrument manufacturers) has radically altered in recent years with the advent of such remarkable soloists as Horak, Spaarnay, Bok, Smiley and others,-- not to mention Dolphy, de Franco and Sclavis-- who are showing the public at large what the best composers have known all along. Certainly the works of composers such as Franck, Mahler, Strauss, Gershwin, Barber, Bartok, Prokofiev and Shostakovich would not be the same if they had viewed the basscl as a clumsy, limited-range vehicle for the underachieving.
Perhaps the problem is that too many people own (or borrow) a bass clarinet and never really learn how to play it.
I am saddened by your espousal of this canard; hope this discussion will stimulate you and other unenlightened folk to dig a little bit farther before reinforcing totally false stereotypes!
Defiantly yours,
Larry Bocaner
National Symphony Orchestra (retired)
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Author: Don Berger
Date: 2007-04-16 14:51
WOW, What a Disscussion, Larry B, Thanx . From my semi-pro, community band and musical-pit experiences, little symp orch [dern it], I find myself, somewhat in-between, and treasure the occasional solo-soli parts, amid the harmony parts , with Fr Horn, Tmbs, Tubas, Saxes and 3rd cls. Its much the same with alto cl IMHO, which is further "looked-down" on. I think its great that a goodly number of "modern" composers [like Lelia] are writing for SOLO basscl, how about something for altocl, please?. To inject my 2 cents into the original ?, I feel sure nearly all experienced bass and lower cl'ists appreciate, as D S has said, the value of high-quality "double [or triple] register keying" to produce good clarion, altiss. and "pinch Bb", as in my experience. Other opinions, please? Don
Thanx, Mark, Don
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Author: LarryBocaner ★2017
Date: 2007-04-16 15:43
I'm grateful for my good friend Dave Spiegelthal's observation that:
"IMO with a good, properly-adjusted double-register vent alto or bass clarinet and decent mouthpiece, playing in the clarion and altissimo registers is no more difficult (and may even be easier is some ways) than doing the same on soprano clarinet, once you get used to the different feel of the lower instruments."
Just for the record: I played 35+ years of my major symphony orchestra career on a Leblanc Model 517 low-C bass clarinet with a single register vent. At the time I purchased it c.1963 I felt it was the best available instrument in terms of quality of construction, tone projection and intonation. I don't think that my ease of execution in the higher registers was hindered by the single vent. My main problem was a stuffy long "B" caused by the compromised location of the register vent; I solved this problem by having Leblanc add a second register key which opened the throat Bb vent and gave a perfectly in tune and clear sounding B when actuated. I'm still playing this instrument which has added over the years improvements courtesy of Hans Moennig, Paul Covey, Bill Brannen and (lately) Tony Valenti.
I was tempted to change at one time or another when Selmer and, later, Buffet improved their instruments, but there were always other issues that mitigated against "pulling the trigger." Like lousy intonation, clunky keywork and ill-advised additions such as water keys! And I love the forked Ab/Eb -- R and L pinkies have enough work to do without adding one more key!
Larry
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Author: Terry Stibal
Date: 2007-04-16 15:47
Even the dreaded "Bb only" style register key (in lieu of the normal, double vent style keywork on Selmers and Buffets and one model of Leblanc can be made to work well enough to motor around in the altissimo. However, the proficiency to do this on a "Leblanc style" horn requires a lot more time than most bass clarinet players are willing to devote to it.
I am much more facile on my Model 33 horn than I ever was on any of the "Leblanc style" instruments that I've played over the forty six odd years (time flies when you're having fun) on the instrument. Sure, it requires a bit more attention than does the "ironclad" "Leblanc style" horn, but the end result is well worth it.
As for the solo voice issue, I tend to agree with the statement that the primary use in "art music" has been for that of a solo voice. The bass is also ideal for accompanying the female voice in musical situations; indeed, many of the best bass parts on Broadway are included as counter melody to a female (alto) vocalist.
However, for the vast majority of usage (and this means most school music before the university level), the bass (and the dreaded alto) clarinet is written for as a harmony voice. Solo passages existed when I was in the secondary system, but none to compare with the usage of the instrument in music from the Romantic period, to give one example.
And, even orchestral transcriptions of classical stuff (Russian Sailor's Dance, for example) occasionally omit the prominent bass clarinet parts (in orchestrations, as opposed to concert band material). I was thirty five before I was able to play what Gliére originally wrote. And, even then, I had to help the librarian understand that what she was holding was a bass clarinet part (all of the markings on the sheet were in the manuscript Russian of the original).
One of my oddest bass clarinet experiences was when I played bass for one of the community orchestras down here in Houston. I was very excited when I was told (by the CHinese musical director) that I was needed for On The Trail plus a couple of pops pieces, as most of us enjoy the show off opportunity offered by the burrow on the trail passages.
Imagine my dismay, however, when I saw that the version we were playing (a commercial one for high school music groups) transferred the entire bass clarinet solo line over to the bassoon! Sure, it was in C major for them, but neither of them was up to the demands instrumentally, much less stylistically.
When the group performed, my wife (not alerted to the improvement in the arrangement) later asked me why I didn't play the bumpy part (her words) as she had heard me do before. I told her it was another case of musical arrangements for schools, and left it at that.
Ever since, if someone wants me for a bass clarinet part in a classical mode, I am always careful to ask which arrangement is being used. Most Gershwin and romantic period music keeps the parts the same, but you never know when they're going to throw you a curve...
leader of Houston's Sounds Of The South Dance Orchestra
info@sotsdo.com
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Author: Ken Shaw ★2017
Date: 2007-04-16 15:53
Larry -
Sorry. I didn't mean to push your hot button.
My point, which I should have made without the introductory throat-clearing, is that bass clarinets and mouthpieces are designed to play best in the low register. It doesn't mean that they can't be played well in the high register, and certainly any college level player should be expected to be able to do so.
The last bass part I played was in the Franck Symphony. As I recall, there was only one short solo passage, and the rest was doubling the cellos and bassoons.
Ken Shaw
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Author: Bassie
Date: 2007-04-16 16:08
Bass is one of THE most distinctive sounds in the orchestra - therein lies its appeal. And yes, those earthy low notes are part of the pull-factor. But I too wonder what is the best way to get good middle-range notes.
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Author: David Spiegelthal ★2017
Date: 2007-04-16 16:16
The Franck Symphony bass clarinet part is exceedingly easy and not really representative of bass clarinet parts in orchestra, as Larry's post makes clear!
Granted that bass clarinet parts in much of the concert band literature are concentrated in the lower register, but even than has been changing in the last few decades -- it seems that more and more contemporary band composers are using the full range of the instrument than was common in the past.
Larry makes another good point, that single-register vent alto and bass clarinets DO exist which play well in the upper registers (I've personally played a few); I probably should have said instead that one is more LIKELY to find an alto or bass clarinet that plays well in the upper register among the double-vent designs. And the sharp and/or stuffy "long" clarion B can and does exist even on many of the double-vent instruments -- it's not solely a characteristic of the single-vent horns.
It's all what you're used to -- In junior high and high schools I played bass clarinet almost exclusively, and had a much easier time playing the standard soprano clarinet solo literature on bass clarinet, than on soprano clarinet (e.g. I played Weber's 2nd Concerto for high school solo festivals, and to this day I find it easier to play on bass than on soprano).
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Author: tictactux ★2017
Date: 2007-04-16 18:14
I don't have any issues with my Darth Tone's clarion. In fact, the altissimo is easier than on soprano, but that might be due to an excellent mouthpiece.
(The only note I have more difficulties with is the C above the staff, quite probably because of the holding position of the clarinet, but a "long C" instead works fine.)
--
Ben
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Author: blazian
Date: 2007-04-16 21:47
I don't have any trouble with altissimo (even above G), it's only around the lower clarion (B-G). I don't even have problems with G#. My alto has been checked, but there are no leaks. It MAY be the MP (Yamaha 4c), but it works fine on other altos.
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Author: rc_clarinetlady
Date: 2007-04-17 06:08
Anyone know Amparita Roca, a Spanish March?
The bass clarinet part is quite challenging for high school players. My one and only bass student is just not used to playing this kind of music. As mentioned earlier, the usual fare for band is not challenging. It's either oom pah or the dreaded whole note held forever. I have my student playing in method and etude books but she's slowly gaining the mindset that bass players don't play "fast". I don't like that she thinks that way. My soprano students play circles around her as far as technique goes and it shouldn't be that way. She can play her scales as they're required in our district but she struggles with music that requires articulated passages. I see a huge difference in bass and soprano players at the high school level.
While I'm flattered with the parents' loyalty towards me, this student really needs to move on to a bass teacher. I have limited knowledge on bass issues and have told them that yet they want to stay with me. ???? I'm doing my best but need help with this student. She has the very same trouble you mentioned with the clarion register too. While she can play in both the clarion and altissimo resgisters, it's very difficult and strained for her. She has a beautiful, classic bass sound in the chalumeau reg. but it becomes soft and fuzzy when she goes above the clarion E.
Anyone have advice for me...other than to find a bass teacher.... I know that one, I've tried. I need to be able to help this girl. My soprano students all do very well. All got 1's at district contest and are headed to state. I know how to teach the music. It's the issues that are particular to bass clarinet that I'm not sure about. Embouchure, hand positions, clarion and altissimo registers, mouthpiece selection, etc. Any books or CD's I can listen to to help educate myself? Thanks for the constructive advice.
Rebecca
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Author: Lelia Loban ★2017
Date: 2007-04-17 12:46
This discussion has been most helpful to me as an amateur composer. Btw, I was writing for bass clarinet because the competition was part of the bass clarinet festival in Rotterdam last year. I ended up not entering because I ran out of time before the deadline and because it turned out to be a somewhat expensive hassle for composers in the USA to enter. If entry had been cheap and easy, I might have gone ahead and sent in a piece that wasn't up to my standards and wasted the judges' time, but I'm glad I held back "Fibonacci's Dance" and worked on improving it instead. I may see whether I can sell it to a publisher. Definitely interested in writing more for low clarinets.
Lelia
http://www.scoreexchange.com/profiles/Lelia_Loban
To hear the audio, click on the "Scorch Plug-In" box above the score.
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Author: LarryBocaner ★2017
Date: 2007-04-17 13:20
"RC clarinet lady", sight unseen, there are many factors that might be causing your bass clarinet student's problem.
Some possibilities:
1. Throat Bb vent is not closing all the way when register key is depressed.
2. Inadequate air support/too tight embouchure.
3. Poor mouthpiece/reed combination. (I play Roger Garrett Zinner-based with Gonzalez #3-3/4 reeds). I've had students use Garrett's "MO" facing with very good results -- very reasonably priced from WWBW(?) or direct from Roger.
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Author: Low_Reed
Date: 2007-04-17 14:49
I really love my Yamaha YCL-221 bass clarinet, with the two-piece ABS body and the "pro-neck" angle. There's nothing I would change in the chalumeau - sweet, rich, delicious. I have to work harder in clarion and altissimo, like most people, I guess, to get a decent sound - open my throat, pay close attention to all my attacks/approaches, etc. (My mouthpiece is a Grabner CX_BB_90, which is fabulous, and brings out the whole range of the instrument better than any other I've played.)
This instrument has a single register key; from what I've read, a DRK would likely help the clarion quite a bit. That's the only thing I would change on this horn. (Well, I wouldn't turn down a tuneable neck!)
So I'm very much intrigued with the new Ridenour Lyrique Bass, which is hard rubber, affordable, and DRK-equipped.
But, what about exploring this path: Modify my YCL-221 to give it a DRK. This would involve some new keywork, and probably a new vented neck. Do any of you BC wizards out there think this is worth exploring? I'm thinking it would be much easier to convince one of you craftspeople to do a one-off experiment, at my expense, than to convince Yamaha to make this improvement to their own production horns.
Your thoughts, please?
Bruce
**Music is the river of the world!**
-- inspired by Tom Waits and a world full of music makers
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Author: David Spiegelthal ★2017
Date: 2007-04-17 15:41
Bruce, it's quite easy to install a MANUAL second register vent if you don't mind taking the trouble to learn to switch thumb keys from clarion Eb on up. Retrofitting an AUTOMATIC second vent mechanism would be a considerably greater effort, as it involves installation of a linkage coming up from the lower joint with the corresponding second bridge key crossing the center joint.
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Author: Burt
Date: 2007-04-17 19:14
I was never "taught" how to play bass. I played it for a summer in a community band whien I was in high school (No idea what model). During that time, I figured out the altissimo up to D7 (six lines up) ON BASS CLARINET. It took several more years before I could play them on Bb soprano.
Two years ago, I played bass (Selmer low-Eb) again, and I could play up to D7 with no trouble. I've never had to play anything above E6 in a band piece.
So I assert that it's much easier to play altissimo on a bass than on a soprano.
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Author: David Spiegelthal ★2017
Date: 2007-04-17 19:30
It's fair to say that the bigger the instrument, the easier it is to play in the EXTENDED altissimo (i.e. above G-whatever-it's-called on the third ledger line above the staff) -- this is true (I humbly submit) for bass clarinet vs. soprano clarinet, and also for, say, tenor sax as opposed to soprano or alto saxes. I think the reason is that, to play such high notes, one essentially is clamping down on the reed towards the tip to limit its vibrations to a short section only, and the bigger the reed, the more length of reed there is to subdivide -- if that makes any sense!
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Author: rc_clarinetlady
Date: 2007-04-17 20:32
Larry,
Thanks for the helpful suggestions. I know she plays a Garrett mouthpiece but I can't remember what the facing is. We worked together about a year ago on a new mouthpiece for her and the Garrett gave her the best sound.
I think she's playing a Vandoren 2 1/2 reed and that may be too soft to get a good clarion and altissimo sound. She sounds great in the chalumeau and throat tones, though so I'm not sure if there's a good compromise. If she moves to the harder reed for the clarion she'll most certainly risk that gorgeous sound she gets in the lower register. Any suggestions here? Should she be playing a harder reed?
I think she played with more breath support last semester. She was hospitalized with an intestinal illness for a month and didn't play. This may be causing her to play guarded and with less support now.
I'll check the throat Bb vent. She's playing a new wooden Leblanc the school owns. I think it's okay but will double check it. Anything can happen.
Thanks again for your input.
Rebecca
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Author: LarryBocaner ★2017
Date: 2007-04-17 21:43
Rebecca,
2-1/2 reed is IMO waaaay too soft for any mouthpiece Roger makes!
Try holding down the Bb vent with your finger while your student plays the "troubled" notes. If that helps there ought to be a simple screw adjustment that will accomplish the same mechanically.
Good luck!
Larry
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Author: rc_clarinetlady
Date: 2007-04-17 23:02
Sorry, everyone, for the double post above. I'm so technically challenged!!!
Computers.
Thanks for the advice, Larry.
I'll check the Bb vent as you say on Thursday when I see her. She's pretty frustrated with this Amparita Roca right now as it requires the clarion register quite a bit. Good kid.
I'll also have her get some 3 reeds and start moving up in strength a bit. I know it will be difficult for her. I'm no expert on the bass embouchure. As I said in my earlier post, she needs a bass teacher. I'm very at good at what I do with my soprano students but admit openly that I don't know the finer points to the bass embouchure. Any advice as to how to help her play a harder reed with success? She seems to have a "soft" chin. That would never fly with me on the soprano cl. but she doesn't seem to be able to tighten it up on the bass and get a good sound. What's the standard on this point?
Rebecca
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Author: Don Berger
Date: 2007-04-18 14:08
I recall playing Ampa Roca in our comm band, it kept me busy-alert, believe it was across the break. Some B C's [without DRK as discussed above] may be slow to respond for B,Cand/or D. I also played the same melody on alto cl, a 4th/5th lower which was much easier !! {hope I'm correct ! } Don
Thanx, Mark, Don
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Author: rc_clarinetlady
Date: 2007-04-18 15:00
Yes, Don, that sounds just like the piece they're playing.
There are two basses including my student so on the part you're talking about where it goes back and forth over the break, single tongued, they've come up with a plan to play alternating notes only. One will play on the downbeats only and the other on the upbeats only. I think they should just start slow and learn the part but my student's comment was " We're bass players, we don't play fast." Ha!! Think again.
I heard Walt Grabner at the OU Symposium last year and he "flew" on his pieces he played. He was fantastic. I'm still waiting for a CD from him. Walt??
I'd be happy with a suggestion of any bass player for her to listen to at this point. Anyone have any ideas? I'll expect her to learn Amparita Roca unless someone here tells me it's unreasonable to expect it of someone who's only been playing bass for two years : )
Rebecca
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Author: rsholmes
Date: 2007-04-18 15:30
Michael Lowenstern's "Ten Children": http://cdbaby.com/cd/lowenstern. That ought to be inspiration enough for a bass clarinetist. Check especially the "bass players don't play fast, huh?" opening to No. 5. (I love that one -- I've known children like No. 5, haven't you?)
While at CD Baby also check out Edmund Welles's "Agrippa's Three Books": http://cdbaby.com/cd/edmundwelles. Whatever you think of the music, you'll hear bass clarinets doing things you probably didn't know they could do.
Neither is exactly concert band repertoire, which may be a good thing or a bad thing, but they both certainly do put any thoughts of bass clarinet as an "oom-pah oom-pah" instrument (or in your students' case, "oom" 'pah' "oom" 'pah'!) to rest.
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Author: rc_clarinetlady
Date: 2007-04-18 16:49
Thanks for the suggestions, rsholmes.
I'll go look them up and see if I can get her something to listen to to inspire her. She loves the sound of the bass clarinet and I never have a problem with her practicing. She just needs to have some good goals. I'm hoping that hearing the recordings will help her aim for a great tone and also help her realize that the full range of the instrument is possible.
Her last name happens to be Holmes. Interesting coincidence. Hmmm...
Rebecca
Hmmm....
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Author: clarnibass
Date: 2007-04-18 18:25
Good advice from Rich Holmes, and if you want to hear who is imo the best and most interesting bass clarinetist today check out CDs by Louis Sclavis. He was also described in some books and articles as maybe the most important French jazz musician ever (yes, not clarinetist, musician). Some of his CDs are better than others, and some are more avantgarde than others. You can email me if you want more specific recommendations, etc.
Nitai
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Author: shadowing
Date: 2007-04-19 00:06
As a current high school bass clarinet player, I have to actually agree with the consensus that a majority of bass clarinetists think that bass clarinet music is mostly slow.
Its not. I faced that issue last year or so when playing Suite of Old American Dances (which was tough to play considering I never touched the clarion).
To be frankly honest, I believe that to attack the clarion well lies in practice, practice, and experimentation. I had initial problems tackling notes about the staff. I solved it by switching to a Vandoren 3 reed and practicing my butt off.
A question comes to mind for me though... Do double register vents have an actual difference in playing?
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Author: graham
Date: 2007-04-19 14:17
However; the original premis of the question is correct. Whatever may be the ability of professional or college players to play in the clarion register with the same ease on bass as on the soprano instrument (if that is what they truly suppose is the case) for most ordinary mortals, it is more difficult on bass than on soprano. And, in fact, I think that is true of all registers of the bass in one way or another.
And I think the design has been optimised over the years for better tone and intonation in the lower register as Ken points out; but no-one has told the composers that, and in any case why should they not use the distinctive upper register sound of a bass clarinet irrespective of whether the player likes that or not?
In any case, when, for instance, R Strauss wrote the stratospheric bass part in Rosenkavalier Suite, was he writing it for a 24mm bore modern bass, or was it likely to be a narrower one, more like the 19mm Uebel design, which I would imagine behaves very differently?
It should be said that there is no clarinet (probably with the exception of the alto) which is a harmony instrument if we adopt the view LB puts forward. They are all soloistic at the appropriate times. Just as we do not have harmony oboes, harmony flutes, or harmony bassoons. The term must have been intended to differentiate them from an instrument that had a greater range of soloistic uses, and in all fairness that would have to be true of a soprano clarinet, notwithstanding the many examples of bass clarinet solo that the orchestral repertoire is inclined to throw up.
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Author: LarryBocaner ★2017
Date: 2007-04-19 18:05
Well, in the first place, Graham, the "stratospheric bass part in [the] Rosenkavalier Suite" is not, strictly speaking, by R Strauss! The Suite to which I think you are referring is an arrangement by Artur Rodzinski (no slouch as a conductor himself) in which he took Strauss's bassett horn notes and merely transposed them for bass clarinet -- either he didn't want to pay for a double or at that time bassett horns were too rare to be counted upon. You are quite right that the narrower bore instruments are easier to play in the high registers -- something jazz trumpeters have known for a long time!
Anyway, mortal or not, I stubbornly maintain that with a properly set up quality instrument, honest reeds and mouthpiece, and a player who has taken the trouble to learn how to play the instrument, playing in the clarion (and higher) register on bass clarinet should not be radically more difficult than it is on the soprano clarinets. I doubt very much that professional quality bass clarinets are manufactured to favor the low register. That might be the case with some student instruments which pander to the "educator" view of the bass clarinet to which I have alluded above.
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Author: behemothben
Date: 2007-04-19 23:59
wow this thread is really long, but doesn't really answer the question!
Blazian,
Its "harder" to play bass clarinet, because the instrument has a longer tube length, and you have to blow your air faster to get to the tone holes. Its just plain bigger.
ben
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Author: David Spiegelthal ★2017
Date: 2007-04-20 04:11
It's actually a plot by us bass clarinetists, to make you soprano guys THINK our big horns are much harder to play. This gives us some extra cachet to make up for the lousy parts we get stuck with most of the time, and also fools the composers into writing low and slow parts for us so we don't have to spend any of our precious TV-watching time practicing the instrument.
There.....the secret's out.
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Author: clarnibass
Date: 2007-04-20 06:29
David, no! I can't believe you told everyone the big secret!
Though I have a problem since I make (compose? create? Not sure how to call it) most of the music that I play (on bass clarinet). Well, nothing that a multiple personality disorder wouldn't solve  Does anyone have on I can borrow...?
Post Edited (2007-04-20 06:31)
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