U
;ii
Mel Bay Presents
walking
Bass SoloB by John E. Lawrence
CD CONTENTS n-t-5thoverMajorTthChords[:461 lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll R*t - 5th over Minor 7th Chords [:35] [Zl g--l n""t - 5th over Dominant ?th Chord [:35] I Root - 5th - Lrading Tone over Major 7th Chords [:43] Fl n""t - 5th - Leading Tone over Minor 7th Chords [:361 Sl I
@
MajorWalkNo.2[:41]
Ed
E
Major Walk No. 3 [:42] Root - 5th and Octave over Major 7th Chords [:44] Root - 5th and Octave over Minor 7th Chords [:42]
E
Root - 5th and Octave over Dominant Chords [:42]
E
Fl
noot - 5th - trading Tone over Dominant 7th Chords [:35] noot - 5th - kading Tone over a ii-V-I Progression[:401
l 8l
Scalesfor a [-V-I ProgressionNo. I [:4O]
@
l9 I
S c a l e s f o r a l l - V - I P r o g r e s s i o n N o .[ 2: z l 4 ]
@
1 2 - B a r B l u e s B a s s L i n e N o . 3[ l : 4 7 ]
F0l
Scalesforall-V-IProgressionNo.3[:45]
E
PufiingltAllTogether[:19]
FTI
uajor walk No. I [:43]
@
New Bossa [2:24]
I Ol
m E
Slow Blues Bass Line [:49] 12 - Bar Blues Bass Line No. I [1:0O] 12 - Bar Blues Bass Line No. 2 [ :00]
John E. Lawrence plays Heritage Electric Guitars, Thkamine Acoustic Guitars, and GHS Guitar Strings.
@ 2OO.IBY MEL BAY PUBLICATIONS,iNC., PACIFIC,MO 63069. A L L R I G H T SR E S E R V E DI.N T E R N A T I O N ACLO P Y R I G H TS E C U R E DB . . M . I .M A D EA N D P R I N T E DI N U . S . A . No part of this publicationmay be reproduced in whole or in part, or stored in a retrieval system, or t.ansmitted in any form or by any means,electronic,mechanical,photocopy,recording,or otherwise,withoutwrittenpermissionol the publisher.
Visit us on the Web at www.melbay.com -
E-mail us at email@melbay.com
Contents AbouttheAuthor ConstructingWalking BassSolos Root-sth.. Root-Sth-LeadingTone W h a t i s a l l - V - I C h o r d P r o g r e s s i.o. n . ? Scalesforall-V-IProgression.... ConstructingBassLinesOverAll-V-IProgression.... TheMajorWalk Root - 5th and Octave
......3 ... 4 .....5 ....8 .......
11
......13 .... 15 ......18 . . 19
SlowBluesline.
...-.22
l Z - B a rB l u e s P r o g r e s s i o n N 1 .o. . .
.....23
I 2 - B a rB l u e s P r o g r e s s i o n N o . -2. . .
.. -..25
l2-Bar Blues ProgressionNo. 3 . . . .
. . . . . 27
PuttingltAllTogether.. NewBossa
....30 .....32
This book is designedto: 1) 2) 3) 4)
Teachyou how to play chordsand basslines simultaneously Give insight into how basslines are constructed Develop the techniquefor playing chordsand basslinesthrough specificexercises Teachspecificbasssolosin the form of walking blues,jazz swing , and bossanova
JohnE. Lawrence JohnE. Lawrence,a life long residentof Ypsilanti is one of Michigan's most talentedandrespectedguitarists.Johnis now gaining national recognition with the recent contract with Mel Bay Publications, Inc., one of the country's largest publishersof instructionalmaterials.Mel Bay hasproduced for John a video tape entitled "Jazz Improvisation, Walking BassLines, and Chord Melodies," which is available in musicstoresthroughouttheU.S.The videotapewasincluded in Mel Bay's most recent "Hot List," which selectsthe company's top picks within its catalogue.Slated to be releasedin the summer of 2000 are three companion instructionalbookswithcompactdiscs(CD's).ThebooksandCD's can be used alone or in conjunction with the videotape. John's most recent accomplishmentsinclude contractsto endorseHeritage Guitars, TakamineGuitars and GHS Guitar Strings and a solo in Mel Bay's "Collectors Edition Anthologyof JazzGuitar Solos" which is now publishedand in music storeseverywhere.This collectionfeaturessolosby the world's finest jazz guitaist. John has also written two articles in Mel Bay's new Internet magazine,one entitled " Practice is the key to musical success"and anotherentitled "Blues Improvisation" for March and April 2000 issues. They canbe found at www.melbay.comunderguitarlessons. Mr. Lawrence credits his musical talents first and foremost to God, then to the late Dr. Morris Lawrence (no relation).Dr. Lawrencewas an instructor and chair of the Music Departmentat WashtenawCommunity College (WCC). Under the tutelageof Dr. Lawrence,John was challengedand inspiredto continuouslyimprove his skills as a guitarist.Following in the footstepsof his mentor,John becamean instructorat WCC where he hastaughtfor over 20 years. In the realm of performance, Mr. Lawrence served as musical director and lead guitarist for vocalist Carl Carlton,who was the openingact for suchfamed artistsas SmokeyRobinson,ChakaKhan, Lionel Richie and the Commodores,Rick James,Teena Marie and Frankie Beverly and Maze. Among Mr. Lawrence's many accomplishmentsis a performanceat CarnegieHall. In addition to touring throughoutthe United StatesandperformingatlazzFestivals suchas:BostonGlobe,New Orleans,andMontreaux Detroit, he has performed in Haiti, Surinam, Germany, and the Montreaux Jazz Festival in Switzerland. John has made television appearanceson three nationally syndicatedprograms: Kelly & Company, PM Magazine and Good Morning America. He has also performed with Atlantic Records recording artists, Straight Ahead,a Detroit-basedfemalejazz group. One of Mr. Lawrence'smost memorableoccasionswas with legendaryjazzguitarist,Mr. Kenny Burrell. Mr. Burrell asked John to sit in with him at the famed Baker's Keyboard Lounge in Detroit, Michigan. After the performance,Kenny commendedJohn on his playing ability. His soundrecordingsinclude, "Merry Christmas from John E. Lawrence," "The SupremeDream" and a third recordingentitled"Old Smooth".A (CD) that is compiledof hits from the 60s70sand 80s.His latestprojectentitled "Summer Nights" compiled of original material that fits the adult contemporary smooth jazzformat, was released in the summerof 2000.Theseaccomplishmentshave laid the foundationfor an explosivecareerin today's music industry.JohnE. Lawrenceis sureto becomea householdname.For more information,pleasecontacthis web-site at http://wwwjohnelawrence.comor e-mail him at jel @johnelawrence.com
Learning the Techniqueof PlayingBASSLINES and CHORDS Simultaneously 1) The bassline is played primarily on the 5th and 6th strings. You will usethe 3rd and 4th stringsoccasionally,but to emulatethe bassguitar the bassline shouldsoundas low as possible. /) The bassnotes are played on the downbeat and the chords on the up beat. , 3) The chord is played after every other bassnote. This gives the chords a separaterhythm from the bass line. It also gives the illusion of a bassand rhythm guitar playing simultaneously. 4) It is not alwaysnecessaryto play a full chord employing all six strings;sometimesa two or three-stringchord will do. 5) The bassline is played with the thumb insteadof with a guitar pick. Using the thumb makesthe tone darker and smoother.The strumming of the chords is done with the fingers.
ConstructingWalking BassSolos Root to the 5th BassLine Therootand5threferstothe firstandfifth noteof themajorscalebasedonthechordyouareplaying.Forexample, if you play a D major 7th chord, you can constructa bassline using the first and the fifth note of a D major scale. Example: Major scale with the root of the chord on the 6th string
r.ot+ffi
roor+ffi
ffi ,,offim
ffi ,,nfu
Major scale with the root of the chord on the 5th string
rTrflt
root-.{'Oi
mfn
root-bO | | | |
| | |
n-rfit
rFn-F-] rIffi
t-ffil-t
,*tfIT-I
,*.EffiE
In order to simulate a bassguitar sound, play the bassline on the 6th and 5th strings. Given the above scale pattern,we must take the fifth scaletone (as shown in the 4th string) down an octave and play it on the sixth string: Root on the 5th string root
,rn /
5th down an octave
4
Root - 5th over Major 7th
3fr'm
ffi
3fr.F5[n
t"l-Hil Trrrn
3frfllJTl
ffi
cM7 3frrfrm H-+tll
l-fiffl
cfiurz 4fr.8m
L.lJJ.ll
Htfr
5frI[m il rtrl
HffI
Root - 5th over Minor 7th Chords Cm7
3f.TilJI
ffi
3fr.qFm uj-tt.l
Hll+l
Cm7 3fr.qm
H++l rrrrn
6
Root - 5th over a DominantTthChord
ffi
3fr.Hil
IIIIN
st l-lttH Trrrn
cilz ffiil lt.FlltH
TTTTN
D7 iITm st l-tttH rrTrn
Root - 5th - LeadingTone A leadingtone is the note aboveor below the chord you are going to play. For examplea leadingtoneto D would be D-flat or E-flat. Note: Plav the leadine tone on beat4 of the measure.Try theseexercises:
Root - 5th - LeadingToneover Major 7th Chords cM7 3frTlTfl
ffi
ur.ffi
H}TH
3fr.ro I t t a t l trml
cf,tttz 3fr.TlITl
ffi
'*m rT.Tfl
Root - 5th - Leading Tone over Minor 7th Chords
3fr.trm u-l-itl
HtH
3frm
ffi
CmTlDb
Cm7 3fr.tffiI Ltutl
r*.ffi
Htfi
FI+H
9
Dm7 5frIflJI
ffi
Root - 5th - LeadingToneover DominantTth Chords
ffffi sr,.[m
tlm | | | l a t
fTtltl 3fr.|'r5n
cil7
D7
ffi ffi +rtEffi ru.Fffi
10
Whatis a II-V-I ChordProgression? The II-V-I chord progressionis widely usedin jazz. If you masterthe constructionof basslines over a II-VIprogressionyou will be ableto spontaneouslycreatebasslinesover jazzstandards by examiningthechordchanges. So, what is a II-V-I progression? Let's look at a C major scale.The C major scaleis made up of eight notes that are spacedeither a whole-step orahalf-stepapart.FromCtoDisawholestep,fromDtoEisawholestep,fromEtoFisahalfstep,fromFto G is a whole step, from G to A is a whole step, from A to B is a whole step and from B to C is a half. Example C Major Scale:
half step
':lfJ" ':l'""i" :lJJ" $s
The distancefrom one note to another is called an interval. The distancefrom the first note of the major scale to the secondnote is an interval of a major second,from the 1st to the 3rd is a major 3rd interval, from the 1st to the 4th is a perfect 4th, from the lst to the 5th is a perfect 5th, from the lst to the 6th is a major 6th, from the lst to the 7th is a major 7th, and from the lst to the 8th is the interval of a perfect octave. Example The Scale Intervals:
major
major 3rd
perfecl 4th
*j,nff,T,i" T,fl"frTTi
1l
When the lst noteof the C major scaleis playedalongwith the 3rd, 5th, and7th, it forms aCmajTchord.Since this chord usesthe lst note of the C major scale as its root, it is referred to as the I chord. Therefore the I chord in the key of C is C major 7.
CmajT Maior 7th --
Perfectstn-].F Maior 3rd -+ Root
I
Basedon the whole-step/tralf-step relationshipswithin the C major or "model" scales,we can now proceedto the seconddegreeof the scale(D) stacking its respective3rd, 5th, and 7th intervals to build the next chord - D minor 7. As this chord is constructedwith the secondnote of the C major scale serving as its root, it is referred to as the II chord. If we continue to stack th intervals in the sameway on each note of the C major scale,we will get a different chord for eachscaledegree.With eachchord having a correspondingnumber for every chord name.This holds true in all keys. The I chord is major, the II is minor, the III chord is minor, the IV chord is major, the V chord is dominant, the VI is minor, and the VII chord is a 7b5 or a half diminished. This can also be written as VII..
Example: The 7th chords basedon each degreeof the C major scale.
A II-V-I chord progressionin the key of C consistsof: DminT-G7-Cmaj7 Here is a list of II-V-I chord progressionsin all twelve major keys:
C F Bb Eb Ab Db
il
V
AminT GminT CminT FminT BhminT EbminT
G7 C7
I
CmajT FmajT w BbmajT Bb7 EbmajT Eb7 AbmajT Ab7 DbmajT
I
Gb B E A D G
I
AbminT DbminT GbminT BminT EminT AminT
V
Db7 Gb7 87 E7 A7 D7
I GbmajT BmajT EmajT AmajT DmajT GmajT
Note: The seventhof the chords in the II-V-I progressionsare understoodto mean IJ7-V7-I. ln this book, I have written all of the II-V-I exercisesin the key of G, but it would be very beneficial to learn the IIV-I exercisesin all twelve kevs.
t2
Scalesfor a II-V-I Progression There aretwo ways to resolvedominant7th chords.The dominant7th that resolvesto the I chord, suchas the kind you will find in a II-V7-I progression.The other is the dominant7th that doesnot resolveto the I chord directly, as in a blues progression. When playing over a dominant 7th chord in a ii-V-I progression,use the minor scale.
Example:
Am7 I
D7 Gmaj7 I
V
I
For the Am7, play notes from the A minor scale.For the D7, play notes from the D minor scale.And for the Gmaj7, play notesfrom the MAJOR WALK.
The Major Walk The MAJOR WALK consistsof the lst noteof a major scaleto the 3rd thenmoveschromaticallyto the 5th note. The EXTENDED MAJOR WALK continuesto the 6th note of the major scaleand moveschromatically to the 8th note. Example:
aa 3fr. r a a aa
ao Major walk extended
Major walk
t3
Playinga scalefor eachchordin the II-V-I Progression
A minor scale Over the Am7 chordplay an A minor scale.
5fr.
I
al
ara t a
D minor scale Over the D7 chordplay a D minor scale.
G Major walk Over the GmajTchordplay a G major walk.
Note: Playthefrst threenotesof the scaleoverthe first threebeatsof themeasure,on thefourth beatplay theleadingtone.
t4
ConstructingBassLines over a II-V-I Progression Root - 5th - LeadingToneover a II-V-I Progression D7
ffi
u*.ffin
ffi r*ffi
GM7
ffi
3frf1Jlil I tttrt
Scalesfor the II-V-I ProgressionNo. I Am7 5fr.mfl
GM7/D
ffi r*ffi
ffi
Tnn
fl+ffi r*m
srH#
f r t
ffi u*Fffi
Scalesfor the II-V-I ProgressionNo. 2 D7 5fr.fFfl
ffi r*ffi
ffi
Am7 sfrffflll
ffi
GM7
ffi raffi
ffi r*m
Fffi rrm
rffi
rtffi
3fr.ffim
I t a o t l
f++++.1 t..ru
Scalesfor the II-V-I ProgressionNo. 3 D7
Am7
5frm
GM7
ffi r.ffi
ffi
5fr.m
ffi 3rifiII{
Itaatl
ffi
Jr]]ltlIi
Am7 5fi.m t-H+H Trrrn
D7
GM7
ffin
ffi ,*m
r*ffi
D7
Fffi uoffifl
FFTTN
rTTT' ttaatl
5frfiIm
ffi r*m
-- rmfi
ffi
GM7/D
GM7
ffi
3friIffi llaat
I
t7
GM7
trTffi ,om
The Major Walk I,2,3 Major Walk No.l
Major Walk No.2
Major Walk No.3
18
Root-5thand Octave Theroot,5th andoctavevariationis a veryusefultechniquefor creatinga bassline becauseit workswith major,minor, anddominantchords.It is appropriatein all stylesof musicfromJazzto Country,to Rock,Latin, to Classical,etc.
Root-5th and Octaveover Major 7th Chords AM7 5fr.mil H?t1.1
GM7 3fr.{I]In H+TH ffr|F
TTTTN
hL!t-
i -
t r
-
l
_--_-----__-5
5fr.m Htfll ||ffl1
3m.m H1IN r|-r|H
3fr.m
l{+++] Frfffi
hrjj; o
7tt \
l
l
I9
Root-5thand Octaveover Minor 7th Chords Am7
Gm7
'.frTh
FTTM Iilill tiil il
ffi
Am7
Am7
5f..f]TJl
brr.?.lJttt
FHI+I ttnT]
ffi i lt
7
- . r ll
20
Root-5thand Octaveover DominantTth Chords
3ft.m Htf+l rrffi1
A7
5n'fTm
3n.m
ffi
ffi i
tt -
f
Jl
A7 5frm
G7
3frflTlll
ffi
ffi
I
3fr.m
5fr.5fflTl
ffi
C
lt
-
ffi
tl
2l
BluesBassLines ln a Blues Progression,play the MAJOR WALK over the Dominant 7th chords.
Slow Blues BassLine G7
F*7
,flffi
r*.ffi
TlTrn
22
G7
ffi 3fr.m
l}-Bar BluesProgression No. 1 l}-Bar BluesBassLine No.1
Transcription by Joe Palmer and Rudolph Washington G7
GTtC
G7
HXffi 3F.m
ffi 3frFTffi
G7 ffi
r*.m
c9 ffi 3fr.Hm
GTtC
ffi 3fr.ffifi
Writtenby JohnE. Lawrence Copynght@1998
GTtC
G7
trHfl Sfr.Fm
ffi r*.m
c9 ffi 3fr.4m
ffi 3frfflffi
G7
TTM r*.ffi
GTtC
D7
ffi 3fr.8m
ffi 5fr.m
GTtC TFM
G7
ffi ru.m
rr.ffi
23
ffi 5fr.Fm
GT|C
ffi 3fr.Fffi
G7
ffi ,*.m
GTtC
ffin
3ft[flfl
G7
G7
ffi 3fr.m
ffi r*m
GTtC
TtiI
3fr$H
-
r f
c9 ffim ,*.m
ffi 3fr.Fm
HTH r*.m
ffi 3fr.Fm
c9 ffi 3fr.Fm
G7
D7
ffi r*.m
ffi sfr.Fffffl
24
G7
ffi r'.m
l2-Bar BluesProgression No. 2 l2-Bar BluesBassLine No. 2
Transcriptionby JoePalmerand RudolphWashington
GTtC
G7 atatal
rTraTl
c11 ilTlTl snFltH'i
GTIF tllll
ffi 3frFflfl
ffi
'*ffi n-rrn
F7
ln.m
ffi
s*ffiH
c9 ffi 3frm
c9/F RTN
rum
Written by JohnE. Lawrence Copyright@1998
c6 ffi 5frHfrfl
cz1$sy 3fr.rrarn
[ffi TTTTN
c9 ffi 3frm
E7
ffi t*m
'*ffi Trrrn
oz1f;sy
D7
ffi 5fr.m
25
G13 3fr.fff,m l-+-l+t-.]
D9
G7
HH
ffi r*m
5fr.m
t-+-Hfl
ffi u*m
G/D
c9 ffi 3frm
c7fi5) |+M 3rl{Iflfl tlrttl
c9 ffi 3*m
c11tF ffi
r*m
= h- ill
G7
ffi ,*m
F7
A7 5frm
rfr.fTTm
Ft-ful Trrrn
ffi
GM7 I t t a a l
ffi
l0frmm
ezfisy ffi
ozfisy ffil uum
7fi.Fm
26
G13
3fr.m
ffi
t
l
l2-Bar Blues ProgressionNo. 3 Transcription by Joe Palmer and Ruldolph Washington GM7
HM t*.ffi
Written by JohnE. Lawrence Copyright@1998
rfimz FtmT
GM7/C
'*ffi rrrFn
D7
rirn
srH#
ffiH s*.ffi
'"ffi
l]-H'fl
cr7 *ffi
ffi
Em7
*ffi
ttrln
5frm
BT
rTTTI
Dfim11
Dm11
uuffi H+tfl
ffi t*.ffi
7fr.flTiTl
i?i+u
Ff,M7 G M 7 FFfl+t ffi
E7(f,e) _tTIm 'oflf?ll Trrrn
*^EilXt* ffi
c7
cz05)
ffi ror.$ffi
413
r*.ffi
H+TH
ffi tr..[ffi
D7(f,e)
'offi ITTTN
cf,e
rlnn
*m ffi
erH#
27
trffi 5frffflfl
ffi n*.ffi
c9 rrrm
'*H#
c9
c11
T[m rr'.ffi
GM7
lm
sffi r*m
'*Hffi
Am7
Bbmt
Bm7
rnffi ffi
hffi ffi
oi'.ffi ffi
lhrnu Am7
D11
saffi ffi
GM7
ffi tofr.ffiil
sfr..mfl
rrrI|l
HIH
ffi
GM7/C
l0fr.T5rrn
B7
arffi
Em7
?fr.m t-t-ttH
frrrn
trffi
Hlffl
cft TFTAN
IIm
*ffi
HTffi
r0frtrm
28
ETqe) t*.ffi Htffi
r"ffi
Df,m7
Dm7
erffi
rT.TN
t-ftfll
uom |TaTn
G7 G7(hs)
ff+H ffi ronffi *flffi
Bm7
E7
?fr.fffin
ffi ta.Fffi
ffi
D7
rf,naz cM7
5F.lfffft
t-l-tf+t Ff++tt H+tfl Htfu gfr.rfiTn lofr.T5Trn
H#+l rrrrn
ez1fisy t*ffi H+t+I
A13
u"ffi rTTTfl
oz1f,sy u*.ffi hHfl
cf,e
ttrM
'"H#
,*m ffi
r*ffi
H-ITH
ffi r*.[ffi
Eqm
rnH#
I hriltj
c11
FW
r*m
mm
ffi 3fr.m
'u$H
stffi ffftfl
Trrm
ebmt ?frflfffl |-|Hn TFTTN
I hrnfj- r
E7f,e t+-t-l-H -^ t-l-tl-l.t
"ofifffl
Lllttt LLLLIJ
erHfl#
ffi
ror.FttfH
29
?frrym urffi Ufifl
rFrr-l
D7(f,e) bfr.m sr.m Hrfr Hf#
6frflTiit
ffi
Putting It All Together Transcription by Joe Palmer and Rudolph Washington
Writtenby JohnE. Lawrence Copyright@1998
I
ebusleb
EbMT | | taaa
ffi
blr.lal I | |
nbrvrz TFTFN
4fr.{ItrX Iattl n-rrn
u"ffi
t
EIMT
l
Fl-l?l1 TFTN
I
EbMT
6frmm ffann
mrrn
[Tm
r
t hrf t l
cbnt
LLLITU
H+H
D11
ilTm srH#
ffi 4fr.Fm
n*.m
or.l-JltH
l
Eb7b5)
'"ffi Trrrn
obg
AbmT
m LLLrl]
gnfffu
t
ITTIII
AbMTIEb
l
l
Eb11
6fr.lf5FH TTTN
[rrTn
i
6fi.mn
BbmT
-
/
l
abt
B7
u"ffi 'uffi
zn.ffi
cbnt
'*HtrH FFI-FH
A7
rrrrn
rrrffl
B7 TTTTN
2fr.m L|ltttl
30
Fm7
rnffi ffi
Trrrn
Br11 'fr.lTifl
ffi
ebt
u"ffi TTTTN
ebuz
BbmT
m 6fr.tf5Ffl
u"ffi
FI-T5|t
rrm
ori.l-ltHl
Trrrn
TTTN
efut
Bbmleb gm
*fm
rI-IrN
otHSl Trrrn
- f hr t_Tr xbut
"n-m n-ffn
TTTSF TTTTN |T-ffl
[fr"mn
Gbmz
6FrflJTl
sfr.m
Ht+tl
ffi
Gm7
rorffi
ffi
unffH
rrFl-n
ab^7
gtrlfu Hltfl rrTTn
Fm7 sfr.dm H+fi1 rrrrn
B7
'"ffi rrrrn
abt
ar"ffifi FFt-tfl rrrrn
I
E'MT
u*ffi
I t t t a a
ttrIn or,.l-JttH
FTFTN
31
New Bossa The lastexerciseutilizesthe Root, 5th, Octave,andl.eadingTone in orderto createan excitingBossaNova rhythm. Note: If a chord has a raisedor lowered 5th,you must raiseor lower the 5th in your bassline as well. Transcription by Joe Palmer and Rudolph Washington Am7 TIITI
New Bossa Am7
Bm7(f5)
tm
r*.m
r*m
Written by John E. Lawrence Copyright @1998
ffi t*.m
E7 ttrIil
ZAHH
lt
V
Am7
[m r*.m
uu.m
Am7
ffi r*m
emzfisy
Am7
qm
ffi rfr.m
Bm7(P5)
Am7 flltTt
Am7/E It+++t zn l-tlfH
ffi r*.m
t*.m
t i l t l
E7
ffi ?fr.Fm
E7
ffi 'fr.Fm
H V
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