Cómo INTERCAMBIAR ACORDES de la escala MENOR MELÓDICA

[00:05:22]Hello hello. How are you all?

[00:05:31]Today we're going to do a special live stream to answer a question that came up in the last short.

[00:05:45]Tell me if you can hear [music].

[00:06:15]How are you all? How are you coping with the heat?

[00:06:26]Okay, it looks good. I think so.

[00:06:34]So, how's it going? So, I wanted to do this live stream to explain a little bit about the doubt that has arisen regarding the melodic minor modes and how to apply them with resolution always to the first as substitutes for the minor fourth. The other day I uploaded a video about... well, I've been uploading this series of videos about chord scales related to tonality, modal interchange, etc. And there was one about modal interchange scales in which he explained the scale that carries the minor fourth.

[00:07:03]And the scale that carries the minor fourth in its origin comes from the modal exchange of the minor, which is, well, simply, as you know, in C major taking chords of C minor. I'm going to do the whole example here.

[00:07:15][music] We are in C major and we are picking up chords from C minor.

[00:07:20]So, the minor fourth originally carries the C minor scale starting from F in this case, from the tonic of the fourth, okay?

[00:07:30]Which is called toric, toric of fa.

[00:07:36]But the story and the doubt that arose is that this scale does not justify the possibility of making a minor quarter plus 7, or also a minor quarter six, which is very typical and can also be done. [music] So, in both cases, the minor fourth s and the minor fourth se are colors that season [music] that toric minor fourth and give it another sense of resolution.

[00:08:01]Okay, it sounds good. Let's do some whins here. You have heard it [music] 10,000 times.

[00:08:12]It's that color, [music] okay? That's the one with the smallest sixth and the smallest plus 7. Let's put it like that.

[00:08:27]This [music] is another color.

[00:08:29]So, how are these scales justified, and why do they work? Well, what I was originally saying in response to the comment is that you can actually modify the sound of a minor chord many times and turn it into a minor chord of the melodic minor scale with the major seventh or with the sixth. And it doesn't just work for the minor fourth grade, but it would even work for a normal second grade. So, you're in major [music] and you can do a second degree, eh minor plus 7, which would be another melodic minor, okay?

[00:09:04]This would be R minor max 7 [music] and then sol 7 and it will resolve to do for example not in a 25 replace the normal R minor 7 of the 25 by an R minor ma 7.

[00:09:27]Of course, the sixth degree of a major key can be made eh minor eh max 7, you already know that. Instead of playing a normal A minor in C major, which would be oil-like, play it melodic minor, etc. [music] Okay, in the minor fourth the same thing happens, which is a way of giving it color, but hey, as a result of being commenting on this, something comes up that I do want to explain to you, which is the property that the modes of the melodic minor and the chords of the melodic minor have to have interchangeable basses.

[00:09:59]In other words, any melodic minor chord that has a function that works, to use a redundant phrase, is susceptible to having a changed bass, that is, changing that bass and it still works as long as the bass of the corresponding melodic minor scale is within the notes. So, if you, for example, have a, let's take a simpler example, okay? And, for example, that same F minor Max 7, right?, that we were talking about. You have the F minor max 7, uh, it has a low F, obviously, and the melodic minor scale is this. I got it from the melodic minor of F.

[00:10:36]I can change the bass [music] on this same chord. It will obviously have a different sound and the type of chord will change, but [music] use it in the same function. If I put that same chord with the F melodic minor scale, with the bass on E, it sounds like an E called a sus flat 9, which has another function, and we've seen the modes of A melodic minor here, okay?

[00:10:59]And how each one is used, uh, but that Eb9 can fulfill the functions that the F7 minor used to fulfill.

[00:11:07]So if I had an F7 minor that originally resolved to C, I can also resolve, especially if I do a good voice leading, that E to C and it will sound decently good. Okay, here's the do and it goes for all the basses.

[00:11:27]I can put the F minor max 7, that same voicing, always keeping in mind that the scale is this, eh, on R, for example.

[00:11:36]What I believe in this case is an R men - 7 bmol 5 with a natural ninth, which we were talking about in the comment I'm telling you about. And I can solve it if I were improvising, I would use that scale and solve it the same way I would have solved the F. So, in the end, that property of changing bass notes adds a lot of richness because I can reharmonize at any moment a melodic minor chord, from the melodic minor scale, with any other bass note in the same scale, or with a bass note in the same melodic minor scale, or with any other chord, right?

[00:12:13]So, if I, for example, I don't know, the original progression of the song was minor fourth plus 7 1, I can replace it with minor second 7 bmol 5 with natural ninth 1.

[00:12:28]Okay, always keeping in mind that the scale will be the same, even though it has another name because it starts from a different place, but it is the same. Um, if we look at the rest of the chords in the same melodic minor, when we put this, the F melodic minor over the G, we get this color which is the sub-9 and it resolves very well to the doc.

[00:12:56]That's another color we've seen that I think has a video on the channel, right?, about the susol 9. Uh, then about the avemol, well, the truth is that its shape is a flat 7 sharp 5 and again I'm going to try not to change the voicing so you can see what I mean about everything working and resolving well to C.

[00:13:16]Regarding the ci-flat, the chord that would be formed would be like a ci-flat 7 with a natural ninth with a sharp 11 and with a 13, that is, a chord of the Lydian scale of 7 which is the dominant that forms the back to 5, which you also have explained in a video on the channel and of course it resolves very well towards [music] ad me whether to come from here or from here or from here which is here and ultimately from any of the notes of the melodic minor. Do you understand? This is a really cool property that works not only with chords harmonizing in an abstract sense, but also with voicings. If I have this voicing, [music] which is from this scale, by the way, the melodic minor scale of F minor and it works for my D minor 7 flat 5 in a 251, [music] okay? D minor 7 flat 5 G 7.

[00:14:18]Well, that same voicing, if I change the bass and put it with bass in my [music] it works for a miphrigio of this scale with this color that I said before that was sub 9 is the altered E, okay? I've lost my mind, I'm agitated.

[00:14:37]My voice was altered with the same voicing. Then F minor major 7 same voicing. [music] G#b9. This one, Bb9, uh, same voicing. A flat max 7 sharp 5, same voicing. [music] B flat 7, same voicing.

[00:14:53]Then the property is retained for left-hand voices.

[00:14:56]We can also switch between left-hand voices, and it'll sound good.

[00:15:01]The other position is the same. D minor 7, flat 5, E altered, [music] F minor eh má GT, G sus flat 9, A flat max 7 sharp [music] 5 B flat 7 L of A L flat 7, right? As a tritone or dominant substitute for the back door to five, and already one and all sound good.

[00:15:24][music] In fact, [music] for me this property is one of the things that justifies the color of, for example, the dominant sus bmolon 9 and that it also sounds, that you make a sol with the f melodic minor scale on top, in other words, [music] and resolves well to do. That's because what you're essentially doing is a minor fourth major seventh chord that resolves anuno, a much more well-known cadence than what you're doing here.

[00:15:57]The problem is that you're changing the bass.

[00:16:03]How many soundtracks have used this? No, okay, it's understood, it sounds fine, right? If the sound is bad, let me know.

[00:16:10]So, this property is really cool, uh, also for reharmonizing standards, for example, anywhere we can put a chord, for example, imagine we're in [music] in Beautiful Love or in Estela Starlight, right? [music] And the first chord we were going to do, eh my doctor, eh crazy, sharp two, okay? That is, from the minor melodic G. Well, that E in the G melodic minor chord can be replaced by any G melodic minor chord by changing the bass note. If, for example, we're going to change it to the chord that I say is the original one for this lavine, right? The cibmol max 7 sharp 5. All I'm really doing is changing that color from G melodic minor with bass in E, changing it to G melodic minor with bass in Bb and instead of sounding like this, which would be the first 25, [music] it will now sound. It also makes a lot of sense because the bass goes up a half step from G major 7 sharp 5 to A 7.

[00:17:30]So, and now, first the first case, the original Estela, okay?

[00:17:44]The seventh C minor, [music] I don't know what F eh F, right? And the trail with the reharmonization applying this property of the melodic minor. Do you hear the sound there of the CAX [music] 7 sharp 5?

[00:18:09]As I said, it can be done for any chord of the same scale.

[00:18:12]We're going to try more things. Let's imagine that instead of mi - 7 mol 5 first chord ocrio sharp 2 we want to put in altered fa sharp, okay? Which would be the same, the color of the melodic minor of G but applied over with the bass in F sharp. Well, it would sound.

[00:18:31]I have the bass guitar here now. The chord could be exactly the same.

[00:18:36]I'm without a pedal, okay? My pedal's cracked, but oh well, I have to get the keyboard fixed, but you'll keep the sound, right? F sharp and then [music] A if you want.

[00:18:50]Hey, how can an altered F sharp resolve well to an altered A? What's the point if the bass is tuned to a minor third? This is a very abstract thing, isn't it? Well, it's because in F sharp [music] I understand. It is actually the same as the E minor 7 flat 2 resolving to its fifth degree in a 251 minor. You follow me a little, I know that all this is very advanced and complex. If you have any questions, ask me, okay? But then this property offers a lot of possibilities.

[00:19:20]I remember when they explained it to me, that altered chords can resolve upwards by a minor third.

[00:19:24]You say, well, but why this? And what's the point? Following this property, altered chords can resolve to a minor backbone because they are really nothing more than minor 7 flat chords with the bass in another place resolving to that place and so on, and so on. Okay? It's as if infinite interrelationships are created that justify all these changes. Estela is a typical example, but any standard that starts with or has a melodic minor chord in the middle, you can change the bass and create interesting things.

[00:19:53]Okay, everything's clear now, I'm glad.

[00:19:55]Um, well, that's what I wanted to comment on, it's that there was a short film in which all this was asked about.

[00:20:01]I actually think it's a good reason for a video, okay? The thing is, as I've already told you, I'm not going to make many videos this month because I don't have much time and it takes me a long time to edit them. What I will do is answer questions live. We'll continue doing the live stream on Thursdays, as always, and maybe something like that, some more sporadic live streams. Do you want to talk about something else, or something more? Uh, is everything clear? I'm going to give a summary of everything I 've said so far for those of you who have just joined, and let's see if I can explain it a bit more clearly.

[00:20:26]So, uh, the property we're discussing today is the following.

[00:20:29]Any chord of the melodic minor scale, and I was using the F melodic minor scale in the original example, [music] is susceptible to having a change in the bass, that is, to being transformed into another chord as a result of this change in the bass and functioning in the same way as the original chord. For example, the example we were talking about in the short is that an F minor max 7, which is the fourth minor degree in the key of C major and which resolves to C major, F minor max 7 C major, can also be instead of an F minor max 7 the same color as the melodic minor of F, but with a bass in E which is an altered E.

[00:21:10]And that resolves well towards do. And you might say, "Are you telling me that an altered E can resolve to C major?

[00:21:16]Down a major third?" Of course, according to that property, altered chords can resolve up a minor third, which is what we just saw from F sharp to A, but also down a major third, like from the altered E to C, justifying it from here, from the same place, right? So, altered E resolving to C, but it works for all the bass notes of the F melodic minor, of the same melodic minor as the original chord. That is, F minor max 7 resolves to C.

[00:21:47]Altered E resolving to two, eh R - 7, which would be R - 7, eh flat 5 with a natural ninth, which [music] has resolved the flat max 7 sharp 5, which is what would be formed if we put the major chord on the flat that resolves to, eh, if vem mol that resolves to ademol [music], if 7 of the flat 7, etc., okay, and that's it. Okay, that's what I was telling you. Let's see, Julen, hi. In MTY, for example, we have the same case.

[00:22:21]D F in B. We'll look at it now if you want. It would be understood from the same point of view. MTI, you play it here in E major, right? And Julen, [music] B. So it would be Em in this part you say the A minor 7. R-S.

[00:22:44]It's just that R-7, I don't know if it's there. No, it comes this way. G minor 7 27.

[00:22:56]Em, in that part I don't really see the pressure you're talking about, although you 're not playing everything. D F s in m. Mm.

[00:23:05]After the D you play an F.

[00:23:13]Ah, yes, I think there's a real book that says that, right? The F 7 there. Uh, well, I think what everyone thinks in MTY, correct me if I'm wrong if you think something else, is simply a progression by fifths to G minor s from R7, then 27 and then F minor [Music] 7. If we look at the seven to go back to... I like it... But anyway, that doesn't matter. Let's analyze it in case it's with F #, okay? Then we would do this F#7, I mean, sorry, I think it's there, right? Where the F comes in.

[00:23:55]Correct me if I'm wrong, Yulen, because I do n't have, I mean, I don't play it like that.

[00:24:00]Um, it wouldn't be the same case if that's where the F comes in, because this F is a mixed chord or something that isn't altered, because the altered F doesn't allow you to play the melody in a natural. My pedal is broken, but it's not that the pedal is broken, the jack input is broken and so I can't use it, I mean, I plug it in, but it doesn't work and I don't know if I'm going to have to replace the whole keyboard. So, if you know of any instrument repair shop that can do it for me, let me know. And if not, well, I'll upgrade the keyboard, which I don't have time for anyway.

[00:24:41]Bad. Do you understand, Julen? Tell me if it's from MTI.

[00:24:46]Um, we can do one more example if you want. What standards do you know? That we can add something from the melodic minor, for example. I don't know, the other day the first chord of I Hear Rhapsody came up.

[00:25:05]It's at that point, right? That sounded familiar. Well, that would be because it has to be from the melodic minor for us to be able to do this, okay? The dominant chord has to be from the melodic minor. Well, dominant or any other. You can change any chord from the melodic minor for another chord from the same melodic minor with a bass note, that is, change the bass note to turn it into another chord from the same melodic minor, but it has to be the original melodic minor chord.

[00:25:27]So, uh, for example, I Rhapsody, first chord C minor major 7. This chord is from the melodic minor, this one, the melodic minor of C minor.

[00:25:38]We can change it for another chord from that minor Melodic minor, and we're going to look for a practical way to make the change.

[00:25:47]Since the next chord we're going to is F minor, what chord from that melodic minor scale makes sense towards F minor? What would I think? The type of chord, I mean, if it's F minor, well, I wouldn't try it, I wouldn't change it for another minor chord or a minor 7 or 5 chord so that there's more variety in the harmonic tension, but also in strong and weak bass notes, there's another video on the channel about strong and weak bass notes that you can find there, and voice leading, etc. So, if I'm going to go to F minor in the next chord, what chord from this melodic minor scale would work well, what chord could connect? Well, the first one that might work well is the E minor with the C melodic minor scale, which is the Lydian sharp 5 or the A flat. Very good. The A flat could also be.

[00:26:32]Oh, no, the A flat couldn't be, right?

[00:26:34]Luis, the A flat isn't From this melodic minor, or are you still talking about the M1?

[00:26:38]Tell me that. In this melodic minor, there's the natural.

[00:26:42]Uh, the natural could be it.

[00:26:44]So, what would the C sharp 2 be?

[00:26:48]Okay, well, I'm going to do what he's doing with the E minor. So, it could be E minor sharp 5 with the sharp 5 line, which is the same C melodic minor scale, but starting from E. So, you'd have, okay? So, the first chord instead of being C minor magnum 7 would be E minor [music] etc. See how cool it sounds? Why did I decide on E minor max 7 sharp 5?

[00:27:22]Well, thinking about a strong bass note, a tone higher than E minor, [music] etc. Julen says, "My progression in the B of C melodic minor." Right.

[00:27:45]Okay, that's good. And now repeat.

[00:27:52][music] And there he puts in, sorry, the F.

[00:27:56]Right, exactly, that's the moment, is n't it? The F as The melody has the melodic notes F and G, so it can't have a scale.

[00:28:15]Well, it could use the Lydian Bol 7.

[00:28:23]Let's try to justify it from the A Melodic Minor 7. It sounds more like Mixolydian to me, okay?

[00:28:29]But let's do the exercise simply for fun and to see if it would work. The leading flat 7 of FAS would be this.

[00:28:36]And I'm thinking that as an isolated dominant that doesn't resolve to its place, which we've seen on the channel many times, right? If you have any doubts, let me know. And as an isolated dominant, it could use that scale, Lydian Mol 7. The Lydian Mol 7 of F is a mode of A melodic minor in C.

[00:28:51]C melodic minor, Lydian Mol 7 of F.

[00:28:54]So, if we add the Lydian Mol 7 of F, we could replace that F [music] with any chord from that Lydian, flat melodic minor in the bass. That is, this F could be, for example, C minor Melodic. Let's see how the C would sound.

[00:29:08]Well, it's a fourth above the G, so it might sound a little strange, but let's see how it would sound.

[00:29:14]I'm going to add a boing here, so I'm going to make something up now.

[00:29:19]Coming from the previous note, it sounds a bit strange because of that fourth I mentioned, but let's look at other possibilities. For example, it could also be like, we're going to G, we add the D, which is a fifth or a fourth above.

[00:29:43]This D, which is interesting [music], would be like this, it's the sub-flat 9, and let's see how it would sound. Em, maybe much more [music], with much more sense, right?

[00:30:19]A minor.

[00:30:22]The thing is, then I don't go to the other D, I just add the sub-flat 9 and that's it. Now D sub-flat 9, a bit strange.

[00:30:39]Em, but it could work from the flat 7. Uh, Julen, I was thinking of the flat as an altered chord with a flat 2. I usually like If the note, that step, that difference between the flat as a bass and the A in the melody. The flat as an altered A with a flat 2. In this, in this song you say, Luis, um, when you do the first part here.

[00:31:15]The altered, well, several things. The altered always has a flat 2, right? Which is the flat ninth in the altered A. Do you mean that?

[00:31:27]It's, I suppose you don't mean that. If you mean that, it wouldn't fit because of the melody, because then the same melody over the lavem melody does it and it's like it limits you a lot to the Lydian sound, Julen says, okay, understood. It's because of the two seventh chords, a minor third interval. Very good.

[00:31:52]Uh, ah, to this, no, Luis.

[00:32:02]Now you say this A flat [music] in the rap. This is Lydian Flat 7.

[00:32:17]That [music], if you see it as altered, uh, it could be. What happens is that it changes A bit about functionality. The altered chord usually has the function of going up a fourth or fifth, and since that chord resolves down a half step, [musically] if you add the altered chord, it kind of takes it out of context.

[00:32:52]That's the altered A-flat, and then G-min 7-flat 5, which is a bit strange for my taste, but I change the A-flat 7, which does have that functionality of going down a half step or whatever, right?

[00:33:17]Okay. Well, there you have it. The altered chord is always a color, well, a way of coloring, of adding a little spice to the progression. If you like it, you can put it in there. Sure.

[00:33:31]It's pretty out there, huh?

[00:33:37]But well, uh, like I said, it's usually used more at the interval of a fourth, but well, there are many songs that have isolated altered chords, right? And that's fine too. Um, that's it. Okay, so you've understood this property, this very cool property that you can explore extensively, and you have to innovate. Yes, yes, totally, totally.

[00:33:58]And no and That scale theory is meant to be skipped, because otherwise it's incredibly boring. Um, today I was explaining—I had a class earlier—and I was explaining this flamenco progression that goes through... you know the flamenco cadence. A flamenco day on the channel if you want.

[00:34:15]Well, there's a typical progression that goes the other way, right? I mean, I'm in my Frigid chord here doing a flamenco progression, like in my... and then doing what's called the Andalusian cadence or Frigid cadence. And then there's a very typical progression that uses the flat 7th, the diminished, and here... and on the first... dominant. And I was talking to the student and I was saying, "Well, of course, in this diminished chord, it's a diminished chord that disguises a secondary dominant, blah blah blah, you have the video about diminished chords and the types of diminished chords." Then it carries the scale of the dominant that it camouflages.

[00:34:53]So it should take if mixo mol 9 mol 13 starting from here to get to me. But the reality is that, for example, in this case, and I'm talking about innovating, I liked the diminished symmetrical one for the myeloma.

[00:35:11]So the theoretical explanation isn't always gospel, you know? In other words, I think innovation is great, and so on. It's just another case.

[00:35:20]Okay, then come on, tell me any more questions.

[00:35:24]Yes, the diminished symmetrical one, the truth is that it does n't need to be rationalized so much, does it? I mean, sometimes it works, that's it. But anyway, so you know the origin, the secondary dominant, the one that replaces it, and the whole story.

[00:35:38]Okay, one more question and we'll see you on the live stream on Thursday. This Thursday and every Thursday of the month there will be a live stream at 12 as usual, okay?

[00:35:57][music] I would use a video on the topic of flamenco harmony. [music] For funk bass, what resources do you generally use? Well, I don't play much funk, Luis. Hey, you play funk bass on the piano.

[00:36:22]Uh, something I've been getting into lately is enclosures. Well, it depends on how many notes it has, the timing changes, and you have to practice it well. Yes. Okay, let's take it one step at a time. Funk, eh, hm, if you hear bass on the funk piano.

[00:36:39]Hm. In theory, if I had to do it, I'd say I'm not the one who's played the most music, but I could do some approximation of tonics, fifths, and [music]. Okay, I'm thinking of this progression as a 25 in my music, simply in tonics and fifths of each chord and some chromatic approximation to get to the next one. FA approach to the Sun, [music] [music] something like that, right? I'd play around there.

[00:37:38]Fourths.

[00:37:39][music] Yes, but it's going to sound more Martian, isn't it?

[00:37:45]What fourths would you include, I mean, for example, yes, [music] you can make fourths. In the minor, if, for example, this typical Swat fourths hooting can be a cool bass line.

[00:37:58]If you have the melody-harmony relationship in mind, that is, the bass line-harmony, that seems fine to me.

[00:38:06]For example, here fourths [music] you're turning the dominant into your sus, right? With those things on your mind, cool. Okay, I'll answer Julen now. Um, something with which, I mean, you play funk, Luis, you come from there, are you getting into jazz or are you kind of stepping into funk from jazz?

[00:38:25]Julen, something I've gotten into with the enclosures. Yes, I like to practice enclosures towards each note of the chord, and, I mean, you can put a, well, what I always say, I'm not going to get into this terrible claque, but hey two and four, etc. And what do I know, you do a practice of going up a half step, down a half step, first, right? Which is, let's say, the simplest thing. And it doesn't sound equally good on all notes of the string. I'll be in Dor 7, for example, right? We are in major enclosures of a half step up, a half step down for all notes.

[00:38:59]That's the one in C, that's the one in E minor, [music] that's the one in G and that's the one in G. You'll see that some sound better. It actually has to do with which ones have scale notes.

[00:39:13]It's pretty good. And the one with the sun is really cool, huh? and then try to fit them into a sentence.

[00:39:23]My moral jazz fun is really fun to play, there are so many themes, right? Of progressions like static ones and such that allow a lot of improvisation and are played a lot in the jam, right?

[00:39:35]So, you know, spend some time playing the 25S and see how you can get out of it, how you can play with the colors, uh, that's the enclosures then two from above or tonal because there are chromatic enclosures and tonal enclosures. So, for example, towards tonal do it would be tonal chromatic tonal or tonal tonal would be, but that one isn't worth much because it doesn't have any chromaticism.

[00:39:59]Tonal, tonal chromatic. Okay, these are the tonals, the most basic ones, okay? [music] You practice, huh, putting the enclosure into the phrase on the tonic. [music] The third time's closure.

[00:40:25]The closing, the third one, carries the chromatic from before and the tonal from after because it sounds better. This is a bit rubbish, isn't it? Then, you combine the two.

[00:40:42]Third, third, third tonic. Fifth third tonic.

[00:40:54][music] chromatic fifth and that you can spend some time going from one to the other, right? [music] Everything in closers and so with each chord.

[00:41:09]Actually, uh, it doesn't have to be such typical progressions to practice, but you can do, for example, C minor, F by fourths. Well, it's not that I'm typical, but I mean, you don't have to be practicing music every day, you know?

[00:41:22]And so as not to bore you, but hey, five practical ones are always good. And then there are the double chromatics, right? I don't know if you mentioned them to me, Julen.

[00:41:30]Um, how many notes does it have? Change the tempo and practice it well. Yes, absolutely. [music] There also comes a time when you hear them. In other words, I'm not thinking in terms of chromatic up, chromatic down.

[00:41:41]Thank God. I'm already hearing that from touching them so much, in the end you won't rationalize them, but you'll have them internalized, I think.

[00:41:58][music] and alpha.

[00:42:05][music] Nothing, fundamental. [music] I like jazz, blah blah blah. Typical, huh? Someone gets to the fourth floor and that's it, flying high, right? The smallest one, right?

[00:42:28]Ah, 1 minor 6 and to the fourth, yes. [music] In that room you can put, for example, Luis, uh, Lia from Mall 7 to give it a different color by playing the sharp 11, that's cool.

[00:42:55]Okay, well thanks for stopping by. I hope you liked this property of the melodic minor chords. And we'll see you on Thursday for the live stream. Think of questions and we'll discuss them there because I don't have a specific topic to talk about, so it'll just be answering questions and hanging out for a while on Thursday, okay? Hey, thanks to you guys for being there and see you soon. A hug. Go to the shade, it's very hot. Go in the shade. M.