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Classic Funk andR&B

PAGE
INTRODUCTIONfTUNING A FEW WORDS ABOUT MUTING AND STRING-RAKING String-Muting String-Raking Exercises (Examples 1-2) Exercises (Examples 3-5) 3 4 4 5 6 8 9 12 13 14 15 17 19 20 22 23 24 29 30 34 35 36 2-3 .4-6 7-12 13-17 18-30 31-34 35 36-39 .40-45 46-51 52-54 55-58 59-61 62 63-77 78-81 82-95 96-97 98 99

for Bass By Josquin des Pres


TRACK
1

Basic Motown and Pop and R&B (Examples 6-11) Early Motown (Examples 12-16) Intermediate Funk and Fusion (Examples 17-29) Intermediate Motown Styles (Examples 30-33) Fusion (Example 34) '70s Funk (Examples 35-38) Funk and Fusion (Examples 39-44) More '70s R&B (Examples 45-50) Advanced '70s Funk and Fusion (Examples 51-52) Funk With a Swing (Examples 53-56) Acid Jazz Meets Funk (Examples 57-60) Late '60s Pop Groove (Example 61) More Advanced Funk and Fusion (Examples 62-76) Solid R&B Groove (Examples 77-80) Pulling All Stops (Advanced) (Examples 81-94) Examples for 5-String Bass (Examples 95-96) Disco (Example 97) The Blues Side of R&B (Example 98)

The CD was recorded, mixed and mastered at Track Star Studios, San Diego, CA. Josquin des Pres, Bass; Zack Najor, Drums; Jordan Dalrymple, Drums; Jon Maltox, Drums. Project Managers: Aaron Stang and Colgan Bryan All artist photographs courtesy of Ebet Roberts Fender Precision bass courtesy of Rich Siegle, Fender Musical Instruments Art Layout: Ken Rehm

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All Rights Reserved Any duplication, adaptation or arrangement of the compositions contained in this collection requires the written consent of the Publisher.No part of this book may be photocopied or reproduced In any way without permission. Unauthorized uses are an Infnngement of the U.S. Copyright Act and are punishable by law.

String Mutin

and Rakin

A FEW WORDS ABOUT STRING MUTING AND STRING RAKING


String muting is one of the most useful techniques available to develop a solid groove. Also known as muffling, or ghost notes, string muting creates a hollow percussive sound that can add an exciting percussive sound to your bass lines. Here is how it works: Step 1: For example, fret a "C" note (3rd fret on the A string) and then pick it with your right hand. The result should be a clear, sustained note. Step 2: While keeping the left hand in the exact same position, release the pressure just enough so that the stnng no longer touches the fret. Use more than one left-hand finger to avoid harmonics. Step 3: Attack the string with the right hand. The resulting sound should be a muffled, percussive, undefined note with no sustain. As far as the right hand is concerned, pull on the string using your index finger (i) or middle finger (m). Don't pluck! After striking a string, your follow-through should result in your finger resting on the next lower string. This is called a rest stroke. It is similar to the technique used to play upright bass or classical guitar In music notation, muted notes are indicated by substituting Xs for noteheads. To get the desired combination of notes and thuds, apply and release the left-hand finger pressure as indicated by the Xs and noteheads.

STRING-MUTING

EXERCISES

Practice this exercise on a "C" note until you are familiar with its rhythmic content.

R.H. R.H.

i m

m i

i m

m i

I m

m I

I m

m i

I m

m i

I m

m i

I m

m i

I m

m i

I m I m I mimlmimlmimlmiml

Apply the previous exercise to all 4 strings of your instrument. Play this pattern twice, then move up chromatically, in If steps (a If step equals 1 fret).

4---::=--=----=---1---~-~-·-.---1

R.H. R.H.

I m

m I

i m

m i

I m

m I

i m

m i

i m

m i

i m

m i

i m

m i

i m

x +-r-----.

----

x xx

~-~-r-. _.

=:~~ ._~.._x-~-~ __ T I
4

m i

imlm mimi

Imim mimi 1--)(-

Imimlmim mlmlmiml

--.------

x·· x+

---------

x _x_x __

-~-n

*-"*--*

--.-._~~I ;1

String Muting and Raking

STRING RAKING
String raking occurs when a succession of notes is played over more than one string in a descending fashion, usually ending with a regular sustained note. Play each pattern twice, then move up chromatically, in 12steps (a 12step equals 1 fret).

~Q

Example 3: Eighth Notes

\~~)
')
:4

b)---n_] 1H . ~.

J
m m
m

x
m m m

['

J
m


m
----~-~

JI

RH. RH

j_-

-x- --

~~_x_--_..

- x------_-_

-------.-----4~~~~-

-f::-~_~--~:

---_1~~-.

_x __

!~

(W
n

CQ Example 4: Triplets

'Y" 4
B -----

b~l·

L-----r-~f-:/
m

t= JL==-=ic====E==t _~=
J~
m :3

x
I

1<

~
m

.:31
--~

R.H. I R.H. m

t -----x-

x __

x--

x==_*_-_+- __

t ~=~--

m
--)(

x-

--x-~~~~-

--------4-

~Q. Example 5: Sixteenth Notes


i~

tr
R.H. i R.H. m

m
-_._----_._--

m
.. _.-

m m

m
x---)(--

m i

m m

m m

LJ

J
m

)(

)(
II

)(

--

CD

Example 6: In the style of '70s Motown, pop, and R&B c.

""7)

A B

-3 -- ..'

x-

3
-~

.I

3-

- - -- --5 -~ x- 3-- 5-/ 7-- - ---

--.....-....._

--

~
--J I

'):
T B

5 3

x-

3-

-5

15

=.': - =:
-3 -}(--3--

=.

-_-

__:]

--

~-5

--; 3--

~D

Example 7: Early '70s R&B ballad groove

A
B 5

7-

x-

-- -4-5 -

fr

-\-7

I
I

CD' Example r:-'


'_'~)

8: Early '70s R&B ballad groove (more advanced) n

"'9/

: ~ ..r~Cc 14f{r -_~~-: j ·l-~~0c~~-~t--:-~ ~11 3-c:~,~~i~(lj:


c.
7 5 5 X 7 7-

7 7\'

7-

-5-

-x-

5-

CD
"-

Example 9: In the style of '70s R&B group The Average White Band
[)7

!
T

.
'

.-1.-_

-r- -7

~JI, xample E
,~)
D7

10: In the style of '70s R&B group War -·~-I. .f--]I"_J: Jo=-~_('7

ro - ..-. _.--5

--..•... .... ~-.--.--t\

__ -~~--iJ-~

I B

3 7

--=-- )---3

CD
(,~

Example 11: Early '70s R&B ballad groove


/\7 L7

')::1
T
A B

J-- brJ~(:=-:--[;f-PlrJ'-=lJccJ
7 5

t_d~--=---=Lkil
x
5__--u~----mn

A7

--4

6-

~j

7-

7_~1

Early Motown

.L

--3

--:3

_3 __

3_

:~-=---- JI
x_

8---3

~~, Example 14: This is the kind of bass line you would hear behind Curtis Mayfield

.~
(;7 F7
u

'Yli-::-,,-,r;-cl':'-::P:;i-o -.---.. •. - _.=-:::::r=c. ..-l(~


~--3-

··-ieJ--,:fF=-fttr· -d dJ t=m ... ----._-m-O (]7

F7

.-~~~_~=__. -~·l-· --~==-~1--=-3--:.•.•

5_

---u

~~-

..__

..

-~~===~---~ll
.:r-;-Ljl .: ~ .'

C-D, Example 15: This is the kind of bass line you would hear behind Marvin Gaye
D7_

n:CF'---·r I'fl" -=,l=-4_r--r-~_~_

I"~YUtr;'~-V -r:;· JJ i~~r. -_ J~.±d-$. Q=~ ~~


G7

~-~"1________

--

..-n~~'/

CU sr :

... -

~D
~

Example 16: Early Motown pop/R&B bass line


A7

A. B

.--,

. _._-7--S

-~_ 7

--79

~~ Example 17: This is the kind of bass line you would hear behind " .~) The Ohio Players
'1-8'
(J7 p ER] (_'

')::l-J
T

J J ,,;~ ~, ..¥ .@c. '_'ld="c~~~ .~ ~~.~b;[~=-;JJ "--;,


5--3-5--5

-3

5~

j-

------3 3

~~'" Example 18: Early '70s Oakland funk groove

"1G1~

-» 1 •
A

T B
7 --5--7 5 ----0

X--5

-5---7------5--

__

0--

-~n

CQ
,~~

c, .

Example 19: Funk meets fusion In the Bay Area


E7

---5

-----.-.-~--

3-·
-

~-

__

~Q Example 20: In the style of a Jerry Jemmot bass line


c\

2~

V)
[)7

'):j •
I

.~ ft:f>~~rI
x
5 5 -----5- - --2

tl¥::I="='--2 - 3x

:f_~

~..

~.i~EC=30
4 5

T
~

A7

'):
T

..
7

-1
I

5-----5-

------)(---

-+-"l _J

A B

-5
7

75

CD Example SJ
22"

21: '70s R&B meets hip-hop feel

T A

s·····

~-Q Example 22: In the style of Verdine White , C8 )


'23)
I·:

9:4

~J ~-~;~J~~~-~~~~~~~-~~~#~ ... ~

''''''''''~''''

~D

'2~

~:

Example 23: In the style of Alphonso Johnson


SwinJ.: feci
(i

9: 4{=~
u

!=r=:cr~--=51-:- ~)~~~~~~=L:f:rc::--r·=f-~1·n~-" ~__ --.~

',f~
-i B

~-D

Example 24: Philadelphia funk groove

..--:-r ~r..... ------_ --J


-7 5

B7

_.

_--

--$._. -_:_ -- -.- ~ __~ ._ - t__-~-'..-- ..... -~'.-.-- -=- =1-.__ .. -~-'_~ ._- -_..~ ..[~ . __ =---~~- -_:_-~~ J .. __=-~ _~-~r_-=- ._--.-=-_:_- f·-f····-- ~-~- 1r- ----==----=--... .·--x '. . -'<, _.---_ -_----

_-

_-------

---

_-_

---

"--

_._

-_--

.-

..~-.

--

7 -

--

-T --- -- -- -- - ~- --~
..g ----.- -7 .-_ ~---)f--


~-Q Example 25: Mid '70s simple fusion bass line


'2~

8)

Swing

fecI

_'):m4-.J~=-·~;--.·· 1t-T~OP==~-~-~J·-#~~¥· .C ··C


2

F~7

v~r·· .. ~
" .."'...........,,"'-"

10

(c, .
'2~

CD

Example 26: Basic R&B groove in the style of James Jamerson


(;7

T B
3

___=~-----5 x--~~I" x
87

x---

!3
87

'2i:r'

CD Example GI
"

27: '70s funk meets disco

1\7
Of
o

Jr}' -( 1__ )::~i=·E·~-f==~-==-IJ~=oj=·-_-~--fj~J -.~l~~=~}1 J~~_JI


x
5

A .8

T 5

A B

-5'--7---

- -- 7

5 "---

..

5---7-

'):

a
~p Example
.• _j )

--7

-{}---

~-T--

--_jJ

29: In the style of James Jamerson

I'): 1 i
I

30'

D7

11

5 ,\ 7

---55

5--· 2

~- 5--

5--5

---4 --5-

- ---5--

6
--

j
--j

L~
0

-----:!.

r'

~.J'7

r _I-'J~ -..: IL; ~.... ~7 5 7 7


7 7

1/1
I

'_-~=-~.-.

,
.

II

:11

T A 8

~11

11

~~, Example 30: In the style of Carol Kaye

''38~

('7

'):~t-JI""""'-""'I~,J:::-}-Fjf J;J4 ffjl~_~~~~~:;~_jJ F

C:Q
(,,@ )

Example 31: In the style of Carol Kaye (more advanced)


C7

32"

-3-

-.-a-..

5 ---5
--_-

5-

3-

-_::-~- 2--3 ----------

3---)(---3--3- __ 4_4 ----"--

__

;.·il

~~, Example 32: In the style of James Jamerson

\-33J
------

1\7
-...

C\: 4 -j. - OJ •.•.. 0/ 1·1Ii------~-··-x_~ ,~--.---

~---i

.-----.

.~

-ll-r~
D7
•... -

- --

-_..

2~:--m--l= ~---.-~
..~----.---.-.-

~y:~ .. ~.. ;:: J.:JlI -·-·-~~~r·-~:--~--=-t p,


..

-~-

--

~~, Example 33: More in the style of James Jamerson


'~
[3b

)j;f
A

;§h=vt1-#=~........ -J .
F7
'
._..

C7

if •

)J 1

FJ :t ?J

Jh]

L B

__

-+__ +

-·. .

12

Fusion

~D

'35l Swing
/\ 7

9.

Example 34: In the style of Jaco Pastorius


('l'c1

'): :1
T
A B

.L
7

----7

Jaco Pastorius
13

'70s Funk ~Q Example 35: '70s funk meets disco (more complex)
1\7 B7 A7

(0) )

.. ~6"

'/.--~~:~{--t-J~~jl=-=!-~2J---=r-=f=-f~·=~~+=--t=ffl=__o0_x~ ~-~
I B
5 1\7

137

-x---~-s:~---+I-,-~-~---87

1--~- 7

9_~~-1-:-~_~~- .-~~=t ~A7

7-~~-~~~

'1

t '!'=kJJ;::ILJ-it Wj~Fc-+E.,r.---)lJ-=c[=+cJ"R::'0=7~~
5 -,

137

-9---9----X9--7-----x-~7"'~--5"

.....

j-----=--.-..----- - r--· X- 5

----L-'7=-~--

~---;:-

... ;11 -...


n_~

1(21··

~D
'37

Example 36: '70s funk meets disco (even more complex)


1\7 87

.,-J)

'J n~'!'fl;==-t~¥&f;r
T

5'

--

-)(:_+=-=~---

bIt:.E=~ld,¥·_ M,L=t1'Jj;'· m~-~ x~~~=-=l~---==---_:_-----~-I----- --~~ -=i='tA7 B7

7'--

·5"--

-x 5'"

X7

X 7,,==--_:.11

~Q

"sOl

@)

Example 37: In the style of Verdine White


1\7 G7

.... ' :~;:. _


A B

'. ===t-=_==-

i~ -----r--=.-. __'~----

__ -:

J ..---,---_. t-r----~"" --;--.i


r.

A7

..

._~-~I ..

...

G7

~.

--., J J ;5])

~~\ Example 38: In the style of '70s funk/pop

's9J

1\7

oJ*--··

,; -s-~-~- 1--) . --f-J='


E7

A7

E7
.;.. ..---1 i !'_ .- . --.

I ~,,I
7

.~.- -.. -.. ~--.:

.----

_
--

.•... .
-

+---;. .. .,j -. _._.


--_._.

-..

f -;-1

A B

---7 7

: 11

14

Funk and Fusion

~D
'40)

Example 39: In the style of Jaco Pastorius


(]7

'} 1J'mJ_fb.;-J)---4-F"'rFFh~(Tj~--:~rJJ 1-;jt-=r.fF~>91 b4


T

356

7 -5--5

8 5 7!

__ x ~_

.. 1

. t:)

";D Example
'4'-1)
f7

40: More advanced line in the style of James Jamerson

'):,. i'
A B

7 1\.7

11

11

- --9

11 7

--11

-------

---------------

~
9H--i

11

(} J.
T

a
"4~

5----5--6

~:" Example 41: Oakland funk/fusion in the style of Paul Jackson


(,7

'):kn r:._ -4_ J--

J.....----n----:~=1=-p---. brm~qr_--J=#-....... ...-.

. ...-~-----

.....

~~===ti~··-~~.~===. 41 ~ ;~- [f ~-

7 ,-

.. -.--.----.--

.. ---.-~-~-

-----------6-7-

-7

9 x-- I
15

··
7

-- -7 5 --7~------·

I -.
9 -----._X

..... ---.... I ~---T--9--.1


.. ------..
6

Funk and Fusion

~Q Example 43: Oakland funk/fusion in the style of Paul Jackson


I

I I.'}_) )

/;'

'

"44

87

-----

9 7"

-u

{j

7-

~0
45

Example 44: This is an advanced version of the preceding line


B7

'): l
I

j,

01

P
9

oj

~'i

Pr
_~_-t-

oj

bl-~uCJ{ I j,.

·r

V • _vIr
of ) .i

.i~==~~L7-~~
l'--_-

~ 11'c

.-~.;r--

11 ~I

I~

_....
7

_7--_8--7~-1--- - -------_--

-7'

-9,'

---jJ-::-'

VJ f-

w ::r:: C
f-

a: a:
w

co

w
OJ

co

;2
",.

o if

Alphonso Johnson
16

More ~70sR&B
~
~

Example 45: More in the style of '70s R&B group War


Bm7

~.
~

Example 46: In the style of Larry Graham

5-7-

7--·-

--3-- .... -

---. ----

.. 4

----5---

-7

~
i

Example 47: Early '70s R&B ballad bass line


D

'48'

@)

c;

=_-'--

t$~~~B)JJJ~ __ :-f-l~f~Er ~FTC ~f9


~_6

-5

- -.--....

.-.- _H~_7

_=t~

--5 -+-3

---

.-__ ..

_._--_=~_-.--·=--·-2 __

3-_-_~

17

More '70s R&B

~Q
,

"4;; Swing
F7

(];

Example 48: Philadelphia blue-eyed soul


fed
;\7

""1 ....
-f4-J

·!jl1}!}~r¥ yJ-tfjJ-1~J:'iC___:~F' ~1=:=L--a,-~1}~_~1

E7

IB

,
I.

~Q Example 49: British-style blue-eyed soul c"') ''-.J


"50

5 3 --

5-

53

- J-

- ----

-- -

--0

--:'1--1=--=-

O--=3--=--=--~- _;+1

--3--4 ----5-

--

----5-"

( r>.
'I~

CQ Example 50: Slow funk line


I

'SfJ

D7

F7

E7

-.. . -.- ---_ ------ ~ - -')-. 4 _."£ [. .~!--f-:j__~f' _.f<==~~~::.r_'__=--:-~--=-:_:-~ I .- . -~J--,,-'} -

~'-====r- ~

::1- ~ --_

----

·i~_-

-~.

-0--===ca~-=ill-;\7

___:_-., -:-_.'f~_

'fL~-

~ ~~.

T_

18

~--Q Example 51:


101

C'..

'70s fusion/funk-style bass line


F7

'j2J

E"7

~_~·_--_+_~_--_.~f Yj'~
T
~-

l~3---

-J-

4---

----s

-5'------ ..

-----4)---6;~·-----

:11

f:;ExamPle

52:

In the style of Louis Johnson

\s3l

L7

--:-4 J
5
--

{)

-fr-

~-

{)---

7--

==_. .-.. =-----.-.11


57---T-~~ ;

19

Funk With ASwin

'/0. \

CD
'5~

Example 53: In the style of Alphonso Johnson (early Weather Report)


Swing fed A7

_T

5'

-)(-4--

7-

X-4

7__ -J =

55, _

-£ -7

------

_. __

---~

5---

7- -

5--

------T

--~

----i

[)7

'):
T

r'
5'

-;----- -t-_-§ _~~L-~ #·~-_-U-.J r


-- 4 X -7

-5--[1 ]--r>-~.m

--

_-t-:-:_ -

-~.;-

__

-----_

..

'-_'

_u~li~

--___~l~_:;[--,.-.;?:ifl _~__:_t-:_~_.
.: _ ......

-x- 4

--5
---------

£---7--5
---,_-

------

-- -_ 7- ---5.. -

]1
.. .

'0)

,C;D

\5~)

Example 54: More in the style of Alphonso Johnson (early Weather Report)

Swing fed

( ;7

I B
'):
T A

5
X--1

3- 35--_

l _-I

--5 -=- -- 3-

- - - _-- -:_

--5 - ----

-X-

__

1-3=----

-=-_=--~
--___. _j
. _. __

---'_._--'1 -

--~g~{i..=-_-:~..·-._--r- --. ._ ,--- ~--- ---- -------:JI -F_ =-- -- -. 'L --F-rJ'·-~---t~~:.r --.+
j--l-1. -. __

+--

__

5 X -1

-----

5---

3-

-- I --

- 5- ---

-- ---

5- 3-- 5- --- --J('-

..---

-----

--

--

---_- ·_-----:-U
_ _

1---3---

----

--'

20

Funk With A Swing


~ \@
~

Example 55: Late '70s fusion/funk bass line


Swing feel
1\7

A' ~:f

lif'

1-.

==
5

.,.. .@5·=:c.*-.3~~rb}_>-_:~- :-E~~41 ~ v=:~1:X---7 -

x--

5-- 6t

7= - -- ---x __ !_ -5-----

_~ __
5·~

~____6 ~7-5--_.~1
~~ ~

5-

~-~~-

f~ Example 56:
\5'1"
Swing fed
1\7

More in the style of Alphonso Johnson (early Weather Report)

-X5 -5

(f)

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Acid Jazz Meets Funk

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Example 57
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Example 59

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Late '60s Pop Groove


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Example 61: Late '60s funk/pop bass line


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~~. Example 62: More funk meets disco

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C!Q Example 63: Funk meets Latin in the Bay Area

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Example 64: More in the syle of Jaco Pastorius


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Example 68: In the style of Paul Jackson


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Example 69: Late '70s disco/funk bass line


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CQ Example 70: Early '70s Oakland-style funk


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CQ, Example 71: In the style of James Jamerson


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72: Examples 72-76 are in the style of James Jamerson. Example 72 demonstrates the main groove, and the following examples are variations that become progressively more difficult. m

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CD Example 73: More in the style of James Jamerson (more advanced)


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Example 74: Totally in the style of James Jamerson (even more advanced)
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Example 75: Increasingly difficult line in the style of James Jamerson


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Example 76: James Jamerson meets Jaco Pastorius


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Example 77: In the style of Bootsy Collins, circa 1968


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~Q Example 79: In the style of Chuck Rainey


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CQ Example 87: More in the style of Paul Jackson


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Example 88: More advanced variation of previous example


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Example 89: In the style of Nathan East


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Example 92:. Early '70s busy funk line


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Example 93: Busy funk bass line in the style of James Jamerson
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Example 95: Sparse but very funky bass (for 5-string bass)
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