Hire SFCM Musicians String Duo Wedding Guide Mid-Ceremony

Total Page:16

File Type:pdf, Size:1020Kb

Hire SFCM Musicians String Duo Wedding Guide Mid-Ceremony Hire SFCM Musicians String Duo Wedding Guide Processionals Sheep May Safely Graze BACH Canon in D PACHELBEL Jesu, Joy of Man’s Desiring BACH Wedding March (Lohengrin) WAGNER Air (Water Music) HANDEL Air on G String BACH Prelude (Te Deum) CHARPENTIER Wachet Auf BACH Trumpet Voluntary CLARKE Winter - Largo (Four Seasons) VIVALDI Mid-Ceremony Music Meditations, Candle Lightings, Presentations, etc. Ave Maria BACH/GOUNOD Ave Maria SCHUBERT Arioso BACH Meditation (Thaïs) MASSENET Allegro (Suite 7) HANDEL Be Thou My Vision TRADITIONAL IRISH Recessionals Trumpet Tune PURCELL Entrance of the Queen of Sheba (Solomon) HANDEL Aria (Suite 14) HANDEL Rondeau MOURET La Réjouissance H ANDEL Hornpipe (Water Music in F) HANDEL Bourrée (Water Music in F) H ANDEL Hornpipe (Water Music in D) HANDEL Allegro (Flute Sonata in F) HANDEL Wedding March (Midsummer Night’s Dream) MENDELSSOHN Allegro LOEILLET Ode to Joy BEETHOVEN All music can be used for wedding ceremonies. For any special requests not found on our song list, please don’t hesitate to reach out to [email protected] Traditional Music Baroque & Classical Waltzes J.S. Bach Artists Life J. STRAUSS Air (French Suite 4) Grand Valse Brilliant CHOPIN Air (Suite 3 in D Major) Merry Widow Waltz FRANZ LEHAR Andante (Brandenberg #2) The Skaters Waltz WALDTEUFEL Two Bourrées (English Suite 1) Vienna Life J. STRAUSS Bourrée (French Suite 6) Valse Lente (Coppelia) DELIBES Gavotte (French Suite 4) Waltz (Album for the Young) TCHAIKOVSKY Gigue (French Suite 4) You and You (Die Fledermaus) J. STRAUSS Gigue (Suite 3 in D Major) My Heart Ever Faithful Ragtime Polonaise (French Suite 6) Alexander’s Ragtime Band IRVING BERLIN Rondeau (Suite 2 in B minor) The Easy Winners SCOTT JOPLIN March in D Major (Anna Magdalena) The Entertainer SCOTT JOPLIN Maple Leaf Rag SCOTT JOPLIN Telemann Pine Apple Rag SCOTT JOPLIN Allegro (Fantasia 2 & 4) The Strenuous Life SCOTT JOPLIN Minuet, Andante, Gigue (Suite in G) Gavotte & Bourrée (Dance Suite in F) Gilbert & Sullivan Presto (Sonatina in F) As Some Day It May Happen The Mikado Vivace (Sonata in F) A Magnet Hung in a Hardware Patience Moderato (Fantasia 11) Shop Minuet (Fantasia 8) Willow, Tit-Willow The Mikado Poor Wandering One Pirates of Other Classical & Romantic Penzance Andante (Quartet in A minor, Old Joe I’m Called Little Buttercup HMS Pinafore Op.29) Clark Never Mind the Why & HMS Pinafore Bridal Chorus (Lohengrin) WAGNER Wherefore Meditation (Thaïs) MASSENET Menuet & Romanza (Eine Kleine MOZART American Tunes Nachtmusik) Arkansas Traveler Devil’s Dream Sicilienne BRAHMS Bill Cheatham Dusty Miller St. Anthony Chorale BRAHMS Chicken Reel Fisher’s Hornpipe Traumerei (Kinderscenen, Op. 15) SCHUMANN Three Duets BEETHOVEN Irish Music (Airs and Jigs) Three Duets BREVAL Coleraine Kesh Jig 20 Duets BARRET Gary Owen Si Bheag, Si Mhor The Irish The Wearing of the Washerwomen Green For any special requests not found on our song list, please don’t hesitate to reach out to [email protected] Cocktail Music Popular Music Christmas Music All You Need Is Love BEATLES Silent Night Joy to the World All of Me JOHN LEGEND Away in a Manger The First Noel The Band Played On KENNY G Deck the Halls Jingle Bells Better Together JACK JOHNSON Sing We Now of Bring Your Torches, Can’t Help Falling In Love ELVIS PRESLEY Christmas Jeanette, Isabella Fall for You LEELA JAMES Coventry Carol Pat-a-Pan For Me and My Gal JUDY GARLAND Good King Wenceslas It Came Upon a Glow Worm THE MILLS BROTHERS Wassail Song Midnight Clear Happy Birthday TRADITIONAL We Wish You a Merry O Come, O Come Here Comes the Sun BEATLES Christmas Emmanuel I’m Yours (solo violin) JASON MRAZ A La Nanita Nana O Christmas Tree In the Good Old Good Christian Men, God Rest Ye Merry BILLY MURRAY Summertime Rejoice Gentlemen Isn’t She Lovely (solo STEVIE WONDER For Unto Us a Child Is I Heard the Bells on violin) Born Christmas Day Kerry Dance MOLLOY Angels We Have Heard O Come All Ye Let Me Call You On High Faithful BING CROSBY Sweetheart Jolly Old Saint Nicholas Greensleeves Love Story TAYLOR SWIFT O Little Town of I Wonder As I Marry You BRUNO MARS Bethlehem Wander Perfect ED SHEERAN Christmas Day in the Wexford Carol Say You Won’t Let Go JAMES ARTHUR Morning The Holly and the Ivy Sky Full of Stars COLDPLAY Hark! The Herald We Three Kings of Thinking Out Loud ED SHEERAN Angels Sing Orient Are Time To Say Goodbye ANDREA BOCHELLI The Twelve Days of The Nutcracker A Thousand Years CHRISTINA PERRI Christmas Overture Toot, Toot, Tootsie AL JOLSON Break Forth, O Dance of the Reed Yellow COLDPLAY Beauteous, Heavenly Flutes Your Song ELTON JOHN Light Dance of the Wicked Game CHRIS ISAAK Sugar Plum Fairy The Wedding Song KENNY G Trepak For any special requests not found on our song list, please don’t hesitate to reach out to [email protected] .
Recommended publications
  • Music, Dance and Theatre (MDT) 1
    Music, Dance and Theatre (MDT) 1 MDT 510 Latin American Music (3 Credits) MUSIC, DANCE AND THEATRE A course in the music of selected Latin America countries offering music and Spanish-language majors and educators perspectives into the (MDT) musical traditions of this multifaceted region. Analysis of the music will be discussed in terms that accommodate non specialists, and all lyrics MDT 500 Louis Armstrong-American Hero (3 Credits) will be supplied with English translations. A study of the development of jazz with Louis Armstrong as the vehicle: MDT 511 Vocal Pedagogy (3 Credits) who he influenced and how he did it. Comparative analytical studies with This course is to provide the student of singing a deeper understanding his peers and other musicians are explored. of the vocal process, physiology, and synergistic nature of the vocal MDT 501 Baroque Music (3 Credits) mechanism. We will explore the anatomical construction of the voice as This course offers a study of 17th and 18th century music with particular well as its function in order to enlighten the performer, pedagogue and emphasis on the works of Johann Sebastian Bach, Dietrich Buxtehude, scholar. Each student will learn to codify a practical knowledge of, and Arcangelo Corelli, Francois Couperin, Andrea and Giovanni Gabrieli, skill in, teaching voice. George Frederick Handel, Jean-Baptiste Lully, Claudio Monteverdi, Jean- MDT 520 Musical On B'Way&Hollywood I (3 Credits) Philippe Rameau, Alessandro and Domenico Scarlatti, Gerog Telemann, This course offers an analysis of current Broadway musicals with special and Antonio Vivaldi. seminars with those connected with one or two productions.
    [Show full text]
  • A Quantitative Analysis of the Songs of Cole Porter and Irving Berlin
    i DEVELOPMENT OF CREATIVE EXPERTISE IN MUSIC: A QUANTITATIVE ANALYSIS OF THE SONGS OF COLE PORTER AND IRVING BERLIN A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Richard W. Hass January, 2009 ii ABSTRACT Previous studies of musical creativity lacked strong foundations in music theory and music analysis. The goal of the current project was to merge the study of music perception and cognition with the study of expertise-based musical creativity. Three hypotheses about the nature of creativity were tested. According to the productive-thinking hypothesis, creativity represents a complete break from past knowledge. According to the reproductive-thinking hypothesis, creators develop a core collection of kernel ideas early in their careers and continually recombine those ideas in novel ways. According to what can be called the field hypothesis, creativity involves more than just the individual creator; creativity represents an interaction between the individual creator, the domain in which the creator works, and the field, or collection of institutions that evaluate creative products. In order to evaluate each hypothesis, the musical components of a sample of songs by two eminent 20 th century American songwriters, Cole Porter and Irving Berlin, were analyzed. Five separate analyses were constructed to examine changes in the psychologically salient musical components of Berlin’s and Porter’s songs over time. In addition, comparisons between hit songs and non-hit songs were also drawn to investigate whether the composers learned from their cumulative songwriting experiences. Several developmental trends were found in the careers of both composers; however, there were few differences between hit songs and non-hit songs on all measures.
    [Show full text]
  • The New Sound Orchestra the Music of Richard Rodgers and Irving Berlin Mp3, Flac, Wma
    The New Sound Orchestra The Music Of Richard Rodgers And Irving Berlin mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Pop Album: The Music Of Richard Rodgers And Irving Berlin Country: Switzerland Released: 1972 Style: Easy Listening MP3 version RAR size: 1308 mb FLAC version RAR size: 1251 mb WMA version RAR size: 1839 mb Rating: 4.7 Votes: 874 Other Formats: VQF AA MP1 MPC ASF AHX AIFF Tracklist Richard Rogers A1 With A Song In My Heart A2 The Lady Is A Tramp A3 Blue Moon A4 Bewitched A5 Where Or When A6 My Funny Valentine A7 There Is A Small Hotel A8 I Didn't Know What Time It Was A9 If I Loved You A10 Blues From "Slaugther On Tenth Avenue" A11 It Might As Well Be Spring A12 Lover Irving Berlin A1 Easter Parade A2 Cheek To Cheek A3 Let's Face The Music And Dance A4 Isn't It A Lovely Day A5 Always A6 Play A Simple Melody A7 Blue Skies A8 Alexander's Ragtime Band A9 How Deep Is The Ocean A10 I've Got My Love To Keep Me Warm A11 The Girl That I Marry A12 They Say It's Wunderful Notes Made in Switzerland. Barcode and Other Identifiers Rights Society: BIEM Matrix / Runout (Label Side A): EL 363-A Matrix / Runout (Label Side B): EL 363-B Related Music albums to The Music Of Richard Rodgers And Irving Berlin by The New Sound Orchestra Claude Bolling - Joue Irving Berlin "I Love A Piano" Geraldo And His Orchestra - Dance, Dance, Dance! Vol.
    [Show full text]
  • Martin Cloonan Introduction an Attack on the Idea of America
    MUSICAL RESPONSES TO SEPTEMBER 11TH: FROM CONSERVATIVE PATRIOTISM TO RADICALISM Martin Cloonan Introduction I want to propose something very simple in this paper: that the attacks which took place on 11 September 2001 were attacks on the very idea of America. This is not a new idea. It was cited by the New York Times soon after the attack and subsequently by the cultural critic Greil Marcus (2002). But what I want to add is that as time went on it became clear that the mu- sical responses which were made were defences of America. However, there were not uniform responses, but diverse ones and that is partly be- cause the idea of America is not settled, but is open to contestation. So what I want to do in the rest of this paper is to first examine notion that the attacks on 11 September were an attack on the idea of America, look briefly at the importance of identity within popular music, chart initial musical reactions to the events and then look at longer term reactions. An attack on the idea of America The attacks on 11 September were strategically chosen to hit the symbols of America as well as the reality of it. The Twin Towers symbolised American economic power, the Pentagon its military might. This was an attack on the psyche of America as well as its buildings and people. Both the targets were attacked for propaganda purposes as much as military ones. What more devastating way could have been found to show rejection of America and all it stands for? But the point I want to note here is that America itself is a contested notion.
    [Show full text]
  • “To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in His Early Songs
    “To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2011 by Kimberly Gelbwasser B.M., Northwestern University, 2004 M.M., University of Cincinnati, 2006 Committee Chair: Steven Cahn, Ph.D. Abstract During the late nineteenth and early twentieth centuries, millions of immigrants from Central and Eastern Europe as well as the Mediterranean countries arrived in the United States. New York City, in particular, became a hub where various nationalities coexisted and intermingled. Adding to the immigrant population were massive waves of former slaves migrating from the South. In this radically multicultural environment, Irving Berlin, a Jewish- Russian immigrant, became a songwriter. The cultural interaction that had the most profound effect upon Berlin’s early songwriting from 1907 to 1914 was that between his own Jewish population and the African-American population in New York City. In his early songs, Berlin highlights both Jewish and African- American stereotypical identities. Examining stereotypical ethnic markers in Berlin’s early songs reveals how he first revised and then traded his old Jewish identity for a new American identity as the “King of Ragtime.” This document presents two case studies that explore how Berlin not only incorporated stereotypical musical and textual markers of “blackness” within two of his individual Jewish novelty songs, but also converted them later to genres termed “coon” and “ragtime,” which were associated with African Americans.
    [Show full text]
  • Musical Theatre Cabaret Show Program
    Musical Theatre Cabaret Created by the 2020 Musical Theatre Repertoire Class Nov 19, 2020 This is a musical theatre cabaret that explores connection and the struggles we have all experienced during quarantine over the last year. Cast: Michael Armstrong, Damian Bowden, Sydney Cobb, Reagan Gross, Micayla Johnston, Nelsey Leverette, Tyler McLellan, Josie Patterson “When Will My Life Begin” from Tangled by Menken and Slater ........................................................................ Ensemble “I Can See It” from The Fantasticks by Schmidt and Jones ........................ Michael Armstrong, Damian Bowden “Breathe” by Kooman and Dimond ............................................................. Reagan Gross “Focus on the Negative” from Waitress by Sara Bareilles .......................................... Nelsey Leverette, Sydney Cobb, Micayla Johnston, Josie Patterson “Confrontation” from Jekyll and Hyde by Frank Wildhorn ................................................................. Damian Bowden “Cell Block Tango” from Chicago by Kander and Ebb ............................................................................. Ensemble “How Do I Get You Alone” by Steinberg and Kelly ........................................................................ Ensemble “The Next Ten Minutes” from The Last Five Years by Jason Robert Brown ..................... Michael Armstrong, Josie Patterson “I Who Have Nothing” by Lieber and Stoller ............................................................. Damian Bowden “World Burn” from Mean
    [Show full text]
  • Johann Sebastian Bach Orchestral Suite No. 3 in D Major, BWV No. 3 in D Major, BWV 1068
    PROGRAM NOTES by Phillip Huscher Johann Sebastian Bach Born March 21, 1685, Eisenach, Thuringia, Germany. Died July 28, 1750, Leipzig, Germany. Orchestral Suite No. 3 in D Major, BWV 1068 Although the dating of Bach’s four orchestral suites is uncertain, the third was probably written in 1731. The score calls for two oboes, three trumpets, timpani, and harpsichord, with strings and basso continuo. Performance time is approximately twenty -one minutes. The Chicago Sympho ny Orchestra’s first subscription concert performances of Bach’s Third Orchestral Suite were given at the Auditorium Theatre on October 23 and 24, 1891, with Theodore Thomas conducting. Our most recent subscription concert performances were given on May 15 , 16, 17, and 20, 2003, with Jaime Laredo conducting. The Orchestra first performed the Air and Gavotte from this suite at the Ravinia Festival on June 29, 1941, with Frederick Stock conducting; the complete suite was first performed at Ravinia on August 5 , 1948, with Pierre Monteux conducting, and most recently on August 28, 2000, with Vladimir Feltsman conducting. When the young Mendelssohn played the first movement of Bach’s Third Orchestral Suite on the piano for Goethe, the poet said he could see “a p rocession of elegantly dressed people proceeding down a great staircase.” Bach’s music was nearly forgotten in 1830, and Goethe, never having heard this suite before, can be forgiven for wanting to attach a visual image to such stately and sweeping music. Today it’s hard to imagine a time when Bach’s name meant little to music lovers and when these four orchestral suites weren’t considered landmarks.
    [Show full text]
  • FRED ASTAIRE: Class, Execution, and Perfection Personified the Essay Offers a Retrospective of the Highlights of the Dancer’S Career
    FRED ASTAIRE: class, execution, and perfection personified The essay offers a retrospective of the highlights of the dancer’s career. In addition a financial report of Top Hat is included at the end of the essay. 8 pages long. Fred Astaire: class, execution, and perfection personified The year is 1935, when Top Hat was released and the industries of music, film and dance are at a peak like they’ve never been before. The reason for this is their combined effect; music provided the sound, dance visualised the music, and film provided a wide spread exposure and a financial outlet to feed the industry all the way down to the "clubs". The period from 1927-mid fifties saw an explosion of musical talents like no other era in history. Among these new talents were the not so new faces of Fred Astaire and Ginger Rogers as they had thrived on Broadway for many years before their film career. The peak of their nine-film career occurred with the release of Top Hat on September 6, 1935. To understand their success we must first understand the dynamics of both the music and film industry. Then we must look at Fred Astaire and his contribution to the Hollywood musicals. Only then will the understanding of Top Hat's historical context fall into place. Fred Astaire was fortunate to be part of an explosion of talent in both the film and music history that was caused by consistency. Consistency means that the artist of those days produced many films and recorded many songs each and every year.
    [Show full text]
  • SEMESTER at SEA COURSE SYLLABUS Voyage: Summer 2014
    SEMESTER AT SEA COURSE SYLLABUS Voyage: Summer 2014 Discipline: Drama DRAM 3040: Musical Theatre History Upper Division Faculty Name: Nancy Carr Pre-requisites: None. COURSE DESCRIPTION: Whether you love the classic Rodgers and Hammerstein musicals like The Sound of Music, Stephen Schwartz’s sensation Wicked, the rock musicals American Idiot and Mamma Mia or the new movie musicals Rock of Ages and Les Misérables, this class will examine them all. Taught by a professional actress and professor who currently has a student on Broadway, this class will explore many of Broadway’s milestone musicals complimented by a collection of over 400 video clips, original Broadway cast albums, scores, librettos (scripts), audio clips and photographs. Students will immerse themselves in the world of the musical by studying some of the most influential composers, lyricists, directors, choreographers, and performers that have contributed to the historical development of this art form. By exploring the language of music, the art of drama and the beauty of dance, you will investigate what it takes to bring musicals from the page to the stage, and what makes them triumph or flop. Students will gain insight into what really happens at an audition for a musical, how the world of musical theatre functions and the effect television shows like Glee and Smash as well as the resurgent popularity of movie musicals are having on the future of both the Broadway musical and its audience. Also, we will examine composers from several of the countries visited during the voyage who have had an impact on the development of the musical theatre landscape including Andrew Lloyd Webber (England), Benny Anderson and Björn Ulvaeus (Sweden) and Irving Berlin (Russia), as well as the work of American composers and librettists who have used the countries we are visiting as settings for their musicals.
    [Show full text]
  • 61368/Sheet Music/9-36
    10 Sheet Music Direct 11 Complete Alphabetical Sheet Listing 30 Wedding Sheet Music 30 Easy Piano Sheet Music 31 Piano Solo Sheet Music 33 Big-Note Piano Sheet Music 34 Five-Finger Sheet Music 34 Piano Duet Sheet Music 34 Vocal Sheet Music 35 Organ Sheet Music 35 Guitar Sheet Music 35 Accordion Sheet Music 35 Instrumental Sheet Music 10 SHEETSHEET MUSICMUSIC DIRECTDIRECT SHEET MUSIC The most popular site on the web for downloading top-quality, accurate, legal sheet music! Sheet Music Direct (www.SheetMusicDirect.com) features nearly 10,000 popular songs in a variety of musical and notation styles, ranging from piano/vocal to guitar tablature. More top songs are added to Sheet Music Direct daily and are searchable by title, artist, composer or format. With state-of-the-art Scorch® 2 technology from Sibelius®, sheet music files are quick to download, fun to interact with, and easy to use; visitors can see the music on screen, transpose the song to any key, and even listen to a MIDI file of the tune before you buy it! We have the strongest encryption commercially available so you can be assured that all transactions are completely safe. Hal Leonard offers excellent in-store and on-line affiliate programs: The In-Store Program allows you to sell your customers sheet music from a computer within your store. You can view the music, transpose to any key, test print it, and listen to it before the customer purchases it. The On-Line Affiliate Program allows you to place a link to SMD on your own website, and earn commissions on the sales that these click- These programs are available to any throughs generate.
    [Show full text]
  • Determining Stephen Sondheim's
    “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS BY ©2011 PETER CHARLES LANDIS PURIN Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ___________________________ Chairperson Dr. Scott Murphy ___________________________ Dr. Deron McGee ___________________________ Dr. Paul Laird ___________________________ Dr. John Staniunas ___________________________ Dr. William Everett Date Defended: August 29, 2011 ii The Dissertation Committee for PETER PURIN Certifies that this is the approved version of the following dissertation: “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS ___________________________ Chairperson Dr. Scott Murphy Date approved: August 29, 2011 iii Abstract This dissertation offers a music-theoretic analysis of the musical style of Stephen Sondheim, as surveyed through his fourteen musicals that have appeared on Broadway. The analysis begins with dramatic concerns, where musico-dramatic intensity analysis graphs show the relationship between music and drama, and how one may affect the interpretation of events in the other. These graphs also show hierarchical recursion in both music and drama. The focus of the analysis then switches to how Sondheim uses traditional accompaniment schemata, but also stretches the schemata into patterns that are distinctly of his voice; particularly in the use of the waltz in four, developing accompaniment, and emerging meter. Sondheim shows his harmonic voice in how he juxtaposes treble and bass lines, creating diagonal dissonances.
    [Show full text]
  • Baroque Dance
    BAROQUE DANCE To understand and interpret musical style of the Baroque era (1600 to 1750) we need to explore a wider field of the Baroque times – the social and political events, the art and architecture, and most importantly Baroque Dance. During the reign of Louis XIV (1638 – 1715) in France the arts flourished. Not only was the King a great patron of the arts, he was also a skilled performer as instrumentalist, singer and above all an outstanding ballet dancer. Dancing was popular not only at Louis XIV’s court but in many aristocratic ballrooms; the influence of Louis XIV’s court was widespread and French dancing masters (with their manuals) travelled throughout Europe. Dancing was considered to be healthful exercise for women, and was a necessary skill for men along with fencing and riding. The Dance Suite, rhythmic patterns from dances pervaded all Baroque music, and instrumental pieces inspired by court dances were frequently grouped into Suites. BAROQUE DANCES Dances from the Baroque period had a great influence on keyboard music. Dance forms included allemande, bourree, chaconne, courante, gavotte, gigue, hornpipe, minuet, musette, polonaise, rigaudon, sarabande, tambourin. Some of the dances were based on folk dances. Minuet the “queen of dances”, the most popular dance of aristocratic society – often performed by one couple at a time, after bowing to the King or whomever was presiding while others observed. The dance had small steps and a complex two bar foot pattern. Allemande of German origin, duple meter, intricate footwork. Courante (courir, to run) used mostly hop-step combinations Gavotte regular part of formal court balls; a joyful dance in duple meter, had “springing” steps Sarabande originally from Latin America and Spain, became very popular in Europe; is in triple meter with frequent accents and longer notes on second beat, a stately, dignified dance.
    [Show full text]