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Per Nørgård: Clubs Among Jokers, Tales Of A Hand Suite No.3

Clubs Among Jokers is the third of four suites for solo Guitar collectively entitled Tales From A Hand, each of which takes its point of departure from one of the four suits of playing cards.

A Viol Tutor

A guide to playing the Viol, with practical advice on Bow-grip, Finger-positioning and reading of clefs. Detailed exercises included.

Bibalo Sweet Little Hand Sc/Pts

From 'Macbeth' Act 4, Scene 1 Special arr. for voice, cello and piano. Composed 1987

Hans Abrahamsen: October

Four movements for Piano (left hand) by Hans Abrahamsen.

Per Nørgård: Papalagi

Work for Solo Guitar (with optional 'second hand') dating from 1981.

Hans Abrahamsen: Left, Alone (Piano Solo)

Left, Alone for Piano (left hand) and Orchestra was composed by Hans Abrahamsen in 2014-15. Commissioned by Westdeutscher Rundfunk and co-commissioned by City of Birmingham Symphony Orchestra, Danish National Symphony Orchestra and Rotterdam Philharmonic Orchestra. Premiered by the WDR Sinfonieorchester and Alexandre Tharaud (piano) concducted by Ilan Volkov on January 29, 2016, Cologne. Programme Note: I was born with a right hand that is not fully functional, and though it never prevented me from loving playing the piano as well as I could with this physical limitation, it has obviously given me an alternative focus on the whole piano literature and has given me a close relationship with the works written for the left hand by Ravel and others. This repertoire has been with me since my youth. My very first public performance of one of my own works was in autumn 1969. The piece was called October and I played the piano with my left hand and the horn, my principal instrument (the only instrument that can be played with only the left hand). Part of the piece requires the performer to play natural harmonics of the horn directly into the open strings of the grand piano to create resonance. The pedal was kept down by an assistant lying on the floor. Through decades the idea of writing a larger work for piano left hand has been in my mind. This new work is not written for a pianist with only one hand, but rather by a composer who can only play with the left hand. The title Left, alone contains all kinds of references, not only to the obvious fact that the left hand is playing alone. Left, alone is divided into two large parts, each consisting of three smaller movements – in effect, six in total. The work was commissioned by Westdeutscher Rundfunk, and co-commissioned by City of Birmingham Symphony Orchestra, Danish National Symphony Orchestra and Rotterdam Philharmonic and written for Alexandre Tharaud. Hans Abrahamsen, 2015

Hans Abrahamsen: Left, Alone (Score)

Left, Alone for Piano (left hand) and Orchestra was composed by hans Abrahamsen in 2014-15. Commissioned by Westdeutscher Rundfunk and co-commissioned by City of Birmingham Symphony Orchestra, Danish National Symphony Orchestra and Rotterdam Philharmonic Orchestra. Premiered by the WDR Sinfonieorchester and Alexandre Tharaud (piano) concducted by Ilan Volkov on January 29, 2016, Cologne. Programme Note: I was born with a right hand that is not fully functional, and though it never prevented me from loving playing the piano as well as I could with this physical limitation, it has obviously given me an alternative focus on the whole piano literature and has given me a close relationship with the works written for the left hand by Ravel and others. This repertoire has been with me since my youth.My very first public performance of one of my own works was in autumn 1969. The piece was called October and I played the piano with my left hand and the horn, my principal instrument (the only instrument that can be played with only the left hand). Part of the piece requires the performer to play natural harmonics of the horn directly into the open strings of the grand piano to create resonance. The pedal was kept down by an assistant lying on the floor.Through decades the idea of writing a larger work for piano left hand has been in my mind. This new work is not written for a pianist with only one hand, but rather by a composer who can only play with the left hand. The title Left, alone contains all kinds of references, not only to the obvious fact that the left hand is playing alone. Left, alone is divided into two large parts, each consisting of three smaller movements – in effect, six in total. The work was commissioned by Westdeutscher Rundfunk, and co-commissioned by City of Birmingham Symphony Orchestra, Danish National Symphony Orchestra and Rotterdam Philharmonic and written for Alexandre Tharaud. Hans Abrahamsen, 2015

Kai Normann Andersen: Man Binder Os Pa Mund Og Hand

With text by Poul Henningsen, arranged for SATB chorus by Kaj Milter Jensen.

Carl Flesch: Studies And Exercises For Violin Solo - Volume 1

51 studies and exercises for the intermediate to advanced violinist. Bowing technique, shifting positions and left-hand finger agility are all covered in this volume.

All Right!? (A Talk Of Our Time) : 1(pic).1.1.1(cbn)/1.1.1.0/2perc/acn/str 1.1.1.1.1, Solo piano (Right hand only)

All Right!? (A Talk Of Our Time) : 1(pic).1.1.1(cbn)/1.1.1.0/2perc/acn/str 1.1.1.1.1, Solo piano (Right hand only)

Poul Ruders: Kafkapriccio for Large Ensemble (Full Score)

Five Paraphrases on the opera Kafka's Trial.For Large Ensemble:1 Flute dbl Alto Flute in G and Piccolo1 Oboe dbl English Horn in F1 Clarinet in Bb dbl Bass Clarinet in Bb1 Bassoon1 Horn in F1 Trumpet in Bb1 Trombone1 Percussion (one player)Tambourine, Police Whistle, Bass Drum, Castanets, Tubular Bells, Tamtam, Glockenspiel, Triangle, Guiro, Mark Tree, Xylophone, Spoons, Crotales, Snare Drum, Hi-hat, Kick Drum, Siren (hand-cranked), Ratchet, Lion's Roar.1 Piano1 Violin 11 Violin 21 Viola1 Cello1 Double Bass (with extension)

Poul Ruders: Nightshade (Full Score)

Ruders writes: NIGHTSHADE is an instrumental dark-room, a grave-yard of low-pitched, tight-knitted, crawling chords sliced asunder by the cold extremely high positioned movements of the oboe and violin in particular: tones sustained to near-immobility and then scared into startling velocity, like geckoes on a Southern garden wall. Shades in the night are pale and gloomy phenomenons to behold; treacherous beauties in the mighty realm of invisibility and blackness. Belladonna (beautiful lady) is the morbid christening of that fearsome variety of flora: the deadly nightshade. The piece is, on one hand, a study in extreme sonorities; the infrequently used contrabass clarinet is being employed along with the contra-bassoon, forming the ultra-low foundation of the score and the bottom-register of the French horn and the trombone is set against the serene clarity of high violin and oboe. On the other hand, the piece is a tone-poem of sorts, on the various associations as they form within the mind of the individual listener when confronted with the very word NIGHTSHADE. Personally, I come to think of pale moonlight, tombstones, the compelling as well as frightening spell of a dark forest. A Study in black the piece has been called.

Tambourines (Arr. Bent Larsen and Jan Sommer) Flute/Guitar

A Tambourin is a lively dance with two beats. Originally from Provence is was often accompanied by a pipe and a tambourine. Melodic simplicity and poignant rhythm were characteristic features, often imitating the hand striking the percussion instrument. They were most popular widespread across France and Europe in the 18th Century, this dance often inspired the more sophisticated court composers, especially in France. This volume consists of 14 Tambourines by some of the great composers including Philibert de Lavigne, Christoph Willibald Gluck, Georg Friedrich Handel and Jean-Marie Leclair, all arranged for Guitar and Flute by Bent Larsen and Jan Sommer.

Bent Sørensen: Shadowland Chamber (Score)

Work for Chamber Ensemble dating from 1989.The composer writes: The Title SHADOWLAND refers on the one hand to a blurred ?Landscape? of shadows, where small shadows are formed behind other shadows, and where the outlines are constantly disintegrating. On the other hand, the title refers to the fanciful and unreal landscapes I felt in the music while I was writing it. SHADOWLAND has four movements, with proportions 4-7-4-3. These proportions can be found on various levels, from the smallest cell to the largest form. The first movement is divided into four parts which have exactly the same proportions as the whole pjece, and behind the fastrunning melodies and trills that dominate the whole movement one can hear, in the second, third, and fourth parts, anticipations of the second, third and fourth movements respectively. The second movement begins at the edge of silence with almost unperceptible glissandi and indistinct chorales. Gradually the hushed landscape is drowned out by sudden expressive melodic outbursts and ends with violent dance rhythms. The third movement is built up of clouds of staccato tones and is a further development of the pointillistic ideas from CLAIROBSCUR. In th last movement the horn plays a long soloistic melody line which the other instruments imitate and echo. These echoes swamp the horn line from time to time. SHADOWLAND was commissioned by and dedicated to The London Sinfonietta.

Juliana Hodkinson: Turbulence - An Opera In Three Scenes (Score)

Turbulence - or, ‘the underlying forces usually hidden’- an Opera in three scenes by Juliana Hodkinson (2013). Libretto by Cynthia Troup. For soprano voice with electronic pocket piano* and groovebox*, young female actor with hand-held microphone and shortwave radio, vintage fans, audio samples (*may be redistributed to off-stage player or sound desk). The libretto and score for Turbulence were commissioned by Chamber Made Opera in 2012. Turbulence was first performed by Deborah Kayser (soprano) and Anneli Bjorasen (actor), and directed by David Young, with sound design in performance by Jethro Woodward — the premiere season opened in Melbourne on 3 October 2013, as part of Chamber Made Opera’s Living Room Opera series.

Tormod Vinsand: Jazz Chords On Piano -2

Jazz Chords On Piano -2 by Tormod Vinsand (2017). This book is a follow-up on Jazz Chords on Piano (WH32971) and it is definitely an advantage if you have familiarised yourself with the techniques and terms used in Jazz Chords on Piano . There are many ways in which to play jazz on a piano. In Jazz Chords on Piano I describe some guidelines for how to prepare accompaniment and melody playing, but admittedly, there are of course many other ways to play or other techniques to use. In Jazz Chords on Piano - 2 I have chosen to focus on four typical techniques: Part 1 - Playing Arpeggio in left hand Part 2 - 4-stacked chords in a piano movement Part 3 - Left-hand chords Part 4 - Overlying triads when accompanying To illustrate the various techniques, I have made compositions that are stylistically adjusted so that the various techniques make musical sense and are playable. (Tormod Vinsand) Tormod Vinsand (born 1958) has a Master’s Degree in Musicology from University of Copenhagen. Since 1988 Tormod has been a jazz piano lecturer at The Rhythmic Music Conservatory, Copenhagen, The Institute of Musicology at University of Copenhagen, and the Royal Danish Academy of Music, Copenhagen. The material you fi nd in this book has been used at the above three educational institutions and is primarily targeted to music students that do not have the piano as their primary instrument at these schools. But others may also benefi t from this book, provided you have an elementary theoretical background in music. Since 2013 Tormod has also been Music School Manager at the Rødovre School of Music.

Hans Abrahamsen: Ten Sinfonias (Score)

Orchestra3 Oboes (3rd db Cor Anglais)2 Bassoons2 Horns in Eb and C basso *)2 Trumpets in C *)Timpani *)Strings*) The horns and trumpets are natural (periodical) instruments from the Vienneseclassical time. The timpani is also of this periodical type and is played with lightmallets as in an ?Mozart Orchestra?. On the horn, other pitches than the natural onesare played by hand stopping marked as normal with a + above the note.If periodical horns, trumpets and timpani are not available, it is possible to replacethem with modern instruments. In this case all notes in the horn parts marked with a +have to to played as stopped (normal notation). The timpani should use light mallets.Oboes, bassoons and strings are ?modern instruments?.All transposed instruments are notated in transposition.Double bass harmonics are as well octave transposed.

Per Norgard: Dansere Om Jupiter - Parts

Per Nørgård DANCERS AROUND JUPITERI: 'Shadow Dancer', dedicated to Axel Borup-Jørgensen, as my birthday greeting on the composer's 70th birthday 22.11.94II: 'Jupiter Waves', dedicated to Dr. Jeffrey D. ThompsonIII: 'Day Dancer', dedicated to the dancer and choreographer Marie Lalander, as a homage: Marie wrote the line which inspired me for the title: 'Woman, oh you day dancer'.The title of the whole work is immediately intelligible if one compares the individual titles of the outer movements with the title of the middle movement.Axel Borup-Jørgensen and Marie Lalander could be said to be in rotation around Jupiter in the following sense:Axel's music has a 'shadow dancing' side, which can most clearly be heard in his works for harpsichord and double-bass - or in his work for organ. But his music has also a light side, which can be heard in 'Marin' or in 'Nordic Summer Pastorale'.Marie's dance and choreography contain both ecstatic forces of light and expressions of the suppressed and dark. The music of the middle movement on the other hand is in all ways inspired by the actual acoustic ion waves, that constantly arise through the collision of the sun wind with Jupiter's magnet field (registered by Voyager II, 1989). This movement is dedicated to Dr Jeffrey D. Thompson who made these NASA registrations publicly available in the CD-series'NASA Voyager Space Sounds'.Per Nørgård

Bent Sørensen: 'La Notte' Piano Concerto (Score)

Score of the Danish Composer's Concerto for Piano and Orchestra written in 1996. Bent Sørensen writes: 'The title of this piano concerto came, as usual, very early to me, when my thoughts about the work had started to circulate, but before ?real? music was written down. I held on to the Italian title, even though its association with Vivaldi had no influence on my music, and even when German, French, English, and Danish titles covering almost the same content -?Nachtmusik?, ?Nocturne?, ?By Night?, ?Om Natten?, were just about to get the upper hand. The piano concerto has, then, in my opinion, something to do with night, but to describe this further is at least as difficult to me as it is to defend the final Italian title against those which were rejected. The Piano Concerto is in two movements. The first, swarming, is perhaps the mystery of the night, and the second perhaps the dreams of the night; with this, however, I have already given the concerto a more programmatic content than I can defend. Each movement ends with a cadenza and perhaps the last of those - the ending of the work that is - is inspired by a sequence from Bruce Chatwin?s wonderful book ?The Viceroy of Ouidah?: Or the Amazons howling. ?No, No, No. It was not the leopard that killed him. Not the buffalo that killed him. It was night. Night that killed him!?

Per Nørgård: Dansere Om Jupiter - Score

Per Nørgård DANCERS AROUND JUPITER. Saxophone quartet: soprano, alto, tenor and baritone saxophones.I: 'Shadow Dancer', dedicated to Axel Borup-Jørgensen, as my birthday greeting on the composer's 70th birthday 22.11.94II: 'Jupiter Waves', dedicated to Dr. Jeffrey D. ThompsonIII: 'Day Dancer', dedicated to the dancer and choreographer Marie Lalander, as a homage: Marie wrote the line which inspired me for the title: 'Woman, oh you day dancer'.The title of the whole work is immediately intelligible if one compares the individual titles of the outer movements with the title of the middle movement.Axel Borup-Jørgensen and Marie Lalander could be said to be in rotation around Jupiter in the following sense:Axel's music has a 'shadow dancing' side, which can most clearly be heard in his works for harpsichord and double-bass - or in his work for organ. But his music has also a light side, which can be heard in 'Marin' or in 'Nordic Summer Pastorale'.Marie's dance and choreography contain both ecstatic forces of light and expressions of the suppressed and dark. The music of the middle movement on the other hand is in all ways inspired by the actual acoustic ion waves, that constantly arise through the collision of the sun wind with Jupiter's magnet field (registered by Voyager II, 1989). This movement is dedicated to Dr Jeffrey D. Thompson who made these NASA registrations publicly available in the CD-series'NASA Voyager Space Sounds'.Per Nørgård

Poul Ruders: Manhattan Abstraction (Score)

New York is the city which fascinates and inspires Ruders. Time and again he goes back there to work. 'Manhattan Abstraction' (1982) subtitles - a symphonic skyline for large orchestra - was conceived there. Ruders? Brittish colleague Oliver Knussen defines the piece as: - a performance of an extraordinary Morden-Times-like construction. It is a sort of symphonic sculpture, which in the composer?s own words words propels forth from one particular inspiration: the New York profile, as seen from Liberty Island, one icy cold January day with it?s open, clear sky and dazzling sun light. 'Manhatten Abstraction' appears as an amalgam of some of the compositorical habits found in present pieces. For instance, are present here compositorical ideas and melodic loans from 'Capriccio Pian?e Forte', 2nd String Quartet(1979), 'Four Compositions' (1980), and 2nd Piano Sonata(1982). The question at hand is mainly concerned with the enhanced elaboration of Ruders? use of the classic English change-ringing system: a permuting method pre-determining the order of tone-appearances and /or tone groups; a serial technique in other words. In spite of the rigidly fixed material, Ruders somehow manages to chisel out a personal expression by way of emphasising contrasting elements already existing within the material itself. The spiky, repetitive sections form a counterpart to a more human violin-solo. This dialectical tension is - as hinted by the title - a symphonic abstraction of a fascinating metropolis; the most beautiful and the ugliest. The subtitle: a symphonic skyline reflects the musical erection of the Manhattan profile, which under the clear sky, materializes into the most powerful and compelling man-made sculpture on earth. Thus 'Manhattan Abstraction' is a homage to, as well as a vision of, this giant contraption of concrete, glass, and chrome.

Bent Sørensen: Schattenlinie (Score & parts)

About the whispering in movement No. IV(The movement ?Kirschgarten?)The word ?stemmer? is whispered by the musicians in movement IV, as marked in the parts (marked whisper inthe music). The word ?stemmer? is Danish for ?voices?. The Danish letter ?e? is here pronounced approximatelylike the ?e? in the English word ?stem?.The whisper should be ?airy? and barely audible, not as loud as to be mistaken for talking/singing.If you prefer the German word ?Stimmen? (same meaning and approximate same ?sound?) you may substitutethat word for ?stemmer? - at your discretion. If you make the substitution then all occurences must be changed.In bar 7 the clarinet player whispers ?stemmer? after the last forte note of the piano has died away enough tomake the whispering audible.In bar 12 the pianist initiates the whispering, and is immediately followed by the viola player, creating an ?echo?effect.In bar 19 follow the same procedure as in bars 7 and 12.Further whispering, two possibilities/options:1)) AUDIENCE PARTICIPATION(this option is preferred by the composer and was used at the premiere performance of this movement at RisørFestival 8 July 2008). The special circumstances surrounding this particular performance (see last paragraph)allowed a number of people (approx. 10) from the attending audience to be instructed in advance to participatein the whispering from their position amongst the audience in the hall.It is not necessary for the audience ?whisperers? to have a score at hand, they will whisper on cue from themusicians on stage.The first occurrence of this feature appears in bar 21-22 where the especially prepared members of the audiencebecome part of the whispering echo.When the clarinet player has whispered ?stemmer? the audience follows immediately, creating a multi-voicedecho effect. It is very important that the audience does not coordinate their whispers in rhythmic unison, theeffect should be one of random echos from various directions. In bar 27, 36 and 38 the audience should follow thesame procedure, on cue from the musician(s) on stage.2)) WITHOUT AUDIENCE PARTICIPATIONThis option leaves out audience participation, which might prove difficult to organize in advance in ordinaryperformance. The echo effect should then be created solely by the musicians on stage, also in bars 21+22, 27, 36and 38. The whispers among the musicians can ?bounce? back and forth, ?echo-like? between the musicians, attheir discretion.The movement ?Kirschgarten? is dedicated to the Risør Festival of Chamber Music, just like the other movementsof SCHATTENLINIE. However, this movement is in particular dedicated to the many enthusiastic volunteers, onwhom the Festival rely. Hopefully the volunteers have enjoyed the opportunity to be involved as ?musicians?,although only for a single night, a brief moment, where they can relax ? by whispering ?stemmer?.Bent Sørensen, april 2008 (rev. 2012)

Sangbogen Greatest - de bedste fra de 4 WH Sangbøger

Sangbogen Greatest indeholder de 250 bedste sange fra SANGBOGEN 1-4 inden for emnerne: DANSK POP·ROCK·BEAT DANSKE EVERGREENS UDENLANDSK POP·ROCK·BEAT UDENLANDSKE EVERGREENS Bogen kommer med spiralryg og indeholder, becifringer, melodilinje og tekst. Sanglisten: Admiralens vise Afrika A Hard Day’s Night Ain’t She Sweet All My Loving All of Me Angelique Anthem Aquarius Are You Lonesome Tonight A Salty Dog As Tears Go by A Whiter Shade of Pale Bag de blå bjerge Barndommens gade Barndommens land Blueberry Hill Blue Moon Blue Suede Shoes Body and Soul Both Sides Now Bridge over Troubled Water Bring Him Home Buster Byens lys Cabaret California Dreamin’ Candle in the Wind Can’t Help Falling in Love Can’t Help Lovin’ Dat Man Close Every Door Crying in the Rain Cykelsangen Dancing Queen Danmark Dansevise Dein ist mein ganzes Herz Deirdres Samba Den allersidste dans Den lille lysegrønne sang Den røde tråd Der er noget galt i Danmark Der var engang Desafinado De smukke unge mennesker Det er ikke det du siger Diamonds Are a Girl’s Best Friend Dine øjne er så blå Dit hjerte er i fare, Andresen Don’t Cry for Me, Argentina Don’t You Worry ’Bout a Thing Do-Re-Mi Do You Know What it Means Downtown Dream a Little Dream of Me Du er Du er ikke alene Duerne flyver Du gamle måne Efterår Eleanor Rigby El Condor Pasa En yndig lille fjer Fix You Forelsket i København For enden af regnbuen Forårsdag Fuld af nattens stjerner Georgia on My Mind Glemmer du God Bless the Child Godmorgen, lille land Great Balls of Fire Gå med! Gå med! Gå med i lunden Havnen Heal the World Hello, Dolly! Here, There and Everywhere Hey Jude Hilsen til forårssolen Hotel California Hound Dog Hva’ gør vi nu lille du Hvalborg Hvorfor er lykken så lunefuld I Believe I Can Fly I de lyse nætter I dit korte liv I Don’t Know How to Love Him I Dreamed a Dream I Feel Pretty I Got Rhythm I’ll Never Fall in Love Again Imagine Imellem sorg og glæde Indianer Ind til dig igen In My Life In the Midnight Hour Isn’t She Lovely I Still Haven’t Found What I’m Looking for It Must Have Been Love I Wonder Why Jeg gi’r mit humør en gang lak Jeg ku’ bli’ no’et så 1-2-3 Jeg plukker anemoner i november Jeg sætter min hat, som jeg vil Joanna Johnny B. Goode Just the Way You Are Jutlandia Kald det kærlighed Kun et kys herfra Kvinde min Lad os flyve til en stjerne La ronde de l’amour Lately Lay, Lady, Lay Leaving on a Jet Plane Let It Be Love Changes Everything Love Is A Matter Of ... Love Me Tender Luften var femten, og vandet var seksten Lullaby of Birdland Magi i luften Man binder os på mund og hånd Man bli’r så glad, når solen skinner Manden på risten Maria Masser af succes Mein Herr Marquis Michelle Midt i en drøm Midt om natten Money, Money, Money Moonlight Shadow Moon River Morning Has Broken Mr. Tambourine Man Musens sang My Heart Belongs to Daddy My Way Månestrålen Nattergalen på sin gren New York, New York Night and Day Nights in White Satin Nina, kære Nina Noget om drankervejr Noget om en dejlig nat Noget om helte Noget om natur og optugtelse Noget om skærsommernætter Nowhere Man Nu hvor du har brændt mig af Nå Når jeg bli’r gammel Når lyset bryder frem Oh, What a Beautiful Mornin’ Ol’ Man River Om lidt On a Long Lonely Night One Hand, One Heart Open Wide Over the Rainbow Papirsklip Proud Mary På en sommerdag Raindrops Keep Fallin’ on My Head Regnvejrsdag i november Ridder Lykke Rock and Roll Music Rock Around the Clock Romeo Sailing San Francisco Sangen om Larsen Satin Doll Sentimental Journey She Loves You Sig du ka’ li’ mig Smile Smuk som et stjerneskud Someday My Prince Will Come Somewhere Sommerens ø Sproget Stemningsmelodien Stille før storm Streets of London Stupid Man Summer of ’69 Summertime Sunny Sunny Afternoon Susan Himmelblå Svantes drikkevise Svantes lykkelige dag Sømand af verden Sådan nogen som os Så længe jeg lever Så sødt som i gamle dage Tag og kys det hele fra mig Tea for Two Tears in Heaven That’s What Friends Are for The Actor The Day After Tomorrow The Man I Love The Music of the Night The Sound of Music The Sound of Silence Ticket to Ride Tilfældigvis forbi Time after Time Time og dag og uge To Love Somebody To lys på et bord Try to Remember Tænder på et kys Ud ad landevej’n Unchain My Heart Vågner i natten Vårvise Waterloo Waterloo Sunset We’ll Meet Again What a Wonderful World When I’m Sixty Four When You Wish Upon a Star Where Have All the Flowers Gone Willkommen Will You Love Me Tomorrow With a Little Help from My Friends With or Without You Woman Wonderful Tonight Won’t Get Fooled Again Woodoo om natten Wouldn’t It Be ...