Step One: Determining the Melody

The first step of the process is to learn how to determine the melody. To be very honest, this concept is very easy to grasp and doesn’t require 300 pages to accomplish. Anyone with a decent ear can eventually find the melody to a song. However, in addition to the other techniques, principles, and concepts taught in our course, there are a few pointers to remember when determining the melody. The following lesson is taken right out of our 300-pg course (pgs 252-254): 

 

Again, this is just 3 pages on harmonizing melodies. If you are truly serious about taking your piano playing and music knowledge to the next level, I invite you to read more about my 300-pg course entitled, "The Secrets to Playing Piano By Ear." Click here for more techniques, principles, concepts, tricks and tips on playing the piano by ear.

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If you’ve been following me for some time, you know that I love to teach students how to master systems and patterns.

This lesson is no different.

We’re going to explore various chords from my newest GospelKeys^TM 202 course (…don’t worry if you don’t have this course yet — I’ll post the chords I want to use below).

But first, let me recap what you need to know to understand this lesson.

I believe that “repetition is the mother of skill” and that if you repeatedly hear the same thing over and over, you’ll begin to act on it! So if you’ve heard me discuss the number system in the past, just think of this as a refresher.

I’ll use the key of Db major simply because that’s the major key I focus on in the GospelKeys^TM 202 course:

When I say “number system,” that is simply understanding a major scale like this:

Db major:

Db — Eb — F — Gb — Ab — Bb — C — Db

1 2 3 4 5 6 7 8

These are also known as “tones” or “scale degrees.”

Basically, the idea is to be able to recall, for example, the “7th scale degree” of Db major in a few seconds! Yes, you want to be that fast with all your major scales.

You don’t want to have to recite your entire scale just to know that the 7th tone of Db is “C.” You should know that without having to remember what comes before or after “C” in the scale. Still following me?

It’s a mind game.

At least if you want to be a fast-learner of songs! You see, like I’ve always said, “learning songs occurs in the mind” and then you just transfer what you’re already thinking to the piano.”

Now, I could go deep into “melodic” and “harmonic” intervals but I won’t cover that here. You can find that in my 300pg home study course or in my newsletter archives at http://www.pianoweekly.com.

Now, that you understand the basics of this numbering system and how to apply numbers to every major scale, we can move on…

Basically, the first disc (1 hour, 25 min) of the worship course covers dozens of chords to play on each tone of the major scale. Since the major scale we are learning in is Db major, the chords taught in this newsletter all center around these seven tones:

Db — Eb — F — Gb — Ab — Bb — C

1 2 3 4 5 6 7

Why not 8 tones? Because the eighth tone is Db and those chords are basically the same as the 1st tone of the scale (also “Db”).

So the idea is to be able to take chords from tone #1 and play them with chords from tone #4.

…Or chords from tone (or set) #2 and play them with chords from set #5. Or chords from the 3-group and play them with chords from the 6-group.

Notice that I phrased each example a different way (…”tone,” “set,” “group”). They all mean the same thing in this lesson.

So obviously, in order to make this happen, you have to have knowledge of the chords in each group. That is what I’m going to help you with below.

Traditionally, each tone of the major scale is associated with a certain type of chord.

For example, the 1st tone of the scale is usually associated with the major seventh chord while the 6th tone, for example, is associated with the minor seventh chord.

That is not to say you’ll always play a Dbmaj7 chord and never play a Dbmin7 chord in the key of Db major. You have several options to choose from, depending on the mood and feel of the song.

 

Below, I’ll list potential chords for each tone of the scale just like I teach it in the GospelKeys^TM 202 course. After that, I’ll show you how to group these chords together to make full sounding progressions (or “chord changes”).

 

 

Format: (Chord *right hand* / Bass *left hand*)

 

 

1st tone of the scale: Db

Potential chords to play:

 

 

Dbmaj triad: Db + F + Ab / Db

 

Dbmaj7: C + F + Ab / Db

 

Dbmaj (add 9): Db + Eb + F + Ab / Db

 

Dbmaj9: C + Eb + F + Ab / Db * more info

 

 

2nd tone of the scale: Eb

Potential chords to play:

 

 

Ebmin triad: Eb + Gb + Bb / Eb

 

Ebmin7: Bb + Db + Gb / Eb

 

Ebmin9: Gb + Bb + Db + F / Eb

 

Eb9: G Bb Db F / Eb * more info

 

 

 

3rd tone of the scale: F

Potential chords to play:

 

 

Fmin triad: F + Ab + C / F

 

Fmin7: Eb + Ab + C / F

 

Fmin7 (b5): Ab + B + Eb / F

 

F7 (#9#5): A + Db + Eb + Ab / F * more info

 

F7 (b9#5): A + Db + Eb + Gb / F * more info

 

 

 

4th tone of the scale: Gb

Potential chords to play:

 

 

Gbmaj triad: Gb + Bb + Db / Gb

 

Gbmaj7: Gb + Bb + Db + F / Gb

 

Gbmaj7: Db + F + Gb + Bb / Gb

 

Gbmaj (add 9): Gb + Ab + Bb + Db / Gb

 

 

 

5th tone of the scale: Ab

Potential chords to play:

 

 

Abmaj triad: Ab + C + Eb / Ab

 

Ab7: Ab + C + Eb + Gb / Ab

 

Abmin9: Gb + Bb + B + Eb / Ab

 

Ab13: Gb + Bb + Db + F + Ab / Ab * more info

 

 

 

6th tone of the scale: Bb

Potential chords to play:

 

 

Bbmin triad: Bb + Db + F / Bb

 

Bbmin7: Db + F + Ab / Bb

 

Bbmin9: Ab + C + Db + F / Bb

 

Gb maj / Bb: Db + Gb + Bb / Bb * more info

 

 

 

7th tone of the scale: C

Potential chords to play:

 

 

Cmin7 (b5): Bb C Eb Gb / C

 

Cmin11: Eb + G + Bb + D + F / C

 

Ab maj / C: Eb + Ab + C / C * more info

 

 

 

 

Moving on…

 

 

Now, that you have just a sample of chords to play on each tone of the scale, we can move on to making chord progressions.

 

Note: If you want ALL the chords for each tone along with 4 more hours of instruction, check out my worship course.

 

 

 

Now, all you have to do is mix and match chords from each group. I’ll demonstrate to you the groups that work best together but feel free to use your practice time to explore this technique!

 

Did you know that by making different combinations among the chords above, that you have literally hundreds of possibilities?

 

Let me explain:

 

What if you took the the first chord from the “Db” group and played it before a chord from the “Ab” group. There’s a combination right there! (… and believe it or not, this progressions is heard in thousands of songs from every genre of music)!!!

 

 

Here are the groups that work best together.

 

===> Try mix and matching chords from group #1 with chords from group #4 and #5. Actually, any group works well with group #1 because of the “home” feeling you get from the 1st group. It’s generally the group of chords that begin and end songs so that’s why it works well with just about any other group. But like I said, the 4th and 5th groups will sound very good played after a chord from the first group.

 

===> Try mix and matching chords from group #2 with chords from group #5. You’ll get a very good connection with chords from these two groups.

 

===> Once you’ve mastered the 1-4, 1-5, and 2-5 group connections, try combining more than one pair. That means, play a chord from group #1 going to a chord from group number 4 — then right after that, play a chord from group #2 going to a chord from group number 5. See how many possibilities can be created? This is just how music works!

 

===> Try mix and matching chords from group #3 with chords from group #6. This creates a very smooth sounding progression.

 

===> Once you’ve mastered the 3-6 combination, try combining a 2-5 pair with a 3-6. For example, play a chord from group #2 to a chord from group #5. Then immediately after that, play a chord from group #3 to a chord from group #6. Then, do it backwards. Play a 3-6 pair immediately followed by a 2-5 pair. Now you’ve created a 3-6-2-5 progression!

===> And the list goes on…

I really wish I had enough time and space to keep going. For those of you who have GospelKeys^TM 202, just pop in disc #1 and you’ll get this entire lecture right on your television. Disc 2 focuses more on where we just left off. It actually demonstrates to you how to combine these chords and what types of sounds various chords make.

 

 

If you don’t have this course yet and you’re serious about learning these concepts, I highly recommend that you check it out at http://www.gospelkeys202.com. It is perfect for gospel musicians wanting to learn slower, worshipful music in the process described above!

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Step Three & Four: Altering Chords and Listening for Final Changes

Depending on the style of music you are trying to produce, step three will allow you to alter the harmonizing chords used in step two. To "alter" a chord simply means to modify it. There are several ways to alter a chord: You can raise or lower the 5th tone a half step or perhaps you can raise or lower the 7th, 9th, or 11th tones a half step (the list goes on and on…) However, it is important to make sure that the alteration chosen is in alignment with the mood of the song. For example, in gospel music, it is common to hear dominant and diminished alterations rather than just plain major triads.

The following lesson is taken right out of our 300-pg course (Chapter 16; pgs 229-231):

 

 

Here is a quick summarization of the four steps. This is actually page 257 of our 300-pg course:

 

Again, this is just a few pages on the harmonization process. For further training, I invite you to read more about my 300-pg course entitled, "The Secrets to Playing Piano By Ear." Click here for more techniques, principles, concepts, tricks and tips on playing the piano by ear.

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(Part one of a two week series on harmonizing melodies)

 

 

 

Harmonizing melodies is different than laying chords beneath a melody.

 

You may have heard of fake books and chord charts where you are given chords to play under various melodies. Jazz standards are usually notated this way.

 

For example, the chord chart may display a “Cmaj7″ over a particular bar with a melody line beneath it. To some extent, you have to know how to read sheet music (at least to read the melody line).

 

 

 

Harmonizing melodies, to me, is much easier. This is how hymns and popular music are played.

 

I’ll give you some songs in the next newsletter, but just to demonstrate my point, let’s take “Mary had a little lamb” since everyone knows this nursery rhyme (and its a lot easier to make my point clear with a simple song like this)…

 

With this method, if you can sit at your piano and pick out the one-note melody, then you’re 30 seconds from playing it as a full-sounding song.

 

Because the chords that harmonize notes NEVER change — only the notes themselves.

 

So if there are 8 notes in a major scale (really only 7 unique notes but the octave note makes 8) — and you know the “matching” chord for each one of those notes, then you have what it takes to play full-sounding chords in place of your one-note melodies.

 

Let me explain…

 

 

 

Say, after 10 minutes at the piano, you’ve managed to learn “Mary had a little lamb” (and believe me, it’s not that hard to pick out a melody — small children do it if you leave them at the piano long enough).

 

It’s not rocket science.

 

I believe everyone has the ear to sit down and pick out a melody (especially if you know your major scales because most melodies come directly from the scales). So if a major scale has eight notes and most melodies are formed with a combination of passing tones, upper and lower neighboring tones, and chord tones, then it shouldn’t take hours to learn melodies of popular songs.

 

Passing tones…? Upper neighboring tones…?

Lower neighboring tones? Chord tones?

 

You’re probably wondering what these are.

 

I discuss these things in detail in chapter 17 of my 300-pg course, but for now, I’ll explain them briefly:

 

 

Passing Tones

 

Melodies include tones that are not a part of the chord used for the harmony. These non-chord tones are called non-harmonic tones. When a melody passes from one chord tone to a different chord tone with a non-harmonic tone (a half or whole step) between, the non-harmonic tone is called a passing tone (pg 252, “The Secrets to Playing Piano by Ear”).

 

 

What does this mean?

 

Simply put, if you were playing the beginning of “Mary had a little lamb” (E - D - C - D - E - E - E) over a Cmaj chord, the ‘D’ notes in this sequence would be passing tones because they are not a part of the C major chord (C + E + G). Notice the ‘E’ and “C’ notes are a part of the C major chord so they are not called passing tones — they are called chord tones.

 

 

 

 

Neighboring Tones

 

When a melody passes from one chord tone back to the same chord tone with a non-harmonic tone (a half or whole step) between, the non-harmonic tone is called a neighboring tone.

 

 

What does this mean?

 

Basically, passing and neighboring tones function similarly but have one minor difference — the next note. If the melody is going to a different note and just “passing by” a non-harmonic note (again… simply a note that ISN’T a part of the major chord being used with the melody), then it’s called a passing tone. As simple as that.

 

 

If the melody is moving from one chord tone to a next door neighbor tone, then immediately back to the original chord tone, the “in-between” tone is called a neighboring tone. If you don’t get this, it’s better illustrated with pictures. I strongly recommend my course if you think this is interesting and want to learn more.

 

Whether you call them upper or lowering neighboring tones depends on which way the melody is going.

 

It is an upper neighboring tone when it is above the chord tone and a lower neighboring tone when it is below the chord tone.

 

Let’s see how well you understand this:

 

________________________________________________________

 

Is this an example of a passing tone or neighboring tone?

 

Chord: C maj (C+E+G)

 

Melody: C D C

 

 

Answer: This is an example of a neighboring tone relationship because the “D” is not a part of the notes of the chord AND because the melody is going from the “D” back to the original “C” chord tone. Whenever the melody uses a note to return back to a previous chord tone, then a neighboring tone relationship exists.

 

The “D” is specifically an upper neighboring tone because it is higher than the original “C” chord tone.

 

_________________________________________________________

 

Is this an example of a passing tone or neighboring tone?

 

Chord: D min (D+F+A)

 

Melody: D E F

 

Answer: This is an example of a passing tone relationship because the E is not a part of the Dmin chord (so it’s non-harmonic) AND because the melody is moving forward to a different chord tone (”F”). For example, if the melody was D E D, then a neighboring tone relationship would have been the correct answer. However, since the “E” is used to move forward to “F”, another chord tone, this creates a passing tone relationship between the “E” and the other chord tones.

 

 

How does knowing this information help you to determine melodies?

 

For starters, it helps you to understand that melodies aren’t just randomly played notes that you have to figure out… they generally use notes that are right next to each other.

 

Let’s analyze “Mary had a little lamb” to see what I’m talking about:

 

E D C D E E E (Ma-ry had a lit-tle lamb)

 

D D D (lit-tle lamb)

 

E G G (lit-tle lamb)

 

E D C D E E E E (Ma-ry had a lit-tle lamb, her)

 

D D E D C (fleece was white as snow)

 

 

Now… ask yourself a few questions?

 

Are these notes randomly spread out or do you see patterns here?

 

Do you see a bunch of passing and neighboring tones like I do?

 

Are the notes generally right next to each other (and not more than one note a part when there is a jump like from the E to G in the third line)?

 

 

Let’s analyze another easy nursery rhyme / lullaby:

 

“Are you sleeping”

 

C D E C (Are you sleep-ing)

 

C D E C (Are you sleep-ing)

 

E F G (Bro-ther John)

 

E F G (Bro-ther John)

 

G A G F E C (Morn-ing bells are ring-ing)

 

G A G F E C (Morn-ing bells are ring-ing)

 

C G C (Ding dong ding)

 

C G C (Ding dong ding)

 

 

So how do I harmonize these melodies … already?!!!

 

I’ll cover more popular (and non-nursery rhyme) songs in the next newsletter but for now, I will introduce the “harmonization” chart. But first, here are some rules to keep in mind:

 

1. Every note in a major scale has its own harmonizing chord

 

2. Whenever a note is played, simply replace it with its harmonizing chord

 

3. When all one-note melodies have been replaced with harmonizing chords, you have a full-sounding basic song.

 

 

Let’s take the C major scale (but keep in mind that every major scale has its own harmonizing chords).

 

When melody note is:	Simply play this chord:
C	E + G + C (played all at the same time)
D	F + A + D
E	G + C + E
F	A + C + F
G	C + E + G
A	C + F + A
B	D + G + B
C	E + G + C

 

 

Do you notice anything unique about the harmonizing chords?

 

 

If you noticed that the highest note of the chord always matches the melody note, then you are absolutely correct.

 

In essence, since you are replacing a melody note with a chord, in most cases, you’ll still want to preserve the melody (… you’ll want to hear the melody clearly) so by playing these particular chords, the highest note of each chord IS ALWAYS THE MELODY.

 

(This may all seem strange because I don’t have lots of room to explain myself with pictures and illustrations. Of course, some people will grasp on right away.

 

If you’re serious about learning harmonization, visit: http://www.hearandplay.com/special?harmonycourse to check out my course.

 

 

So, all you have to do is take the melodies above and replace them with the appropriate chords. I’ll copy the melodies to “Mary had a little lamb” and “Are you sleeping” so that you can try it on your own below.

 

The answers will be in next week’s newsletter so make sure to have this completed so that we can move on from there.

 

Mary had a little lamb

 

I’ll do the first one for you.

 

E D C D E E E (Ma-ry had a lit-tle lamb)

_____________________________________

 

G+C+E (Ma)

 

F+A+D (ry)

 

E+G+C (had)

 

F+A+D (a)

 

G+C+E (lit)

 

G+C+E (tle)

 

G+C+E (lamb)

 

Notice that the original melody note is still on top! That’s the whole point of using the harmonizing chart I’ve created for you above. The song still sounds like “Mary had a little lamb”, the melody is still obvious, but with the addition of full-sounding harmony!

 

 

 

D D D (lit-tle lamb)

_____________________________________

 

________ (lit)

 

________ (tle)

 

________ (lamb)

 

 

 

E G G (lit-tle lamb)

_____________________________________

 

________ (lit)

 

________ (tle)

 

________ (lamb)

 

 

 

E D C D E E E E (Ma-ry had a lit-tle lamb, her)

______________________________________

 

________ (Ma)

 

________ (ry)

 

________ (had)

 

________ (a)

 

________ (lit)

 

________ (tle)

 

________ (lamb)

 

________ (her)

 

 

 

D D E D C (fleece was white as snow)

______________________________________

 

________ (fleece)

 

________ (was)

 

________ (white)

 

________ (as)

 

________ (snow)

 

 

If you’ve chosen the right harmonizing chords, then you should have a nice full-sounding arrangement of Mary had a little lamb above. If not, just try it again until it works.

 

 

Lastly, try taking “Are you sleeping” and do the same thing you did above. This time, I won’t provide you with a template. You’ll have to do it all on your own:

 

 

“Are you sleeping”

 

C D E C (Are you sleep-ing)

 

C D E C (Are you sleep-ing)

 

E F G (Bro-ther John)

 

E F G (Bro-ther John)

 

G A G F E C (Morn-ing bells are ring-ing)

 

G A G F E C (Morn-ing bells are ring-ing)

 

C G C (Ding dong ding)

 

C G C (Ding dong ding)

 

 

 

Look for the answers in my next newsletter.

 

 

Meanwhile…

 

You now have a formula:

 

A) Determine a melody to any song

 

B) Replace the melody notes with harmonizing chords making sure to keep the melody note as the highest tone of each chord (see chart above)

 

C) Add bass (or left hand)  — We’ll cover this in another newsletter

 

 

 

There you have it. I hope you’ve benefited from this lesson. Let me know on my message board.

 

Chords to study for future online classroom lessons:

• Major triads; see pg chapter 5 of 300pg course
• Minor triads; see pg chapter 8 of 300pg course
• Major sixth chords; see pg chapter 13 of 300pg course
• Minor sixth chords; see pg chapter 13 of 300pg course
• Seventh (dominant) chords; see pg chapter 10 of 300pg course
• Minor seventh chords; see pg chapter 10 of 300pg course
• Major ninth chords; see pg chapter 14 of 300pg course

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From: Ms. Joanne Richardson

Dear Mr. Griggs (HearandPlay.com),

Let me first start by saying that I cannot thank you enough for your website and how you keep in touch with me from time to time. Your online material has been a great asset to my understanding of the piano and I hope to remain a member for as long as you continue to offer such great resources.

My reason for contacting you is because I really want to take my piano playing to the next level. I’m already skilled in sight reading but I just can’t grasp on to this new “train-your-ear” concept. Let me be the first to admit that I haven’t ordered your course, but as stated above, I have taken advantage of your online resources. I wouldn’t say that I cannot play by ear at all because that is not the case. I am able to play a few chords but there are still chords
that I can’t recognize without being in front of the piano. I am also able to play one-fingered melodies by ear (but I don’t know what to do after that). What are your recommendations for me? What will your course help me to do? Does it sound like this course is for me?

I appreciate your prompt response and look forward to ordering from you very soon. Thank you and again and may God bless you.

J. Richardson

(Note: Her e-mail address has been concealed for security purposes)

********

This is the e-mail that Ms. Richardson received from us . . .

********

Dear Joanne,

Thank you for contacting us. Let me cut straight to the point. Playing by ear is not something that you obtain over night. Of course, some people can do this easier than others, but I strongly believe that one can literally train their ear to recognize various sounds. Think about it … you recognize songs when they are being played even before a singer utters a word don’t you? You can
feel when something negative is going to happen during a movie when the music changes to a certain sound right? Well then … how different are the things that we do on a daily basis from recognizing a major scale or a minor chord in a song?

ANSWER … There shouldn’t be a big difference. The only reason you know when a scary scene is approaching is because you’ve been conditioned to associate spooky sounds with terror. The only reason you know the “intro” to a song is because you’ve heard the song so many times. Now let’s use these two examples in the context of playing the piano…

If you simply learn to associate certain chords with certain feelings, you’d know immediately when a certain chord is being played. That is, if you knew how a diminished or minor chord sounded, you’d be able to figure out that most of the chords played during “spooky” scenes of movies are some type of inversion
or alteration of these types of chords. Why? Because minor chords sound sad. Diminished chords sound spooky. Major Chords sound happy … and the list goes on!

Joanne, if you are able to play one-fingered melodies, than I strongly believe that you can be able to soon play fully-chorded songs. It’s not a matter of difficulty — it’s a matter of familiarity. If you familiarize yourself with the different techniques, principles, and concepts, then this process will be a
breeze. How do you do this?

First, you definitely need some written material. You cannot survive online throughout your whole musical career. You need something tangible that you can refer to … something that you can write on — answer questions — complete exercises — take chapter review tests (and don’t think I’m trying to put a sales pitch on you. Simply go to Yahoo.com and type in “piano books” and you should find a nice list of websites).

However, if you are looking for a complete system — a 300-pg workbook with a CD packed with tons of software, I will not discourage you from taking a look at my product. This just may be the tool that you’ve been looking for. If you are serious about learning the piano by ear, take a look at my newest workbook, “The Secrets to Playing Piano By Ear” v1.0. http://www.hearandplay.com/course

Because you mentioned playing one-fingered melodies, I just want to give you a preview of our 4-step process to learning songs by ear. This is covered in Chapters 18 and 19 of our course.

1) Determining the Melody

This is essentially what you already know how to do. It involves sitting down and simply figuring out the one-finger melody of a song. For “Joyful, Joyful,We Adore Thee”, the melody would look like this:

E - E - F - G - G - F - E - D - C - C - D - E - E - D - D

E - E - F - G - G - F - E - D - C - C - D - E - D - C - C

Keep in mind that there are different ways to determine the melody depending on what type of song you are trying to play. This is just the beginning of what I can show you in our 300-pg course. For more information, I recommend that you visit http://www.hearandplay.com/course

2) Harmonizing the melody

Joanne, once you have determined the melody, there is a process that we teach you which will allow you to take certain notes of your melody, and create chords to accompany them. Essentially (and I can’t tell you everything in this e-mail as I can go on forever), there are three types of tones that I discuss in this section (Ch 17) of the course:

a) neighboring tones (upper and lower)
b) passing tones
c) chord tones

Neighboring and passing tones are essentially tones that help the melody move from one chord tone to another. Passing tones utilize non-harmonic notes (also discussed in Ch 17) which help the melody move from one chord tone to another while neighboring tones use non-harmonic notes to move from one chord tone back to the same chord tone. Chord tones are just what they are called —- tones
that are apart of chords.

Now, if you could take your melody and determine which tones are neighboring, passing or chord tones, then you’d be able to figuring out where to put certain chords (because not all tones in your melody require chords to accompany them).

Believe me, this process is not hard and cannot be explained solely through this e-mail. That is why I am personally inviting you to check out my course at http://www.hearandplay.com/course

3) Altering Chords

After you have determined what chords go with what tones, you can then proceed to alter certain chords to suit your situation. If you are playing gospel music, you might want to replace some of the major chords with dominant chords. If you are playing jazz music, you might want to replace major triads with major sevenths (these are just examples — there are a countless number of ways to alter chords and progressions). Again, here’s the link … it’s your decision - http://www.hearandplay.com/course

4) Listening

This is one of the most important steps to playing piano by EAR. You must be able to listen — that is, you must be able to hear irregularities (in other words, things that don’t sound right!). Maybe a chord is out of place or the melody is not being played correctly. In the real world, this could be something like a vocalist singing in a key different than what you are accompanying him/her in. YOU MUST BE ABLE TO LISTEN — For more information on our course and how we can help you to build your listening skills, visit http://www.hearandplay.com/course

Well, Joanne, I don’t want to bore you any longer. However, I do believe in taking the time to help my members. Feel free to e-mail me personally (anytime) at webmaster@hearandplay.com if you have any questions or concerns. I hope that something I’ve said has been helpful and look forward to hearing your testimonial real soon! Take Care and update me soon.

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