So let me now talk about the phrase structure of the blues. Previously, I mentioned that the form of the blues is made up of three four bar phrases. We can refer to these phrases as A A prime and B. And this description has huge ramifications in a way we're going to approach our improvisation. And ways in which we're going to portray a musical story through improvisation. So on the screen, you can see the form of the blues with a basic blues progression and with the text, with the lyrics derived from the iconic Backwater Blues. One of the many verses of that, of the blues tunes from the early 20th century. When you read the lyrics, you can see that the first two lines are basically repeated, and the third line, labeled B, offers the solution for these two lines. So, the form of the blues, the Phrase Structure labeled as A and A prime refers to the repetition of the same text or musically speaking refers to the repetition of the same melodic idea. Why the second phrase is called a prime? You've probably guessed because even though we have the same lyrics, but the underlying harmonies are completely different. So in your harmonies, we'll give in your meaning to your melodies or to the text and your final phrase, of course, provides a resolution. So let me just play that one more time, and let me read the lyrics. I'm not a singer, but I can still try to recite them so you can see what I mean. [MUSIC] Then they rowed a little boat about five miles across the pond. So during the time your singer will sing these words, then they rowed a little boat about five miles across the pond and then a new lyric. I packed all my clothes, throwed them in and they rowed me along. So that's AA'B phrase structure using lyrics. Now, during our next lectures, I'm going to demonstrate how to portray these characteristics of improvisation. And it's actually fairly simple, because you can, you have to basically use the same melodic idea. Laden with some expressive content, if you use the same melodic idea of different chord changes, they would be harmonically and melodically redefined. So if I use for instance. [MUSIC] That's my A section. Now A prime. [MUSIC] And now with new material. [MUSIC] So once again, this is very important concept because as an improviser, you have to be mindful of the form. And the way in which phrase structures impact your improvisation, keeping in mind that the first two lines of improvised solo can be basically repeated verbatim and the third one can be varied. It's very powerful as far as creating and improvising a coherent musical statement. When you go back, and listen to diversion of the blues, that I mentioned earlier, Louis Armstrong, West End Blues, Sidney Bechet, Blue Horizon, Jelly Roll Morton, New Orleans Blues. Or other blues tunes used it in the course material. You will hear those characteristics present. You'll hear that improvisers, musicians, hardly ever vary the first two lines. And this comes from the great literary tradition, repeating for emphasis. On thinking more rhetorically, maybe repeat that idea to leave an impact on your audience, play something memorable. So that's really important to keep in mind, over a formal structure and phrase structure especially, as it relates to the improvisation and the study of improvisation. Thank you.