"Voice" Video Transcript
Video Transcript: Voice Steve Elzinga All right, welcome to this session, the next few sessions are going to be on worship players that's, you know, different roles. And these are three major roles, guitar, keyboard, and voice, we're going to look at voice with this section. That's part of a worship, Music Building Block, you're, you're building this structure and one of the major structures is one's voice. It's rich and poor alike have a voice doesn't you know, it's not reserved for just special people, everyone has one, right? Marie Elzinga And everyone has it with them all the time. Steve & Marie Elzinga You don't have to pack it up, you don't have to remember it, it just goes with you. It's light. Every person in the church in the church service has one. So it's like everyone brought their instrument this morning. Yeah, I mean, some have to unpack it, and they're up front. But everyone brought their instrument. And it's part of what God has given us. It makes the sound the same way I read instrument would make sound the you know, you blow into it, or there's, it takes air and and there's vocal cords that compress or relax and make different sounds, Marie Elzinga if your volume comes from your diaphragm, so you're using your whole body when you're doing this, Steve Elzinga right, so as some was saying, but they take just shallow little breaths, and, and then they tend to sing from here, instead of down here, but we'll talk about that in a little bit. The pitch comes from how tightly the vocal cords are stretched, when they're relaxed, it's lower, and when they're tightened, the pitch goes higher. Marie Elzinga And then the sound is shaped by your mouth, basically, your your lips, your the way you hold your jaw, your tongue, Steve & Marie Elzinga which you know, makes your voice incredibly unique. An instrument makes sound and you can vary the pitch. You know, playing the piano and it makes nice pitches and sounds, but it can't sing it. voices can do the same thing. We can make pitches La La, la, la, la, la la. But we can also put words to the pitches, which is you know, really incredibly unique. And again, everyone in your church has one. But the problem is most have not had any training of any sort with their voice. And some some are very limited. And if we can somehow help people with this gift that they they've been given, we could do more with it. So some basics on the instrument called the voice. Voices require a little bit of warm up. And I don't know I have these letters vowels on there. What do we do with those? Marie Elzinga Well, that's just kind of an exercise to get your, your mouth and your job working. Steve Elzinga So how do you do this exercise? Marie Elzinga Hey, E, I, O, U, some? Yeah, each one of those those vowels, make sure your mouth move and shape in a different way. So just just moving it around a little bit Steve Elzinga And then maybe you go up a pitch. Marie Elzinga Yep, you could go up a half step (and then your repeat the vowel by going up or down the scale) Steve Elzinga sort of, because it's a muscle. You can sprain your vocal cords and people do and they hurt their voices, sometimes permanently. So you have to warm up your voice. It isn't as much as like other instruments. pitch, the basic scale do re mi fa so la ti do or on the piano. Okay, so we sing in terms of notes. You played sort of the white keys, I noticed those black keys on the piano. What are those about Marie Elzinga those are just tones in between. Right. Steve Elzinga So from white to white, it's like called one step in a way and then the black ones are sort of halfway in between. There's five of them. They're sharps and flats. We'll talk about that in music theory. Steve Elzinga Number three, there's the melody. How do you get people to learn the melody? I have here practice with CD and then without, so you know people could practice singing a new song a melody, if you have praise team members, you have a new song, and they could just practice singing the melody along. In other words, they're listening to it, and then singing with someone that has it. And then singing along now a lot of people listen to iPods and they're listening to music all the time. And they're singing along with the radio or whatever. But then, when they don't have that they're not that accurate. Right? But what's happening there? Marie Elzinga And I don't know. No, not hearing in their head. No, this is how it has to go. Steve Elzinga I think, you know, Marie Elzinga not hearing the true pitch Marie Elzinga it happens to me, and I, you know, when I'm singing with a radio, the radio guy, or the music person is always hitting the right note, and I'm always probably just a hair late, I first hear him hit it, and then I hit it. And then when I have to sing without him, hold it. Because I was rolling. I was like, training wheels, I was using him to tell me and a lot of people sing that way. They seem just a hair late, because they're waiting for those around them to hit the note first, and then they follow him. So if you're going to lead, you really have to know it, you can't be waiting to hear what other people are doing. And that is really hard for a worship team, that they have to be leaders not not, not just following volume is adjusted with the the diaphragm. So sing louder, you know, there he can feel Hello. I mean, you can feel the muscles tighten up. And that is like pushing more air out. When you get soft. In a way his diaphragm still has air Marie Elzinga Yeah, actually, that's that's a misconception that people have that when they're singing softly, they can just do this nice, little relaxed, I can do a shallow breathing thing. But when you're singing soft, it actually takes more energy to stay on pitch. So your diaphragm is being used all the time. It's how, how fast you're pushing out that air, Steve Elzinga right? So you're controlling, when you're doing it soft, you're there, but you're controlling how much air goes out the tone. You know, what? What is the tone, I put down your gut. And that's a lot of opera singers sing from right down here. So you know if you I mean if you if you take your hand and pressed in on your stomach. And some people sing like that, oh, holy, holy, ohLee, it's more the opera singing and it's coming from down here. And that's really, you know, in some, some for some music, voice teachers they go, that's really the correct way to sing. And it developed during the whole human history when there were no microphones. You know, people would sing and there's nothing picking up your voice. And so you're singing in the back of your head and actors, but oh, you know, they would yell and preachers, you know, the preaching style that was kind of singing the song and they had a you know, they had to really project their voice and it had to come from way down here. Right? Marie Elzinga Because you're using your whole torso and your mouth as a resonation. To that's a great microphone. Steve Elzinga But now, you know, with contemporary music, obviously, you have a microphone or the microphone. You know, I have a microphone here. I can just whisper "the Lord is my sherper" you know, people in a lot of worship singers are barely barely getting the, you know, they have this little bit of something, you know, we worship, you know, they're barely singing but it's because they have a microphone. And they don't have to sing from their gut anymore. And and the problem now is we have a mixing and matching problem with our worship team. We've got one lady singing (very hight pitch), you know, and the guy going like (very deep pitch) this and then someone's singing just in a normal voice and I guess the more modern way is you know, I'm talking like this and and then I started singing like this talking thing. I mean, I'm not doing I'm not really pushing it real hard from from my gut. And so so then it doesn't blend well. But okay, that's from your your gut, then sometimes people singing from their throw, and all that music is coming out here and it's real throny and Marie Elzinga right but that's really hard on Your vocal cords, you're pinching them off all the time and not letting the air flow through. So that's not great. Steve Elzinga And then there's through your nose. Up, close your mouth and just (trying to sing thorugh his nose "9 9 done Amazing, great" and it is not working very nicely) or pluging your nose (and to sing Amazing grace). And some people naturally kind of talk through their nose and they sing through their nose. So Marie Elzinga that's a real pinch sound. Steve Elzinga Yeah, it's cutting it off. And oh, by the way, that they A E I O U the reason you do that is your mouth is open on vowels. So when you sing, you wanna, you want to spend more time on a bow on a consonant, you close your mouth, you know, band, you know, the D closes off the sound. So you want to say baaaaand, and you want to hold on to the vowel as long as you can. So, you know, work with people on their tone, if they speaking with their nose, they have to, like, try to imagine your your throat being a little more open, and even kind of go towards the opera thing, get them and say something loud, and a deep voice and then, and then it's sort of like, you know, balancing between the two, Marie Elzinga right? An exercise for that is actually lay on your back on the floor and sing because it's very hard to some nasal. Okay, although you can't do that at a church and helps them get the idea. No, this is how it feels. Steve Elzinga So part of your practice might be everyone lays down and then sing it. So a vibrato, vibrato, Marie Elzinga vibrato is when your vocal cords, you've allowed them to be loose enough so that when the air flows over, there's a bit of a wobble. So for Steve Elzinga example, Marie Elzinga Go ahead A (she is holding that note for a bit), Steve Elzinga exaggerate a library. Marie Elzinga Go ahead. Steve Elzinga You go ahead. Steve Elzinga (He is holding his pitch deeper and longer using the vowel A) A, so if I brought up what it really is, is here's the note. And I'm going a little below the note, I'm going a little above the note, I'm going below the note, I'm going above the note and going below the note. And you especially see that on violin players and string players, you see their hands going like this. They're doing this on the string. Sometimes a guitar player will do that when he's holding a note. And what he's doing is going a little sharp, he's going a little flat, he's going a little sharp, he's going a little flat, and he's doing at a certain rate that fits the music. And what why would anyone do that? You hear a violin doing it. When he's when he doesn't do that the tone is very flat. And he has to be perfectly on or it sounds off. So when you're singing, and I'm singing Amazing Grace, if I am not dead on that pitch, it's going to sound off. And now you have five people doing that. And it sounds off they're not perfectly on pitch. So vibrato, just a slight little vibrato, we're on the pitch we're a little off or a little higher, we're a little low. And because we're doing it so fast, people's ears can't tell that you're off. So it's in a way it makes giving with this more forgiving and it sort of makes the pitch a little wider. It's not so narrow and short. It has a wider feel to it. But if you have one person gone (he is exagarating a high pitch sound) and you know it's just sticks out right? so distracting. It has to if you do it, it has to be a little bit so teaching people just add a little vibration to it a little wobble helps with the whole pitch problem. falsetto. Marie Elzinga That is usually typically a guy thing where they're into their chest voice and then you go up into your head voice Steve Elzinga I can sing Amazing grace how sweet sound (deep voice) or I can sing (Amazing grace (now he is using high voice) Marie Elzinga Okay, now sing Amazing Grace but go from the first part that saved a wretch like me are starting in your Steve Elzinga amazing grace. How sweet is that saved a wretch like me? I don't have to normally just do it. Well, I don't have to because it's not high enough. So I get a hierarchy. Give me another higher key. (both trying to sing Amazing Grace with different pitch Steve Elzinga I need higher than that? Amazing Grace I need higher, (still trying to sing Amazing Grace going into his head voice and it is not working and she is laughing) Steve Elzinga So like is in the law. Now, the way to practice that is to go, Ah. Steve Elzinga So I'm switching, and it's a bit of a field actually do that quite Marie Elzinga well, I would have much more of a break when I'm doing it. And that's something that you can work on just by doing your scales and practicing going up and down. Steve Elzinga So you'll see singers, you know, the contemporary song there. Steve Elzinga Oh, I don't know, do you track going up and down all the time. And it's helpful when the music gets a little high, especially for tenors, and sometimes soprano people have to do the same thing Marie Elzinga or Alto's I have a hard time right in the A B C area because I have a lower voice. So then when I go into my head voice, I have to me Yeah, it can be something that I need to work on more than I do, just because otherwise that can be kind of an awkward transition. Steve Elzinga Then there's range. Obviously, people have different ranges, I have a little chart up there on the piano. Basis sing way, way down here. And then the high note for a bass with Steve Elzinga the mean. So that's, that's that's kind of a range for some guys that have the real low voice maybe a tenor, Marie Elzinga tenor of the baritone, tenor. Okay, tenor, Steve Elzinga I suppose I am a tenor. But I can sing the bass too. So I'm a bass tenor slash something. And well, the Alto. Marie Elzinga Alto and typically now, I'm in my head voice already. And I can go higher, but I'm not Steve Elzinga getting that's a B. Right? and How high do songs go? Someone go a lot higher than that. ight. So then what does the alto do? Marie Elzinga They go to a harmony part. Steve Elzinga Right? Or people that don't know harmony, Marie Elzinga they sing an octave lower possibly. Okay, so that's Steve & Marie Elzinga the your dilemma with, okay, we all have different ranges that are voices. And some people have a wide range, they can sing really low, or they can say really high. Other people have a smaller range. And then the songs you know, cover all these different ranges and some of them go so high. That the thing are the tenors are having a good time. But then the altos can't sing it. And that's originally why we had harmony. Harmony allows everyone to find their perfect range, all within one song. And so that's one reason to help people sing harmony, because now we can all sing with gusto because it's right in our wheelhouse. Otherwise, sometimes a little high, some is a little low. It's perfect for the women. But it's a little low for the guys, or now it's perfect for the guys and it's too low for the women. And so, harmony is a good way to deal with that whole range issue. Learning the melody by ear so how do people learn melodies it's the easiest part of the song. If you play Holy, Holy Holy she's playing all the parts the bass part, the tenor part, the alto part, but we can also the instinctively hear what the melody the melody is usually the highest part. So play it again. Steve & Marie Elzinga Okay, it's somehow easy to hear the highest leads to subtle difference. The problem with people learning the melody of a song, especially a new song, by ear, they hear it and then they copy it is then when they sing it alone. They, they don't sing it exactly like they heard it. They may go one note up instead of two. And then you do it one way and Do it another way, and someone else does it another way. And then all of a sudden, when we get together, we have all these differences, even worship band leaders, they listen to a CD, and they sing along in the car, and they go over and over it. And then when you get to the band, everyone's fighting over which way it really goes, because it's easy to sing with and catch it on by ear, but you're not perfect at it, right. This is how we learn most songs is how most of your congregation is just going to learn from what they hear you do. Learning melody by note notes are the black marks arranged on five horizontal line lines on music paper, they called a staff notes towards the bottom of the five lines are lower in pitch than those that are higher. Steve Elzinga So some people look at at reading music, like it's this huge mystery. And it's incredibly complicated, and no one can do it. And, you know, and I think there's a degree of reading notes, my wife can look at the page and start singing the song based on where the notes are, she can see this is this note, and this is this don't like an instrument, you just sing it and you just play it, I can't do that. And when I look at a pitch, I can kind of pick it up. But if I don't know the song, I am not confident to just sing up the notes, I'd have to hear it. Now, if my wife is playing the piano, and she's playing the notes, and I'm looking at these notes on a page, all I do is is Look, this note goes up. And so I know I have to go up instead of down or down instead of up or this is going to be a bigger leap. And so I know I'm ready for a bigger leap. And I started here at somewhere in the piano that you're playing or the guitar. And so it's like a gentle reminder of how the song actually goes, I don't have to actually read every note. And I think most people could do that. And let the notes be a gentle reminder, Marie Elzinga if it's a big jump from here, all the way up to there, it's probably, maybe it's an octave or whatever, you get an idea how far the jump is gonna be. Steve Elzinga And over time you start learning these little intervals. But anyone can just start right with it. Well, how long you sing a particular pitch, you know, pitches high low, is based on what kind of black mark the note is. And here's a graph of the notes. The whole note is this hollow circle. And then the half note has a little line on it. And then the quarter note is filled in and then the eighth note has this little flag. And a lot of signs are four four times so it's 1 2 3 4 1 2 3 4. So hold out would be 1 2 3 4 I have no it would be 1 2 3 4 and a quarter note would be an eighth note. eight notes, the way that they figure that out is just if you're clapping, your clap the quarter note 1 2 3 4 Steve Elzinga and stick 1 in between Steve & Marie Elzinga and and when your hand is up. That's how I do it. This is one this is n (n is when his hand is up and when he its his leg then it is the number one or two or ...) one and n two and three n four, n one n two n three n four. So those notes are the ones that are placed on the staff. So those little cues tell you how long that you hold that particular pitch goes up. You sing a lot. It goes down, you sing a little down. Okay. So you learn the melody one way or another whether it's with the notes or by here, learning harmony. No. Why would we learn her? Marie Elzinga Well, first of all, it's lots of fun. Steve & Marie Elzinga It is it's just, you know, once you learn it, you'll discover how much fun it is and even people that that that Listen, I remember the president of CLI Henry Reyenga, we were in the car driving to Wisconsin, and we were going I think to his brother's house and, and I was trying to teach him harmony. And he he didn't know what it was. It was like I know there's something cool about it. I like the sound of it. But But what is it and we were singing and I was trying to teach him harmony and we're having so much fun with it, that we missed our exit it was in Northern Illinois that we wanted to go to and all of a sudden we saw a sign that said Welcome to Wisconsin, because we just weren't paying attention when it turned around but but once you get into it, it's it's a lot of fun. It makes music more interesting. There's there's more variety to it. Marie Elzinga it makes it Fuller. Steve & Marie Elzinga It makes it Fuller. It creates a team like atmosphere because we're not all doing the same part. We're, you know you're doing something I'm doing something so When else is doing something else, and we're creating this new thing together that we couldn't do, I can't do harmony on my own. So when I'm with someone else, we can create this whole new sound. When each of us does, it's really like the body of Christ, each of us has our own part in the body of Christ. I think it creates emotion. You know, when you start a song, maybe it's a melody, and then all of a sudden, we add harmony, and it's like this, this full thing. Well, how do you do? How do you learn harmony or you know, in what is harmony is an alternate melody. It, here's, here's what I want to tell you. And this is what you can tell the people in your congregation, if someone can sing the melody, they can learn from it. Some people say, wow, you know, I just wouldn't be able to learn Can you sing the melody? Yeah, I can sing the melody, well, then you can learn the harmony because the harmony is just an alternate melody to something that you already know. It's, it's, you know, when you sing around, it's it's a it's harmony. Marie Elzinga And that really is how in grade school and elementary school if you have music classes, that's quite often how the teacher starts teaching harmony is by having you sing rounds. Steve Elzinga Okay, so you know, song is Row, row, row your boat. So give me a note to start on. Steve & Marie Elzinga Row, row, row your boat, Gently down the stream, merrily. (singing together to show how a melody sounds like. In this case he started for the first three word and then she started the same three words making like an echos) Steve Elzinga So we're, we're singing the exact same melody, but because we offset them, one begins and then the one begins later. The notes, they're in the same key. But they line up differently so that we're singing different notes. And it's easy for me to stick with mine because I'm just singing a song that I know. And you're singing the exact same song that we know and we put them together. It's it looks like harmony. There's an old Latins on jubi latte, Dale, give me a no for that. I don't know where to go. Choo. Steve Elzinga (Choo. latte da da a a yo. Today, yo, les lujah trying very hard to sing this). So that's Let me try to teach it to you (choose Bella de de au, jus Bay la today. Oh, ) by the way, do you see what I'm doing in my hands. That's it's really like the notes on a staff. And when you're teaching your congregation a song, they don't know that it's going up or down. And it's sort of like helps people hang in there. So I'm going to start that song and then rakin come in. So ( still trying and it souond better because she is part of the song) Steve Elzinga Becomes a beautiful song. Now with this particular site, you could have like seven people join in and it becomes this incredible thing that average people, they we did it at a meeting once we had some time where voting and someone's counting ballots, and we just said, Okay, let's divide into seven sections. And at the end, we were like the Sistine Chapel wire or something. It was unbelievable. Now try it with the attached v3, I attached some songs for you, I have a CD here. It's this what what this is a is a compilation of some hymns. And one track of the hymn will be four parts. And my wife and I actually put this together and it's it's our voices singing four parts at one time. You have to figure out how one can do something like that. But so you're going to you're going to hear Holy, holy, all four parts. So the melody, the soprano, the Alto, the tenor and the bass all singing together. And then we're going to show you how these mp3 that are attached here to this session. You'll be able to learn whatever part that it is that you want to learn. Yeah. Introduction to Holy, holy, holy (playing the mp3) Steve Elzinga I want you to notice that this is just four people saying and look, I mean, it sounds like a whole group of people. And that's, I mean, it's just for people singing as well, it's you too, and we doubled. We, we, you know, taped our parts and put it together. But there's just four voices going on there. And it sounds like a whole church. And it sounds that way. Because that's what harmony does, it fills all the cracks in and it sounds like this is big sound. And so with a few people on a worship team, you can really have a full powerful sound. Now, a lot of times worship leaders will come up and they'll just sing the melody, and then it just sounds like this thin little thing. But adding harmony really pumps it up. So now what you're going to hear is the same song, and all the parts are there. But I think in this one, the alto is going to be really loud. And so this is the way to learn it. So if someone had just listened to this, this, this recording, you can download it on your phone, or whatever. And if they just listen to it, and try to sing along with the loudest voice that they hear, people would end up learning this part. So just this will be the alto. (playing another mp3) Four guys that have some girls that have a lower voice, and guys that have a little bit higher voice, (playing another mp3 song) Steve Elzinga All right, the next one is going to be the bass. And I want you to look at this this page that has the music on, you see all these little notes. And if you look at the top staff, you see there's one note on the top. And then there's one note underneath the one on the top is the melody. That's what the soprano sings. The one underneath is the alto that was the the one that Marie sang. And then if you go down to the next five line staff, the top note of that staff is this tender part that you just heard. So if you follow that, holy, holy, holy, you know, I'm following those notes and they go up, they go down, and I, as I'm listening to it, I'm looking at those notes. And so you'll start to get the idea of how this note thing goes. And this last one I'm going to do is the base and that's the lowest note on that second staff. And so you look at that you go to the end, and then you have to drop down again to that same line, the next set of lines, those two staffs and find your part and then so there's three different sections on this page. Yep. So this is the bass part. This is this is the voice for people that have a real low voice taking their song, it's down there (plaing the same song but this time using people who have deep voice) Steve Elzinga this next line is just the piano, right? And then you have to like test yourself. So why don't you sing the? Right? (now they are singing the same holy song but the two of them) Steve & Marie Elzinga Okay, so we're able to do that, because we've heard it so many times, that that part is like another melody. I mean, I know the melody of this song. But I know the second melody of this song, or the third melody of the song. Now the problem with people first learning is they know the melody is so strongly that it keeps taking over, because they have sung that so many times, and it's just imprinted in their brain. And I am trying to learn a song that's very similar, but slightly different. And so you have to hear it and do it. You know, a lot of times to overcome that. But once you hear it and sing it enough, it becomes now a new melody for you, and you'll have no trouble singing it. Okay, so that's learning by note, it's right there, you can listen to it, follow it, a lot of contemporary music doesn't have it written out. It's not nicely, we did nicely put this on a CD for you. So you can follow and then we sing it loud. And you can learn it, but a contemporary song here and on the radio or your iPod, or whatever, and, and now all of a sudden, you're gonna sing it at church, and everyone knows the melody. But how are you going to figure out and you're the worship leader, so you have to help your people learn this part. So how do you do? Steve Elzinga Well, it's still not easy. When I try to help you figure this out. It's still not easy. But the Alto, which would be generally the woman that singing sings, like a third above the melody, what, what exactly is a third? Marie Elzinga Well, that would be a music term. If you walk up if you do the scale, Steve Elzinga right, an eight note scale, Marie Elzinga let's say and then a third above. Steve Elzinga Do Re Me so it's Do and Me. So if I sing, Do, see, that is a nice sound. So the alto is singing a third above. So let's sing a contemporary song here. Well, let's try (light of the world that they are singing) you. Here I am to worship. So then you go into the Alto. And she's going to be singing roughly a third of what I'm doing. (now they are trying "here I am to worship") Steve Elzinga So she roughly stayed a third of above Marie Elzinga we're doing parallels we're and we're moving in the same direction. Steve Elzinga I'm going up. And so she goes up. Now, it's not always a third, because it has to stay in the key and that's where sometimes people lose it. But if someone's playing, and you've just tried to be a little bit above and you stay within the key, it'll sound right it'll be okay. So then the tenor, you go to the next one. The tenor sings a third below. No, well, no, you sing Below I sing above, Marie Elzinga where you were singing the melody, I was singing a third below Steve Elzinga So the alto sings a third below the melody. And the tenor sings a third above, so if you're singing the melody, Marie Elzinga see, the complicated thing is, if we had a female vocal here, it would actually be a bit easier. Steve & Marie Elzinga I, because I sing an octave lower, lower so. So he actually, Marie Elzinga let's say, on the sun was starting on an A, and I was starting on an F sharp but in the octave above, so Steve Elzinga like a guy would and then I'll sing it like if I was a female Marie Elzinga tenor part. Steve Elzinga So using the melody (singing the same song together) Steve Elzinga So I'm technically singing more but a third above, sometimes the fourth am I doing? Well, Marie Elzinga yeah, again, it's hard to say where he is from me Steve Elzinga worried about worried about that exalting the Alto. I'll be announcing the 10 or an octave higher, (this is very confusing when they talk and sing at he same time) Steve Elzinga I probably can't do awfully you get the idea that, you know, I'm singing an octave lower than she is. But if you don't count that I'm trying to sing three notes above her. Really, I'm just following the melody. If I was singing the melody, I could be singing down there. I'm singing three notes above the melody that I would have been singing, right. So if we had two guys singing, I'd be go instead of going by starting note if I was the melody, but instead I just getting started, you just start and really finding that first note is you find the melody. And then go to the next note in the chord. (still trying to sing the same melody) Steve Elzinga The other thing you can do is go to YouTube and click on how do we say yes to a partner how to sing the tenor bar. And sometimes there's someone that can help Unknown Speaker lots of tutorials out there Steve Elzinga I hopefully hopefully, they you know, just to get people started the voices and incredible thing, but most people need just a little bit of help. So as the worship leader, if you could be helping not only your worship team, but thinking about the whole congregation. Imagine if the whole congregation started, you know, learning to their potential and people started singing harmony and and then imagine what the worship service would be like people to be like looking forward to the Grand harmonies and everything else that's going on. So thank you
Last modified: Thursday, October 15, 2020, 9:22 AM