TABLE OF CONTENTS (Click to jump) |
Greetings, everyone! Rodrigo here again.
If you're new here, this is the second to last post in a 15-part series where I've broken down everything a musician needs to know, from basic intervals to major and minor keys. You can easily catch up on the previous posts by clicking their titles below.
Today's article is a continuation of the same topic I covered on the three previous ones (major and minor keys), and as I promised, the subject of this one is to explore the melodic minor keys. Some important topics that I've gone through in the previous articles won't be covered again, such as relative keys, parallel keys, and how to identify a song's key. Then, if any of these topics are what you're looking for, you should check them first and then come back here.
To my regular readers, thanks so much for your continued support! As always, I'll keep adding new articles every month, and I'll be updating the store section soon with some cool new stuff. If you haven't already, bookmark this blog and drop a comment below with any topics you'd like me to cover in the future.
Thank you all!
Rodrigo
List of posts:
Simples Intervals -> Compound Intervals -> Triads -> Drop-2 Chords -> Drop-3 Chords -> Shell Chords & Extensions -> Triads & Extensions -> Chord Melody -> Guitar Arpeggios -> Guitar Scales -> Major Keys -> Minor Keys -> Harmonic Minor Keys -> Melodic Minor Keys
MELODIC MINOR KEYS
The term 'melodic minor key' refers to all possible chords derived from the melodic minor scale.
What defines a minor scale is the distance between the 1st and 3rd degrees. If they're separated by 1 whole-tone and 1 semitone, it's a minor scale. If they're separated by 2 whole-tones, it's a major scale.
Differently from the major keys, the chords from the minor keys can come from three different scales: the natural minor scale, the harmonic minor scale, and the melodic minor scale. Each of these scales will form seven triads and seven 7th-chords that can be combined in the same song.
In this last article on minor keys, we'll be approaching the melodic minor scale.
WHY THREE SCALES?
In music, one of the most important movements is the dominant cadence, where a dominant-function chord resolves to a tonic-function chord (more of that later). This concept of tension and resolution is central to harmony. The dominant chord, typically represented by the fifth degree (V7) in a key, is inherently unstable and naturally seeks to resolve to the tonic, the first degree, which is the most stable.
However, in the natural minor scale, the fifth degree forms a minor chord (triad) or a minor seventh chord (m7), which lacks the strong pull toward resolution. To address this, the harmonic minor scale was introduced by raising the seventh note of the natural minor scale (for example, changing Bb to B in the key of C minor). This alteration transforms the fifth degree into a dominant chord, enhancing its resolution potential.
The raised seventh note in the harmonic minor scale, however, creates a significant gap between the sixth and seventh notes (a minor third interval, or simply put: 1 whole tone and 1 semitone), which historically resulted in challenges for choral singing. To make melodic lines smoother, the melodic minor scale was developed by raising both the sixth and seventh notes of the natural minor scale. This adjustment allows for a minor scale that retains a dominant fifth degree while still using only short intervals between any degrees, making it more suitable for melodic purposes.
Today, these scales can be used independently or in combination, offering a wider arrangement of harmonic and melodic possibilities.
MELODIC MINOR SCALE FORMULA
So, the melodic minor scale formula is:
1st degree - wt - 2nd degree - st - 3rd degree - wt - 4th degree - wt - 5th degree - wt - 6th degree - wt - 7th degree - st - Octave.
st = 1 semitone
wt = 1 whole tone
Or we can transform it into number to make easier to visualize:
1 2 b3 4 5 6 7
The flats (b) we see in scale formulas refer to the minor intervals: in the case of the melodic minor scale, the only minor interval we have is the b3, which stands for minor third. These intervals are always measured based on their distance to the root (represented by the number 1).
Student: Does it mean that, for a scale to be minor, the only requirement is to contain a minor third (b3)? All the other degrees could be major, augmented, perfect, etc.?
Rodrigo: Exactly! If you still remember the formulas for the other minor scales, you'll see that each one of them has a specific sequence of notes that characterize them, but the b3 remains the same:
Natural Minor (1 2 b3 4 5 b6 b7)
Harmonic Minor (1 2 b3 4 5 b6 7)
Melodic Minor (1 2 b3 4 5 6 7)
Student: Got it! Thanks
To find the notes of any given melodic minor scale, we'll have two different methods to follow:
The first one is to literally count the intervals between each degree. So, let's say we want to find the notes of the C melodic minor scale. We know that C is our 1st degree, and we also know that between the 1st and the 2nd degree we have a whole tone. Then, by moving one whole tone above C will get to D. The interval between the 2nd and the 3rd degree is a semitone; by moving a semitone above D we'll get to Eb. And if you follow the whole formula you're going to get to C, D, Eb, F, G, A, and B.
The second way is to find the melodic minor scale based on the major one. If you compare the two formulas, you're going to notice that the only difference between the two of them is their 3rd degree.
Major (1 2 3 4 5 6 7)
Melodic Minor (1 2 b3 4 5 6 7)
Then, if we already know that the C major scale contains C, D, E, F, G, A, and B. All we have to do to find the C melodic minor scale is to flatten (b) the 3rd degree, which will come out as C, D, Eb, F, G, A, and B.
None of these methods are better than the other, obviously the second one is faster if you're already familiar with the given major key, but very often you're going to have to use the first way as well. So, get used to them.
Before we move on, make sure you understand how to find the notes for any melodic minor scale regardless the key. Try writing them down, then compare your results with the chart below. Just follow the scale formula starting from the key center.
CHART OF MELODIC MINOR SCALES |
P.S. You might've noticed that in certain keys, particularly G#, the seventh degree is marked with a symbol that looks like an "x." This is the symbol for a double-sharp, indicating that the note should be raised by two semitones. For example, "Fx" is played with the same pitch as a natural G. This occurs because every heptatonic (seven-note) scale must use a different letter for each degree, which sometimes requires the use of symbols like double sharps and double flats (bb).
CHORDS FROM THE MELODIC MINOR KEYS (TRIADS)
Triads are the simplest form of chords, made up of three notes: the root (1st degree), third, and fifth. We’ve covered this before, but here’s a quick refresher:
Major triads are formed by the root, a major 3rd, and a perfect 5th (e.g., C major = C, E, G).
The root is the note that defines the chord's origin (C).
The major 3rd is 2 whole tones above the root (E).
The perfect 5th is 3 whole tones and 1 semitone from the root (G).
Minor triads consist of the root, a minor 3rd, and a perfect 5th (e.g., C minor = C, Eb, G).
The minor 3rd is 1 whole tone and 1 semitone from the root (Eb).
The perfect 5th is 3 whole tones and 1 semitone from the root (G).
Diminished triads are made up of the root, a minor 3rd, and a diminished 5th (e.g., C diminished = C, Eb, Gb).
The diminished 5th is 3 whole tones from the root (Gb).
Augmented triads are made up of the root, a major 3rd, and an augmented 5th (e.g., C augmented = C, E, G#).
The augmented 5th is 4 whole tones from the root (G#).
That’s all you need for now! Back to the C melodic minor scale:
C - whole tone - D - semitone - Eb - whole tone- F - whole tone - G - whole tone - A - whole tone - B - semitone- C.
Each of these notes will form a type of triad, and there's a simple method to find the notes for each one. To build a triad, start with the root note, skip the next note to find the 3rd, then skip another note to find the 5th. For example, to find the notes for the 1st degree, start with C (root), skip D to reach Eb (b3rd), and skip F to reach G (5th). Once you’ve identified the notes, measure their distances from the root to determine the type of triad. Since Eb is 1 whole tone and 1 semitone from C, it forms a minor 3rd, and since G is 3 whole tones and 1 semitone from C, it forms a perfect 5th. Together, these form a minor triad, so the first chord in the C melodic minor scale is C minor.
Let's apply the same process to the second degree of the scale. Now, consider D as the root of the new triad. Skip the next note (Eb) to find F (b3rd), then skip G to find A (5th). Measure the distances: F is 1 whole tone and 1 semitone from D, making it a minor 3rd, and A is 3 whole tones and 1 semitone from D, making it a perfect 5th. This forms a minor triad, meaning that the second chord in the C melodic minor scale is D minor.
For the 3rd degree, it'll form Eb augmented. Eb (root), G (major third), B (augmented fifth):
For the 4th degree, it'll form F major. F (root), A (major third), C (perfect fifth):
For the 5th degree, it'll form G major. G (root), B (major third), D (perfect fifth):
For the 6th degree, it'll form A diminished. A (root), C (minor third), Eb (diminished fifth):
For the 7th degree, it'll form B diminished. B (root), D (minor third), F (diminished fifth):
And by following this process for all seven degrees, we found the following triads:
Cm - Dm - Eb(#5) - F - G - Adim - Bdim
When referring to chords, we'll use the Roman Numerals system to simplify it, so we can make it into a formula. The triads in a melodic minor key are represented as:
Im - IIm - bIII(#5) - IV - V - VIdim - VIIdim
The good news is that this formula is universal and works for all keys. In any melodic minor key, the first chord will always be minor, the second minor, the third augmented, the fourth major, the fifth major, the sixth diminished, and the seventh diminished. It’s important to memorize this formula, just as you did with the melodic minor scale.
Since we’ve already identified the notes for all 12 melodic minor scales, we can now apply this chord formula to find all the chords generated by each one. You’ll end up with the following results:
CHART OF MELODIC MINOR KEYS (TRIADS) |
CHORDS FROM THE MELODIC MINOR KEYS (7TH-CHORDS)
Seventh chords are like the triads we've been working on, but with an extra note added—the 7th—by skipping one more note after the 5th. But first, here's a quick review of the most important seventh chords you should know:
Major triad with a major 7th becomes a maj7 chord (e.g., Cmaj7= C, E, G, B).
The major seventh is 5 whole tones and 1 semitone from the root (B).
Major triad with a minor 7th becomes a dominant 7 chord (e.g., C7= C, E, G, Bb).
The minor seventh is 5 whole tones from the root (Bb).
Minor triad with a minor 7th becomes a min7 chord (e.g., Cm7 = C, Eb, G, Bb).
Minor triad with a major 7th becomes a m(maj7) chord (e.g., Cm(maj7) = C, Eb, G, B).
Diminished triad with a minor 7th becomes a min7(b5) chord (e.g., Cm7(b5) = C, Eb, Gb, Bb).
Diminished triad with a diminished 7th becomes a dim7 chord (e.g., Cdim7 = C, Eb, Gb, Bbb).
The diminished seventh is 4 whole tones and 1 semitone from the root (Bbb).
Augmented triad with a major 7th becomes a maj7(#5) chord (e.g., Cmaj7(#5) = C, E, G#, B).
Since the process is just like what we did with triads, we'll move a bit quicker. We already have the triads, so all that's left is to find the 7th by skipping one more note after the 5th. Once you find it, measure the distance from the 7th to the root.
For the 1st degree, it'll form Cm(maj7). C (root), Eb (minor third), G (perfect fifth), B (major 7th):
For the 2nd degree, it'll form Dm7. D (root), F (minor third), A (perfect fifth), C (minor 7th):
For the 3rd degree, it'll form Ebmaj7(#5). E (root), G (major third), B (augmented fifth), D (major 7th):
For the 4th degree, it'll form F7. F (root), A (major third), C (perfect fifth), Eb (minor 7th):
For the 5th degree, it'll form G7. G (root), B (major third), D (perfect fifth), F (minor 7th):
For the 6th degree, it'll form Am7(b5). A (root), C (minor third), Eb (diminished fifth), G (minor 7th):
For the 7th degree, it'll form Bm7(b5). B (root), D (minor third), F (diminished fifth), A (minor 7th):
And by following this process for all seven degrees, we found the following 7th-chords:
Cm(maj7) - Dm7 - Ebmaj7(#5) - F7 - G7 - Am7(b5) - Bm7(b5)
Which, in the Roman Numerals, will be:
Im(maj7) - IIm7 - bIIImaj7(#5) - IV7 - V7 - VIm7(b5) - VIIm7(b5)
And the same order of 7th-chords we'll be applied to all the other keys as you can check in the following chart. So far, you have to memorize three things: the melodic minor scale formula, the triads formula, and the 7th-chords formula.
CHART OF MELODIC MINOR KEYS (7TH-CHORDS) |
Student: Okay, I have these seven single notes, seven triads, and seven 7th-chords. What should I do with them?
Rodrigo: These notes and chords are the building blocks for composing a song using the C melodic minor scale. You’ll use the single notes—C, D, Eb, F, G, A, and B—to create your melody, and the triads and 7th-chords derived from these notes to make the chord progressions for your song. Of course, this is an example using the C melodic minor key, you still have 11 more keys to explore.
Student: So, are these the only chords I can use? Just these seven triads and seven 7th-chords?
Rodrigo: Not exactly, but these are the essential chords that define the key and the sonority of this specific scale. They're known as diatonic chords because they're all derived from the original scale. While you can add non-diatonic chords to have more options, you’ll need to return to the diatonic chords to maintain the sense of the key. Otherwise, the song might lose its tonal center and not make sense.
Further in this conversation, you'll learn about other categories of chords like secondary dominants, substitute V7 chords, IIm7-related chords, and modal interchange. These chords offer more options for your compositions but are commonly used to lead back to the diatonic chords.
Also, I mentioned in the beginning that we can mix all chords from the natural minor, harmonic minor, and melodic minor scale, which already adds up to 21 triads and 21 7th-chords.
Student: Got it! So, what's the next step? Greek modes? Oh, wait! We still have to check the tensions, right?
Rodrigo: Exactly! Hold on a little longer!
CHORD EXTENSIONS (TENSIONS)
Since we used four notes of the scales to form the core of our 7th-chords, we can now add the remaining three notes from the scale to embellish the sound of each chord even more. These 'extra notes' will be referred to as tensions or extensions.
Student: So, can I use all seven notes to play any of these chords? What would be the difference if they all contain the same notes?
Rodrigo: That's actually an excellent question! First of all, as a guitarist, playing all seven notes simultaneously would be quite challenging, though there are exceptions. Secondly, once you've established the basic triad or 7th-chord, you don't need to include every tension at once—you can experiment with different combinations or even use just one. It all depends on what sounds good to your personal taste.
Moreover, as a rule of thumb, the notes that form the core of the chord are usually played in the lower register, while tensions are typically added in the higher register. This distinction between the lower and upper structure helps differentiate chords not just by the order of the notes but also by the unique sound they produce when tensions are added.
If you need to see examples of how to add tensions to chords, check my articles on Triads & Extensions or Shell Chords & Extensions.
Student: I'll check it out right now!
Just a quick review on tensions:
If the tension is 1 semitone above the root, we'll call it a minor 9th (b9)
If the tension is 1 whole tone above the root, we'll call it a major 9th (9)
If the tension is 1 whole tone and 1 semitone above the root, we'll call it an augmented 9th (#9)
If the tension is 2 whole tones and 1 semitone above the root, we'll call it a perfect 11th (11)
If the tension is 3 whole tones above the root, we'll call it an augmented 11th (#11)
If the tension is 4 whole tones above the root, we'll call it a minor 13th (b13)
If the tension is 4 whole tones and 1 semitone above the root, we'll call it a major 13th (13)
If you've already read the articles I mentioned earlier, you're familiar with the concept of avoided notes. But in case in haven't, here's another quick refresher:
Even though we'll find a different type of 9th, 11th, and 13th, to each chord of the key, it doesn't mean that all of them can be added to the chord since they might alter the chord's quality or function. As a rule of thumb, any tensions that's located 1 semitone above any chord-tone (notes that form the chord) is considered to be avoided. Which means that we can't let that note ring out simultaneously with the chord.
We consider the perfect 11th an avoided note for major, dominant, and augmented chords (C, C(#5), C(b5) Cmaj7, C7, Cmaj7(b5), Cmaj7(#5), C7(b5), C7(#5)) because it creates a dissonance with the major 3rd that can alter the character of the chord.
We consider the minor 13th an avoided note for major and minor chords (Cm, Cm7, Cm(maj7), and the major chords cited above) because it creates a dissonance with the perfect 5th that can alter the character of the chord.
We consider the minor 9th an avoided note for major, minor, diminished, and augmented chords too, because it creates a dissonance with the root that can alter the character of the chord.
The only exception to the two last rules above is the dominant chords (e.g., C7, C7(b5), C7(#5)), because its function is to create tension to then be resolved in a tonic-function chord. Then, minor 9th as well as the minor 13ths are welcome, but the perfect 11th remains avoided.
With that in mind, I'll apply the same approach to all seven degrees of the scale and give you the results directly. All you need to do is calculate the interval between each (ext.) tension and the root note.
For the 1st degree, the tensions are the major 9th, perfect 11th, and major 13th. Then, the possible chords for the 1st degree include Cm, Cm(maj7), Cm(9), Cm(maj7)add9, Cm(11), Cm(maj7)add11, Cm(13), Cm(maj7)add13, Cm(9,11), Cm(maj7)add9,11, Cm(9,13), Cm(maj7)add9,13, Cm(11,13), Cm(maj7)add11,13, Cm(9,11,13), and Cm(maj7)add9,11,13. I've used both triads and 7th chords in these examples. All the tensions are available, no avoided notes.
For the 2nd degree, the tensions are the minor 9th, perfect 11th, and major 13th. Since the minor 9th is an avoided note for minor chords, we can only add the perfect 11th and the major 13th. Then, the possible chords for the 2nd degree include Dm, Dm7, Dm(11), Dm7(11), Dm(13), Dm7(13), Dm(11,13), and Dm7(11,13).
For the 3rd degree, the tensions are the major 9th, augmented 11th, and major 13th. However, since the major 13th is an avoided note for augmented chords, we can only add the major 9th and the augmented 11th.Then, the possible chords for the 3rd degree include Eb(#5), Ebmaj7(#5), Eb(#5)add9, Ebmaj7(#5)add9, Eb(#5)add#11, Ebmaj7(#5)add#11, Eb(#5)add9,#11, and Ebmaj7(#5)add9,#11.
For the 4th degree, the tensions are the major 9th, augmented 11th, and major 13th. Then, the possible chords for the 4th degree include F, F7, F(9), F7(9), F(#11), F7(#11), F(13), F7(13), F(9,#11), F7(9,#11), F(9,13), F7(9,13), F(#11,13), F7(#11,13), F(9,#11,13), and F7(9,#11,13). All the tensions are available, no avoided notes.
For the 5th degree, the tensions are the major 9th, perfect 11th, and minor 13th. However, since the perfect 11th is an avoided note in dominant chords, we can only add the major 9th and minor 13th. The possible chords for the 5th degree include, G, G7, G(9), G7(9), G(b13), G7(b13), G(9,b13) and G7(9,b13).
For the 6th degree, the tensions are the major 9th, perfect 11th, and minor 13th. Then, the possible chords for the 6th degree include Adim, Am7(b5), Adim(9), Am7(b5)add9, Adim(11), Am7(b5)add11, Adim(b13), Am7(b5)addb13, Adim(9,11), Am7(b5)add9,11, Adim(9,b13), Am7(b5)add9,b13, Adim(11,b13), Am7(b5)add11,b13, Adim(9,11,b13), and Am7(b5)add9,11,b13). All the tensions are available, no avoided notes.
For the 7th degree, the tensions are the minor 9th, diminished 11th, and minor 13th. However, since the minor 9th and the b11th are avoided notes in diminished chords, we can only add the b13th. The possible chords for the 7th degree include, Bdim, Bm7(b5), Bdim(b13), and Bm7(b5)addb13.
Student: DIMINISHED 11TH? I've never heard of it.
Rodrigo: Well, the reason you never heard of it is because nobody uses it (or almost nobody). The diminished 11th is the same as a major 3rd and it would clash with the minor 3rd's sound, altering the chord's quality. There's another way to interpret this situation where we find a chord with both major and minor 3rds, but I'll wait to get to the Greek modes to explain it.
Student: Okay. Well, I have a question about improvisation, which is also related to the previous post about scales.
Rodrigo: Sure! Go ahead.
Student: You mentioned several scales and modes that can be used for improvisation over different chords. For example, I remember reading that for any maj7 chord, I could use the Ionian mode, Lydian mode, or Lydian #2. Each of these modes adds different tensions to the maj7 chord, so I’m wondering—depending on the context, is there a 'better' scale or mode to use?
Rodrigo: The reason all these modes work is that, in modern improvisation— and by 'modern' I mean since the era of Charlie Parker—we approach each chord individually, rather than viewing it as part of a specific key. You could call it 'modal improvisation,' but the main idea is that if the scale or mode contains the chord tones of the given chord, it will work!
THE CYCLE OF FOURTHS & FIFTHS
I'm writing this section because a lot of students ask me about the cycle of fourths and fifths and what they're used for. So, here’s a quick and straightforward answer: the cycles of fourths and fifths are essentially ways to organize the different major and minor keys based on the number of accidentals (flats (b) and sharps (#)) they contain.
If you compare the image below, which shows the cycle of fourths, to the chart of natural minor scales, you'll see that the A natural minor scale has no flats, D minor has 1 flat, Gm minor has 2 flats, C minor has 3 flats, and so on—just follow the direction of the arrows.
Student: Wait! You said natural minor scale, didn't you mean melodic minor scale?
Rodrigo: No, that's actually correct. No matter which one of the three minor scales we're using, the key signatures will always come from the natural minor one. If you know how to read music notation, this means you're going to have to adapt the different notes of the scale using sharp (♯), flat (♭), or the symbol for natural (♮) every time they show up in the song. For example, if you want to write a melody using the C melodic minor scale, you'll have to use the C minor key signature. Since they have two different notes, Bb -> B, and Ab -> A, every time you write a note over the B and A line or space, you'll have to use the natural (♮) symbol, otherwise it'll be interpreted as Bb and Ab.
Student: And why is it called the cycle of fourths?
Rodrigo: It’s called that because the interval between the root of each key is a perfect fourth. From A to D is a perfect 4th, from D to G is a perfect 4th, from G to C is a perfect 4th, and so on. The term "cycle" comes from the fact that if you keep following this sequence of fourths, you eventually circle back to A.
Student: What about its application?
Rodrigo: Honestly, there isn’t much.
Student: No application? What do you mean?
Rodrigo: Exactly that. You can use it to memorize how many accidentals are in each key, and it might help with remembering the chords too. But in terms of actually applying it to a song, there’s not much to it.
Student: Why didn’t you list the number of flats for the keys after Eb minor in the image?
Rodrigo: Good question! There’s a reason for that. Technically, I could write all the keys, scales, and chords using only flats. But after Eb, we’d have so many flats—and eventually double flats (like Dbb, Ebb, etc.)—that it’s easier to switch to sharps (#) instead.
Student: Oh! So that’s when we use the cycle of fifths?
Rodrigo: Exactly! The cycle of fifths is just like the cycle of fourths, but in reverse. From A to E is a perfect 5th, from E to B is a perfect 5th, from B to F# is a perfect 5th, and so on. This happens because perfect 4ths and perfect 5ths are complementary intervals. If you've been following along from the start, you probably already know this.
Student: Oh, wait! Earlier, I noticed the charts were in a strange order—is that because of the cycles?
Rodrigo: That’s right! All the charts are organized according to the cycle of fourths. But after Eb, I started using sharps instead of flats for the reasons I just explained.
To sum it all up: when writing in the keys of Dm, Gm, Cm, Fm, Bbm, and Ebm, we use flats (b). When writing in the keys of Em, Bm, F#m, C#m, and G#m, we use sharps (#). And, of course, we'll have to adapt the different intervals during the song, but the key signature remains the same.
Student: Now it all makes sense!
KEY SIGNATURES
The term 'key signature' refers to the collection of accidentals (flats and sharps) indicated at the beginning of a piece of music, placed between the clef and the time signature on a lead sheet. As we discussed earlier, each key is defined by a specific number of accidentals, which can be either flats (♭) or sharps (♯). By matching the accidentals in the key signature with those in each major and minor scale, we can easily identify the key of a piece.
Here’s a quick reference:
No flats or sharps: C major or A minor
1 flat: F major or D minor
2 flats: B♭ major or G minor
3 flats: E♭ major or C minor
4 flats: A♭ major or F minor
5 flats: D♭ major or B♭minor
6 flats: G♭ major or E♭minor
1 sharp: G major or E minor
2 sharps: D major or B minor
3 sharps: A major or F# minor
4 sharps: E major or C# minor
5 sharps: B major or G# minor
HOW TO PRACTICE MELODIC MINOR KEYS?
The whole point of talking about major and minor keys is to pull together everything you've learned from the previous posts. If this is your first time here, you can still use what you learned in this post to start writing songs, building chord progressions, creating melodies, and even making your own solos. But I highly recommend checking out the earlier posts too—they're packed with different ways to play the chords and scales I mentioned here, and they'll help you get comfortable playing all over the fretboard.
We’re not done with this topic yet! In the next few posts, we’ll cover the Greek modes, harmonic functions, harmonic rhythm, and some of the most common chord progressions. So, stick around, bookmark this blog, and I’ll catch you later!
All my best,
Rodrigo Moreira
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