The third move as we talked about few minutes ago that it will be concentrating on the rhythm, in a two notes rhythmic cell. Okay, let's play through this. As you can see, it's a very rhythmic movement, which is also the third movement of the four movements set, so it's the climax of the whole set. The form of this movement it's what we call through-compose, which means there's no obvious direct repetitions, one sections, but the music just keeps going. So what I tried to do was to have a big crescendo, that means gets louder and louder, louder and louder, keeps going until you can't go anymore. This melody, it's very hard to play on the cello, harmonics that they just played beautifully. That melody is what I wrote this melody, I borrowed a Chinese term called a Chinese sequence, which is essentially you have two notes, or this actually here. You have two notes, but then you repeat it by adding a note. So every time you repeat it, you're adding a couple of more notes, it gets longer and longer and longer. So it's like a flower, a red flower, a beautiful red flower, a very beautiful red flower. So that kind of sequence. So can we have Tray and I just hear the tune again. So you hear how the notes, the melody gets longer. Now let's talk about rhythm for a while. We cannot talk about rhythm without talking about meter. Meter as you know, is how you measure every bar. If you have two beats per measure, you have a strong beat, a weak beat. So downbeat and upbeat. If you have a three, is 1, 2, 3 we call the waltz where you turns the 1, 2, 3, 1, 2, 3. Now, here's another thing of the 20th century. 20th century composers says, why should we do have a regular meter. In classical music, we have irregular meters, that means the meter doesn't quite change, it stays the same way once this starts the movement. It 3, 4, 5. But when the composers, a giants of 20th century composers Stravinsky, he likes to throw people off. So what we called, if you have a two-four, 1, 2, 1, 2 is not happy about that, he want to throw you off, so the 1, 2, 1, 2. So in a first demo. So we call the two-four with a hiccup. So like just to get irregulars. Like if you dance happily and you step on somebody's foot. In this case, I try to have, this came from the tune. Remember the cello just played that tune. The tune I just take the first two notes which is in cell. So I have a device. That's kind of nice dense feeding. Da-la da-la da-nda-la-nda-da-la-da-la. So it's 3, 8, 3,8 plus 2, 4. But it's three-bits, three bits and four bits. Then first I thought I should just repeat those, keep going when the cello plays. But then, let me just play this and after third time, you hear it. You already get bored with this, not only that it's predictable. You already know what's coming next. So. Yeah. Getting bored, right? So I thought maybe I could do something regular and irregular at the same time. So I swap this and you see I do abc, if everybody's you number them, label them, abc and then do acb. This way you can never know where you are, you sort of know where you are, some kind of familiarity, but at the same time, you stand a new all the time. So we have the valving play that. Now if you follow the music, you said oh I know what he's doing, he's doing abc, acb, but if you don't have the music, you never quite know where you are.