So now from this, actually the first three bars, that I tried to develop a rhythmic palette for the rest of the movement. The first thing I did is called the canon, and you probably heard it's called imitation. You say, and I try to follow say the same thing. So when we get to bar 30, cello and the violin. This time, it stays in the same fashion as at the beginning, because at the beginning you have and the cello comes in. It's a clash harmonically too, it's a half step away. So you have this clash, which eventually we resolve at the very end of the movement. But in this case, it doesn't resolve, and we keep this tension, and why would they now doing a bar 30 now we're doing this canon. Yeah so you hear them, each of them kind of fighting with each other, but they kind of saying the same thing. Like two people arguing, but they're essentially saying the same thing but they fighting still. The next step is by this time we get to 41. In 41 they become unified harmonically. They still fighting, but they harmonically playing the same notes in an octave apart, and that itself gradually fade into one texture. So you don't feel individual, two people playing. You feel like it's a one person. Let's just hear those two. You hear that it faded into the one texture. Now on top of that, the piano is doing the other things, not only rhythmically being contrasting but also harmonically is on the white key, they playing the black key. I play, now together the music is quite full. What do you want? You hear that? So it's quite full, and the next step what I did is called expansion. So we have heard enough of this. So I developed it into a full fledged melodic line, and atomically going climbing from the low rages to going up, but at the same time the left hand is also another one but in a different key still keep the tension. While they doing the punctuation on the pizzicato pim pim ping, and then by the time we get to 92. So you have this 316 nodes plus 2. So 1-2-3-1-2-1-2-3-1-2-1-2-3 bam bam, or sometimes 2 plus 3, 1-2-1-2-3. I got this idea of when the violin plays or later on down there. So you have this, he has this slur. Maybe you can demonstrate again with little accent on bow change. You see every time he changes the bow, you get a little accent very subtle things that you probably don't realize it the first time you hear. You just hear this nice dance rhythm he's doing. So you have this at c. If I put the rhythm down there, and play the left-hand. So you have a two 1-2-1-2-3-1-2-3, 1-2-1-2-3-1-2-1-2-3. This I call the compression or deduction. So you have becomes what we have. This is the measure 92 the violin part that 1-2-1-2-3, 1-2-1-2-3 towards the 92 and so forth, and while the piano is doing the opposite. So we meet at the downbeat, but then we call the cross rhythm. So we do different patterns of grouping. Can we do that 92? 1, 2, 3 so you hear this cross rhythm. So it's a deduction, all came from the opening bars, and then we have at the very end when the music gets very exciting at 117 when we reach at this climax, and I just repeated this rhythm. Pizzicato just help every time you have the accent, just like the bow change accent, and then when we get to the next section, I'll repeat the same thing except I start to take out notes literally deduction. If you look at letters at d the rhythm and pop-up pum pum pum pum pop-up of pum pum its the same thing we had, but every time, the notes in parentheses are the notes that I took it out. So we get less notes, and I started to take out the more and more until you cannot recognize it anymore. It's when we finished the piece.