The second movement of River Suite is called Pee Dee. The Pee Dee River runs through North and South Carolina and the movement is inspired by spirituals. The two spirituals I used as the basis of this movement are "Keep in the Middle of the Road" and "Little David, Play on Your Harp."
Like the previous movement, I was challenged by trying to preserve the integrity of the spirituals and at the same time giving them my own individual treatment. I started with a slow, rubato version of the chorus of the first spiritual. Each phrase is interrupted by an arpeggiated figure in the piano right hand that is constructed from characteristics of a blues scale, namely 3 and b3, and 5 and b5 in close proximity, as well as using the b7. M. 17 ushers in the Allegro section with the verse of "Middle of the Road." I use a little octave displacement to add interest to the melody, incorporate call and response, and introduce a running scale in the piano. At. M 27, the phrases are divided among the instruments and the running scale takes on more of a presence. M 34 and 35 introduces a hemiola rhythm that will have more of a presence as the movement develops. The verse is used again at M 36 but this time with modulations up a half step on each phrase. M 54 is a two part canon using the chorus. The canon switches to the piano at 62 and the violin and sax play a counter melody.
M. 71 has a vamp in the piano that uses borrowed chords, therefore disguising the modality and tonality while sax and violin alternate phrases of the verse of "Little David." M. 89 uses the chorus of "Little David" and has call and response. M 102 uses hemiola to modulate up a step to the new key (D to E). M 116 & 117 expand the hemiola to modulate from E to Gb. M. 130 begins another series of modulations and the piano is syncopated behind them. Scales (blues variant), syncopation, and borrowed chords are all used for the ending of the movement.
I am now using flip pdf technology for the musical examples that go
along with my posts. It uses Flash Player that most browsers come
with. You will be hearing an mp3 of sampled sounds playing the music
and you will see the score at the same time. You will need to turn
the pages by clicking on the arrows at the appropriate time. To see
and hear what I have discussed, go to http://www.cooppress.net/river_suite_blog.html.
As always, your comments are appreciated.
Dr. B
Friday, March 16, 2012
Monday, March 12, 2012
River Suite Movement 1
My newest composition is written for one of Co-op Press' Performing Partners, Jason T. Laczkowski. Jason is a wonderful saxophonist who frequently performs with Anna Draper, violin and Joshua Russell, piano. This marvelous trio can be heard on Jason's Emeritus Recordings CD "Come Down Heavy." They asked me to write a piece for them in a crossover style, similar to Yo Yo Ma's "Goat Rodeo" release.
I have recently been watching episodes of the History Channel's "How the States Got Their Shapes" and became aware of the importance of rivers. This led me to and idea of doing a piece called "River Suite" which will have four movements, each named after a different river. The selected river would reflect a different segment of cultural life in the United States. For example, the first movement is called "Pecos" and reflects a Saturday night social event common in farming and ranching communities, namely the barn dance. Subsequent movements will be called "Peedee", Mississippi", and "Harlem" and reflect spirituals, the blues, and funk respectively.
"Pecos" incorporates three fiddlin' tunes, "Hop Up, My Ladies", "Golden Slippers", and "Blue Tail Fly." My challenge in this movement was to make these tunes sound fresh. By fresh I mean adding some ambiguity. Ambiguity is an important characteristic of art and adds to its expressiveness. Folk songs are very simplistic and therefore contain little ambiguity. Some of the techniques I used to accomplish this was obscuring tonality, adding rhythmic asymmetry, adding melodic variation, and adding counterpoint.
Ambiguity of meter occurs in the very first measure with the use of syncopation in a 5/4 measure before settling into a 4/4 meter where ambiguity of tonality takes over. The verse of "Hop Up My Ladies" will enter on measure 4 in the key of C, but measures 2 & 3 have a D as the bass note and chords built in 4ths as the rhythmic harmony in the piano right hand. The 4th beat of each measure consists of E and Bb, a melodic rendering of the tritone to further obscure tonality. At measure 4 when the tune comes in, the only change is that the bass note goes down to C. This basic concept of ambiguity continues to measure 22 with octave and instrumentation changes adding interest to each phrase and counterpoint adding interest at measure 19. Measure 23 ushers in a key change and a variation of "Hop Up My Ladies" still keeping the harmony obscure through the use of 4ths. Pedal point drones are added in spots as well as combining the verse variation with the chorus of the tune, thus creating contrapuntal ambiguity.
M. 42 relaxes the tension a bit by slowing down the rhythmic values, but still has tonality tension as there is an abrupt modulation to Db for one measure then d minor for the next before settling into D major for the verse of "Golden Slippers". At measure 42, I create a fiddlin' tune variant of the verse for the violin and add chromaticism in the piano. M. 52 ushers in another abrupt modulation and offsets the chorus of the tune by one beat giving this section rhythmic ambiguity. At M. 56, the chorus is back to its original rhythmic placement. At M 61, I use a lot of rhythmic asymmetry to create interest to the "Blue Tail Fly" tune.
M. 85 brings back sections from earlier in the work at every increasing tempos to bring the movement to a rousing close.
In the fiddlin' tune sections of this movement I left the sixteenth notes as single bows. I'm am uncertain as to what note groupings are common in playing fiddlin' tunes. On Saturday night, I went to a concert by Celtic Spring, a very talented family of musicians and dancers, an tried to figure out the bowing pattern on the fiddlin' tunes they played. It appeared to be a combination of alternating bow direction on every note, and grouping 2, 3, and 4 notes together into one bow direction. The decision seemed to be based upon whether the line was going up or down and what part of the beat the up or down began on. Rather that me ( a non-violinist) trying to figure out the bow direction, I decided to leave the notes without bow direction markings and let the violinist figure out what is comfortable for he/she. I want all the notes to be cleanly articulated except for where I have specifically marked slurs.
I am now using flip pdf technology for the musical examples that go along with my posts. It uses Flash Player that most browsers come with. You will be hearing an mp3 of sampled sounds playing the music and you will see the score at the same time. You will need to turn the pages by clicking on the arrows at the appropriate time. To see and hear what I have discussed, go to http://www.cooppress.net/river_suite_blog.html.
As always, your comments are appreciated.
Dr. B
I have recently been watching episodes of the History Channel's "How the States Got Their Shapes" and became aware of the importance of rivers. This led me to and idea of doing a piece called "River Suite" which will have four movements, each named after a different river. The selected river would reflect a different segment of cultural life in the United States. For example, the first movement is called "Pecos" and reflects a Saturday night social event common in farming and ranching communities, namely the barn dance. Subsequent movements will be called "Peedee", Mississippi", and "Harlem" and reflect spirituals, the blues, and funk respectively.
"Pecos" incorporates three fiddlin' tunes, "Hop Up, My Ladies", "Golden Slippers", and "Blue Tail Fly." My challenge in this movement was to make these tunes sound fresh. By fresh I mean adding some ambiguity. Ambiguity is an important characteristic of art and adds to its expressiveness. Folk songs are very simplistic and therefore contain little ambiguity. Some of the techniques I used to accomplish this was obscuring tonality, adding rhythmic asymmetry, adding melodic variation, and adding counterpoint.
Ambiguity of meter occurs in the very first measure with the use of syncopation in a 5/4 measure before settling into a 4/4 meter where ambiguity of tonality takes over. The verse of "Hop Up My Ladies" will enter on measure 4 in the key of C, but measures 2 & 3 have a D as the bass note and chords built in 4ths as the rhythmic harmony in the piano right hand. The 4th beat of each measure consists of E and Bb, a melodic rendering of the tritone to further obscure tonality. At measure 4 when the tune comes in, the only change is that the bass note goes down to C. This basic concept of ambiguity continues to measure 22 with octave and instrumentation changes adding interest to each phrase and counterpoint adding interest at measure 19. Measure 23 ushers in a key change and a variation of "Hop Up My Ladies" still keeping the harmony obscure through the use of 4ths. Pedal point drones are added in spots as well as combining the verse variation with the chorus of the tune, thus creating contrapuntal ambiguity.
M. 42 relaxes the tension a bit by slowing down the rhythmic values, but still has tonality tension as there is an abrupt modulation to Db for one measure then d minor for the next before settling into D major for the verse of "Golden Slippers". At measure 42, I create a fiddlin' tune variant of the verse for the violin and add chromaticism in the piano. M. 52 ushers in another abrupt modulation and offsets the chorus of the tune by one beat giving this section rhythmic ambiguity. At M. 56, the chorus is back to its original rhythmic placement. At M 61, I use a lot of rhythmic asymmetry to create interest to the "Blue Tail Fly" tune.
M. 85 brings back sections from earlier in the work at every increasing tempos to bring the movement to a rousing close.
In the fiddlin' tune sections of this movement I left the sixteenth notes as single bows. I'm am uncertain as to what note groupings are common in playing fiddlin' tunes. On Saturday night, I went to a concert by Celtic Spring, a very talented family of musicians and dancers, an tried to figure out the bowing pattern on the fiddlin' tunes they played. It appeared to be a combination of alternating bow direction on every note, and grouping 2, 3, and 4 notes together into one bow direction. The decision seemed to be based upon whether the line was going up or down and what part of the beat the up or down began on. Rather that me ( a non-violinist) trying to figure out the bow direction, I decided to leave the notes without bow direction markings and let the violinist figure out what is comfortable for he/she. I want all the notes to be cleanly articulated except for where I have specifically marked slurs.
I am now using flip pdf technology for the musical examples that go along with my posts. It uses Flash Player that most browsers come with. You will be hearing an mp3 of sampled sounds playing the music and you will see the score at the same time. You will need to turn the pages by clicking on the arrows at the appropriate time. To see and hear what I have discussed, go to http://www.cooppress.net/river_suite_blog.html.
As always, your comments are appreciated.
Dr. B
Thursday, February 23, 2012
Poetics Movement 6
The last movement of Poetics is inspired by the poetic form Gogyohku, a Japanese poem that does not have a restricted syllable count and is used to record a fleeting moment.
My music for this movement is a little over three minutes in length, much longer than the poem. I tried to capture the two contrasting parts of the poem, first the tragedy itself and then my feelings while lying in bed. Both of these take time to unfold musically.
The sirens are represented by the glissandi in the viola. Unfortunately the artificial playback of these glissandi does not capture the sound I'm hearing but it will give the listener an approximate idea. The double bass line captures the anxiety of the crisis through diminished sounds and tremolos. Measures 10-13, with it's rhythmic intensity and chromatic harmony, represents EMTs rushing to the rescue. These two ideas alternate frequently until M 38, where a third sound, the horn of a fire engine (diminished 5th double stops in the double bass) enters. This section ends with the two instruments doing the fire engine horn followed by a low tremolo in the double bass (m. 51-54).
M. 55-76 serves as a transition to the prayer section by a gradually slowing descending line punctuated by pizzicato heartbeats. The prayer goes from M 77-end and is hymn-like in design.
I am now using flip pdf technology for the musical examples that go along with my posts. It uses Flash Player that most browsers come with. You will be hearing an mp3 of sampled sounds playing the music and you will see the score at the same time. You will need to turn the pages by clicking on the arrows at the appropriate time. To see and hear what I have discussed, go to http://www.cooppress.net/poetics_blog.html.
As always, your comments are appreciated.
Nighttime Tragedy
Sy Brandon ©2011 Sy Brandon
Sirens screech like banshees
Split the silence of the night
In bed I pray
For the dead
And for those that survive.
My music for this movement is a little over three minutes in length, much longer than the poem. I tried to capture the two contrasting parts of the poem, first the tragedy itself and then my feelings while lying in bed. Both of these take time to unfold musically.
The sirens are represented by the glissandi in the viola. Unfortunately the artificial playback of these glissandi does not capture the sound I'm hearing but it will give the listener an approximate idea. The double bass line captures the anxiety of the crisis through diminished sounds and tremolos. Measures 10-13, with it's rhythmic intensity and chromatic harmony, represents EMTs rushing to the rescue. These two ideas alternate frequently until M 38, where a third sound, the horn of a fire engine (diminished 5th double stops in the double bass) enters. This section ends with the two instruments doing the fire engine horn followed by a low tremolo in the double bass (m. 51-54).
M. 55-76 serves as a transition to the prayer section by a gradually slowing descending line punctuated by pizzicato heartbeats. The prayer goes from M 77-end and is hymn-like in design.
I am now using flip pdf technology for the musical examples that go along with my posts. It uses Flash Player that most browsers come with. You will be hearing an mp3 of sampled sounds playing the music and you will see the score at the same time. You will need to turn the pages by clicking on the arrows at the appropriate time. To see and hear what I have discussed, go to http://www.cooppress.net/poetics_blog.html.
As always, your comments are appreciated.
Poetics Movement 5
Movement 5 is based on a cinquain, which is an American Poem invented by Adelaide Crapsey. It is five lines long and uses a syllable count of 2,4,6,8,2 to determine the line breaks. Three possible variants are mirror 2,4,6,8,2,4,6,8,2; butterfly 2,3,6,8,2,2,4,6,8,2; and reversal 2,8,6,4,2. I combined mirror and reversal in my poem therefore creating a syllable count of 2,4,6,8,2,8,6,4,2.
The syllable count is reflected in the number of notes in each phrase with the exception of measures 13-16 and 30-end where I repeat the two syllable (note) phrase "don't know" four more times to add to the uncertainty. M. 17 begins a repeated variant of the poem as the music was too short without it. I tried to keep the music mostly homophonic in order to not obscure the syllable (note) count, but it also serves the purpose of creating a calm, contemplative movement that is in contrast to the other movements of the piece. The only place I depart form the homophonic style is in measures 8-10 and 25-27 as these sections are canonic reflecting the words "Can my thoughts be echoed by you?"
I am now using flip pdf technology for the musical examples that go along with my posts. It uses Flash Player that most browsers come with. You will be hearing an mp3 of sampled sounds playing the music and you will see the score at the same time. You will need to turn the pages by clicking on the arrows at the appropriate time. To see and hear what I have discussed, go to http://www.cooppress.net/poetics_blog.html.
As always, your comments are appreciated.
Dr. B
Uncertainty
Sy Brandon ©2011 Sy Brandon
Soft hugs
Warm caresses
Words of deep affection
Your beauty ignites my senses
Hoping
Can my thoughts be echoed by you?
How can I let you know
What my heart feels?
Don’t know
The syllable count is reflected in the number of notes in each phrase with the exception of measures 13-16 and 30-end where I repeat the two syllable (note) phrase "don't know" four more times to add to the uncertainty. M. 17 begins a repeated variant of the poem as the music was too short without it. I tried to keep the music mostly homophonic in order to not obscure the syllable (note) count, but it also serves the purpose of creating a calm, contemplative movement that is in contrast to the other movements of the piece. The only place I depart form the homophonic style is in measures 8-10 and 25-27 as these sections are canonic reflecting the words "Can my thoughts be echoed by you?"
I am now using flip pdf technology for the musical examples that go along with my posts. It uses Flash Player that most browsers come with. You will be hearing an mp3 of sampled sounds playing the music and you will see the score at the same time. You will need to turn the pages by clicking on the arrows at the appropriate time. To see and hear what I have discussed, go to http://www.cooppress.net/poetics_blog.html.
As always, your comments are appreciated.
Dr. B
Thursday, February 16, 2012
Poetics Movement 4
After about month of running back and forth to rehearsals and performances of my "Arizona Centennial Overture" in honor of Arizona's Centennial, things are calming down again. During that time, I managed to work on and complete the 4th movement of Poetics. The influence for this movement is the bantu poetic form.
The bantu originated from Swahili speakers therefore incorporating the idea of call and response. The stanzas are couplets where the first line is more metaphorical and the second line more concrete. Since I wanted this movement to be at a fast tempo and to contain a lot of energy, I wrote a bantu about competition.
I am now using flip pdf technology for the musical examples that go along with my posts. It uses Flash Player that most browsers come with. You will be hearing an mp3 of sampled sounds playing the music and you will see the score at the same time. You will need to turn the pages by clicking on the arrows at the appropriate time. To see and hear what I have discussed, go to http://www.cooppress.net/poetics_blog.html.
As always, your comments are appreciated.
Dr. B
The bantu originated from Swahili speakers therefore incorporating the idea of call and response. The stanzas are couplets where the first line is more metaphorical and the second line more concrete. Since I wanted this movement to be at a fast tempo and to contain a lot of energy, I wrote a bantu about competition.
Competition Bantu
©2012 Sy Brandon
The hope of a new season
Unfailing optimism
The return of the team core
Reunion
Those with promise not yet realized
Freshman class
Unexpected talent discovered
Surprises
Who will stay and who will go?
Anxiety
Working on things you already know so you don’t forget them
Drill
The strong and weak make music together
Rhythm
A chance to wow the hometown crowd
Opening Day
A grueling test of endurance, talent and fortitude
The season
The only time you root for other teams
The standings
The Darwinian Principle: Survival of the fittest
The playoffs
A tug of war where dreams are realized or shattered
The championship
A chance to say, “There’s always next year”
The loosing clubhouse
A fleeting moment of glory before the need to prove oneself again
Celebration
Call and response between each instrument permeates this movement with alternations of which instrument is the leading voice. M. 1-15 reflects the first stanza and I used a lot of rising lines to reflect hope and optimism. M. 16-36 represents reunion through the use of double stops. M. 37-56 represent the next two stanzas where promise (triplet figures) and surprise (wide intervals) are the themes.
M. 56 & 57 serve as a transition to a slower tempo. M. 58-71 create anxiety through pizzicato and tremolos. M. 72-88 connotate drill, through repetitive triplets, and fundamentals, through descending fifths. This section concludes with M. 89-106 where downbeats and afterbeats represent working together with rhythm.
M. 107-109 serves as a transition back to the original tempo. My ears were shouting at me to return to the opening material and not introduce any more new ideas. As I read over the poem, I realized that the emotions of stanzas 8-12 are similar to the emotions of the first four stanzas, so returning to the opening material made sense poetically as well as musically. The last two stanzas are reflected from M. 156-end.
I am now using flip pdf technology for the musical examples that go along with my posts. It uses Flash Player that most browsers come with. You will be hearing an mp3 of sampled sounds playing the music and you will see the score at the same time. You will need to turn the pages by clicking on the arrows at the appropriate time. To see and hear what I have discussed, go to http://www.cooppress.net/poetics_blog.html.
As always, your comments are appreciated.
Dr. B
Monday, January 23, 2012
Poetics Movement 3
A triolet is the inspiration for the third movement and it is the first rhyming poem that I am including. There are 8 lines in this pattern; A, B, rhyme with A, A, rhyme with A, rhyme with B, A, B. Once more I used one of my own poetic creations for the programmatic aspect. It is a triolet about creativity and it reflects the creative process of my wife, Anita, when making polymer clay jewelry.
Creativity Triolet by Sy Brandon ©2011 Sy Brandon
Ladybugs upon a leaf
Or a monarch butterfly
Nature's colors, my belief
Ladybugs upon a leaf.
Creating jewelry can give me grief
But mostly I get high.
Ladybugs upon a leaf
Or a monarch butterfly.
I am free with adhering to both the line delineation and the rhyme scheme of the poem. The double bass begins the movement with serene arpeggios in fifths and fourths reflecting the serenity of nature. The viola flits about like a lady bug or butterfly from m. 2-9 representing the first two lines of the poem. M. 10 - 21 reflects the third line with a soaring idea that is treated imitatively and chromatic passage that moves in contrary motion. M. 22-27 uses the first part of m. 2-9 to create a rhyme A.
M. 28-34 has both a change of tempo and meter. There is no evidence of rhyming with A as the musical material is very different because it is reflecting the building of frustration when one tries to create and it is not going well. The repetitive viola sextuplet, the enlarging of the double bass chords, and the growth in dynamics are all symbolic of the trial and error process of creativity. M. 35-40 represent line six with a lyrical melody and implied lush harmony. The softening of the dynamics at the end of this section is a relaxation of the high before repeating M. 1-9 (the first two lines of the poem) and arriving at a pleasing, quiet ending.
I am now using flip pdf technology for the musical examples that go along with my posts. It uses Flash Player that most browsers come with. You will be hearing an mp3 of sampled sounds playing the music and you will see the score at the same time. You will need to turn the pages by clicking on the arrows at the appropriate time. To see and hear what I have discussed, go to http://www.cooppress.net/poetics_blog.html.
As always, your comments are appreciated.
Dr. B
Creativity Triolet by Sy Brandon ©2011 Sy Brandon
Ladybugs upon a leaf
Or a monarch butterfly
Nature's colors, my belief
Ladybugs upon a leaf.
Creating jewelry can give me grief
But mostly I get high.
Ladybugs upon a leaf
Or a monarch butterfly.
I am free with adhering to both the line delineation and the rhyme scheme of the poem. The double bass begins the movement with serene arpeggios in fifths and fourths reflecting the serenity of nature. The viola flits about like a lady bug or butterfly from m. 2-9 representing the first two lines of the poem. M. 10 - 21 reflects the third line with a soaring idea that is treated imitatively and chromatic passage that moves in contrary motion. M. 22-27 uses the first part of m. 2-9 to create a rhyme A.
M. 28-34 has both a change of tempo and meter. There is no evidence of rhyming with A as the musical material is very different because it is reflecting the building of frustration when one tries to create and it is not going well. The repetitive viola sextuplet, the enlarging of the double bass chords, and the growth in dynamics are all symbolic of the trial and error process of creativity. M. 35-40 represent line six with a lyrical melody and implied lush harmony. The softening of the dynamics at the end of this section is a relaxation of the high before repeating M. 1-9 (the first two lines of the poem) and arriving at a pleasing, quiet ending.
I am now using flip pdf technology for the musical examples that go along with my posts. It uses Flash Player that most browsers come with. You will be hearing an mp3 of sampled sounds playing the music and you will see the score at the same time. You will need to turn the pages by clicking on the arrows at the appropriate time. To see and hear what I have discussed, go to http://www.cooppress.net/poetics_blog.html.
As always, your comments are appreciated.
Dr. B
Sunday, January 22, 2012
Poetics Movement 2
The second movement is based on the Shadorma poetic form. Shadormas have 6 line stanzas where the lines have a syllable count of 3,5,3,3,7,5 respectively. I translated the syllable count into meter therefore creating 3/8, 5/8, two measures of 3/8, 7/8, and 5/8 resulting in 6 measure phrases.
This movement is also programmatic representing another poem I wrote, but this is done in reflecting the general spirit of the poem rather than each line, like I did in the first movement. Here is the poem:
Disparity Shadorma by Sy Brandon ©2011 Sy Brandon
Millionaires
Are on the increase
People starve
In the Streets
While fat cats count their dollars
In oblivion.
We protest
In the parks and streets
Occupy
Wall Street grows
Sending a message to all
About Disparity.
Various key ideas of the poem are represented by musical elements. The double bass opens the movement with a melodic idea that represents the rich. The viola takes over the melody at m. 7 accompanied by sparse double bass staccato representing the poor. M. 13 has both parts in imitation as if the trailing voice is trying to catch up to the leading voice, but never can. M. 19 begins the protest leading to the anger being expressed from M. 25-36. M. 37-72 repeats the opening ideas with slight variation. At M. 73, the ideas begin to fragment as the protests are being shut down and the movement ends quietly leaving the listener wondering if we have made any inroads towards erasing disparity.
I am now using flip pdf technology for the musical examples that go along with my posts. It uses Flash Player that most browsers come with. You will be hearing an mp3 of sampled sounds playing the music and you will see the score at the same time. You will need to turn the pages by clicking on the arrows at the appropriate time. To see and hear what I have discussed, go to http://www.cooppress.net/poetics_blog.html.
As always, your comments are appreciated.
Dr. B
This movement is also programmatic representing another poem I wrote, but this is done in reflecting the general spirit of the poem rather than each line, like I did in the first movement. Here is the poem:
Disparity Shadorma by Sy Brandon ©2011 Sy Brandon
Millionaires
Are on the increase
People starve
In the Streets
While fat cats count their dollars
In oblivion.
We protest
In the parks and streets
Occupy
Wall Street grows
Sending a message to all
About Disparity.
Various key ideas of the poem are represented by musical elements. The double bass opens the movement with a melodic idea that represents the rich. The viola takes over the melody at m. 7 accompanied by sparse double bass staccato representing the poor. M. 13 has both parts in imitation as if the trailing voice is trying to catch up to the leading voice, but never can. M. 19 begins the protest leading to the anger being expressed from M. 25-36. M. 37-72 repeats the opening ideas with slight variation. At M. 73, the ideas begin to fragment as the protests are being shut down and the movement ends quietly leaving the listener wondering if we have made any inroads towards erasing disparity.
I am now using flip pdf technology for the musical examples that go along with my posts. It uses Flash Player that most browsers come with. You will be hearing an mp3 of sampled sounds playing the music and you will see the score at the same time. You will need to turn the pages by clicking on the arrows at the appropriate time. To see and hear what I have discussed, go to http://www.cooppress.net/poetics_blog.html.
As always, your comments are appreciated.
Dr. B
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